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fall so far short of the original loveliness of the living flower that it was not fair to present them together. The effect, he said, "was disasterous."
To speak only of Mr. Glackens' flower paintings is as though one sought to describe a face and spoke only of the eyes, or the mouth. But in this short article there is no chance for the briefest mention of his portraits or his landscapes, his multitudinous drawings that carry one into every phase of living. Indeed, in ending this article about Mr. Glackens and his flower paintings, I feel as though I had stopped at the beginning.