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Artist Goes to Paris

William Glacken's own way had led him long ere the period of The Eight, to France-to Paris, of course-where, in 1895, he worked independently and got a picture accepted for the Salon. "He was also," the catalogue relates, "an exhibitor in the Paris Exposition of 1900, where at the close of his life in the Exposition of 1937, he was to receive the highest award accorded an American artist, the Grand Prix."
When Glackens returned to America in 1896 he settled in New York, resuming his work as illustrator. His illustrations appeared in The New York Herald, The New York World and in various magazines. 
Like Sloan, like Henri, like Luks and other friends, Glackens was always deeply interested in liberal movements in art. He headed the commitee for selection of American exhibitors in the Armory Show, (wrinkled part of article--), 
first Independent Exhibit. Independent Artists was organized. Glackens served, in 1916 and 1917, as its first president- a post that has been occupied ever since by John Sloan. 
From 1925 Glackens spent a great deal of time in France, where many of the canvases included in his memorial exhibition were painted. The French school influenced him in a general way, though this fact would never have been so apparent had it been for the manifest discipleship to Renoir, which endured all through the middle years of Glackens's career. Along toward the last he was able in much more telling degree to assimilate what had been so enthusiastically acquired. There are glowing later canvases, such as "Lenna and Imp", 1930, and "The Soda Foundation" of 1935, that may be called almost pure Glackens; that represent the fine and integrated development of a talent sunny and sensitive and, always in its sensitive way, robust.

Committee Selects Works

The memorial exhibition, for which Guy Pene duBois, Leon Kroll and Eugene Speicher constituted an advisory committee on selection, illuminates the whole vista of change and growth, of thralldom and the ultimate triumph of personal feeling vividly expressed in an individual manner.
The low key of the earliest work belongs to the period. Most of the paintings done soon after the turn of the century have been placed in the first rooms at the museum, to the left of the entrance. Here we find such admirable canvases as "Luxembourg Gardens" (1904) which  has been acquired by the Corcoran; "Coasting in Central Park," painted about a year later; "Flying Kites, Montmartre," "Buen Retiro, Madrid," and "Chateau Thierry," all produced in 1906. Among these and other works of about the same epoch a few much later pictures-the 1920 "Mountain Lake," for instance and "Restaurant du Pont" of 1926-have been interspersed, by way of striking contrast.
As we proceed through the remaining galleries we witness the sharp uptrend of Glackens's palette as more and more fully he abandoned himself to color that glows and sings. The subject gamut is wide, embracing portrait, figure, and still-life, notably still-life in which flowers provide the rich and fragrant motif.
Among characteristic canvases, some of which have become very familiar, are "Chez Mouquin" (this is one of the early examples, dated 1905 and owned by the Chicago Art Institute); "The Dream Ride," "Nude with Apple," the sumptuous "Child in Chinese Costume," "Portrait of a Young Girl," "Portrait of Miss Olga D." and "Julia's Sister." The huge high-keyed "Family Group," which traveled to Chicago for the Century of Progress, occupies a strategic position in the largest of the galleries.
The illustrated catalogue contains a foreword by Guy Pene duBois.

Art Brevities
The first congress of commercial artists will be held this evening at 8:30 o'clock in the Salon de Musique of the Barbizon-Plaza.

The current exhibition of sculpture by Ernst Barlach at the Buchholz Gallery will continue until Dec. 20.

the famous little group known as The Eight, its other members being Maurice Prendergast, Arthur B. Davies, Ernest Lawson and Robert Henri. They stood out strongly as individuals and as "realists" bent on finding their material [[?]]
daily life of the actual world in which they lived. They were avowed enemies of such facile prettification? as was then rampant in the art world. And yet the term individualist proved, for all of them, the more abiding. Though they had much in common, each went his own way. 

Peter A. Juley & Son
IN WILLIAM J. GLACKENS MEMORIAL EXHIBITION
"Child in Chinese Costume," which is on display at Whitney Musuem