[Concord Paper? Not attributed]

Concord Art Group Prepares Exhibits
- Show of Invited Works Includes Sculptures

Concord, Mass. April 30 - The tenth annual exhibition of invited works will be held by the Concord Art Association, in the Concord Art Center, at 15 Lexington Road, Concord, during the next two months. The exhibition will open to the public on Sunday afternoon, May 2, at 2 o’clock, and will then continue daily through Wednesday, June 30. The exhibition will be open on Sundays from 2-6 p.m., and on weekdays from 10 o’clock in the morning until 6 o’clock in the afternoon.

There will be a private view tomorrow evening from 8 to 10 o’clock for members and exhibiting artists. On Saturday there will be a press view. At the exhibition there will be paintings, sculptures, some black and white drawings by H. P. Bosley of Boston and pastels by Miss Laura Hill of Boston, a miniature painter. There are about 30 oils to be exhibited, and the artists represented are from Boston, Chicago, New York, and Philadelphia, besides two French artists. The sculptures are by sculptors from the above-mentioned cities. Medals of honor will be given for the best paintings and sculptures.

Edward MCarten, of New York, sculptor, is president of the Concord Art Association, taking the place of Daniel Chester French, who resigned last November. George S. Keyes of Concord is vice-president; Miss Elizabeth Wentworth Roberts of Concord, secretary, and Miss Grace Keyes of Concord, treasurer.

Charreton, a French painter, born at Auverne, who has been hailed as a successor of Claude Monet, Sisley, Pissarro and the other older impressionists.

“Crisp Morning, Vermont.” One of Aldro T. Hibbard’s well chosen and well painted winter motives. Mr. Hibbard’s recent exhibition at the Guild of Boston Artists was of almost epochal importance.

Boston, Monday, June 7, 1926.

The Christian Science Monitor

The Concord Art Association’s Show E.C.S.

Concord, Mass. June 4 - The medal of honor in the tenth annual exhibition of paintings and sculptures held by the Concord Art Association has been awarded to Abram Poole for his green and black toned portrait, “Madame Boznanska.” Relieving notes of brown are provided by the eyes and the wood of a chair-back. The subject’s alertness is well captured in a somewhat self-conscious mood and the whole work is an example of accomplished painting. This canvas is a sort of painter’s picture, but appreciated by those who know the difficulty of attaining to unity of effect in subject and execution alike.

Of technical interest, too, is the medal of honor work of sculpture, “Philomeia,” by John Gregory. It has an uncommon quality of completeness of design. The artist knew what he was doing and did it to his own satisfaction and that of the jury, though the layman will ever be puzzled by the introduction of the archaic note into contemporary art. The formal pose and drapery handling are in the vein long worked by Paul Manship, though in no way copy his style.

For sheer charm one ventures to award first honors to “Winter Sunday,” by Carl Lawless. It is not merely that his picture of pungs full of rural folk nearing the village church on a snowy Sabbath carries with it an anecdotal interest that is bound to capture the casual. It is a painter-like work, atmospheric, almost, as a Twachman picture, and the decorative instinct is behind every brush stroke. Touches of warm color are introduced with a Japanese feeling for spotting and even the telegraph poles have an agreeable air.

Of similar appeal is Robert Strong Woodward’s “April at Keach Farm,” wherein the color of a Berkshire hillside is seen in a veritale Persian carpet of soft lines and the earth contours are felt with a keeness for every square foot of the scene. Minute observation, governed by a feeling for the view as a whole is the mark of this picture. There is a sense of action in the very brushstrokes, as in a landscape by Van Gogh.

There is a Mancini-like use of limpid dark color in the background of Maurice Fromkes’ portrait of a little gypsy girl with big eyes and strawberry pink dress. Leopold G. Serfiet’s self-portrait lent by the Art Institute of Chicago is interesting because he misses self-consciousness in a task that is filled with temptations if a painter is unduly in love with his skill. There is sweep and power in Stanley W. Woodward’s marines: unity of hue between earth and sky in Charreton’s “Snow In the Mountains, France;” stark beauty in the New England fall landscape by Chauncey W. Ryder, and dazzling color relations in flower pictures by Francais Verheyden.

