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316 WITH THE ARTISTS

not the energy of suffering, but perfect peace and repose, and with the figure equally well modelled, showing an extraordinary knowledge of anatomical detal and the careful and thorough technique which comes only from conscientious study. That the artist occasionally takes flights into different fields is, however, apparent

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Geo. Grey Barnard, Sculptor
PAN.

by one portrait head, executed by him, which shows strongly the influence of the exaggerated realism of Rodin, and which is of so different a character from any of his other subjects that it seems almost the work of other hands.

The "Fragments of a Norwegian Stove" are also remarkable as pieces of decorative sculpture, and illustrate stories in the folk-lore of that northern land.

The artist is now engaged upon a position of "Primitive Man," in which he wishes to symbolize the struggle for life and which promises to be a work of great force.

Modern plastic art has almost deserted the nude, and while all sculptors admire it as a connoisseur admires a beautiful picture, few have the courage or ability to attempt works in that direction, and it is therefore hoped that Mr. Barnard will continue in the field for which he seems to be so peculiarly well qualified.

The past month has been more noticeable for individual exhibitions that for larger and more important shows.

In the room adjoining Alden Wier's exhibition at Boussod, Valadon's, a collection of black-and-whites by Albert Sterner was recently shown, illustrating the story of "Prue and I," by George William Cur-