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little sleeping figure in the midst of this rhapsody of color is a tour de force in painting. Among his flower pictures I recall a jar of pink hyacinths on a red cloth against a beige ground, the flowers thick and soft petalled and seemingly alive, with fragrant air all about them. Curiously enough he has often combined anemones with tulips, once against a whitish background which actually seems to be atmosphere, not paint. White anemones are probably the whitest things in the world, and red and white are startling. These he once grouped in a gay and blue pitcher, the anemones sprawling over the brim, restless in the sunlight. 
To again quote Mr. Glackens, "I believe nearly all artists at one time or another have painted flowers". Whether in this painting they found a curious exaltation, or whether the mere charm of color held them, he did not say. Not long ago, Durand-Ruel Galleries held an exhibition of still life which covered the walls with paintings of fruit and flowers by many artists. It was a curious fact, realized through a careful study of the canvasses, that each artist had brought out in his flower painting something of the style and character that would predominate in his painting of landscape or portrait. One could go through the room and say, "This is a canvas by Gaugin, by Manet, by Redon, by Viullard, or Matiss, or Degas". Of course these men could not have painted in this manner from any set of purpose, each one had painted his flowers with a quality of sensitiveness that entered into all the subjects that he painted, and the result was a curious family resemblance. 
Another thing that Mr. Glackens brought out in his talk on the radio was that fresh flowers should never be placed in a room with painted flowers. He felt that the utmost an artist could master with the pigments at hand would