One of the smaller rooms is given over largely to the lovely pastel flower pictures of Laura Coombs Hills, and another room in the authoritative pencil portrait drawings of Frederick A. Bosley. There is sturdiness and sentiment in Raymond Porter’s “Pilgrim,” and a deep racial urge in an Indian head by Cyrus W. Dallin. Daniel Chester French, Paul Manship, Malvina Hoffman, Charles Grafly and Emile Bourdelle among sculptors, and Cecilia Beaux, Paul Bernard, Nicholai Fechin, Robert Henri and Elizabeth Wentworth Roberts, among painters, are well represented.

The exhibition is free, and will continue until July 1. E.C.S.

Friday, May 7, 1926

Lowell Courier-Citizen

Catchall

Once again I have been at Concord where the 10th annual exhibition of the Concord Art Association awaits the pleasure of visitors during the months of May and June. This is certainly the most distinguished art show that is gathered in our part of Middlesex county and I commend it to motorists and others while it is on. In the upper gallery at the Art Centre, fine old colonial house opposite the Unitarian church, are paintings and sculptures by many of our foremost American artists. Downstairs, on the ground floor, are water colors and pastels in one room; black and white drawings in another; and in a third the permanent collections of the Concord Art Association which are growing constantly in importance

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The preface of the catalog of this Concord exhibition was written, I notice, by “F. W. C.” in the style of “strangulated English” which has lately excited the ire of our evening contemporary. I should say that our associate editor is at his linguistic worst as he phrases comparisons of the Art Centre with a “New England Delphi,” on the “situs of the ancient oracles of transcendentalism.” Itself “a wooden temple of the arts, aere perennius.” Some, at least, of the foreword is in plain United States and lets its readers know that the Concord Art Association for now 10 years past has been bringing to this part of New England much of the best of our national contemporary art. With perhaps a background of experience derived from a somewhat similar enterprise in Lowell the maker of the preface in a concluding paragraph asks the following question, and answers it:

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“How best may this white temple of art [the Concord Art Centre] be preserved and enriched? The community obviously, is to support it generously through membership dues, gifts, endowment and, in general, co-operation whose 10-year task has been that of imitating an institution which Concord had not previously had. Local interest should insure the perpetuity of the Art Centre long after this generation of devoted workers has passed. Visitors from a distance may be expected to show appreciation by their attendance recorded in the visitors’ book, and in many instances by purchases of works of art from the exhibition. The artists may help by continuing gladly to send of their best to Concord; by promoting the objects of the association as they have opportunity and by serving it as asked from time to time; the writers by saying of the exhibition the things that hearten rather than discourage the workers, of the association and that increase the pride of the townsfolk in their own Art Centre.”

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At Concord, I looked among the assembled paintings and sculptures to see what contributions, if any, I should specially mention because drawn out of our own community, and my eye falls upon a quite decorative “bowl and candlesticks,” the maker of which is thus characterized in the catalog: “Grace Helen Talbot was born in North Billerica, Mass., in 1901. she studied under Harriet Frishmuth for three years, and in her well proportioned little bronzes she shows the influence of her teacher but not to the detriment of her own individual style. Her figures are well poised and well proportioned, with a certain amount of elan in the sustained action, and much beauty and delicacy of modeling in detail. In developing her art it is to be hoped that the artist of talent will choose a path of her own finding.” The Concord painters, Frederick A. Bosley, Mrs. Alice Ruggles Sohier and Miss Elizabeth Wentworth Roberts, secretary of the association, are duly represented in the exhibition. An outstanding national group is that of some younger Chicago artists, of varying technical ability but altogether stimulating and well worth showing.

Saturday, May 8, 1926.

Boston Evening Transcript

Prizes At Concord
- Art Association Announces Awards in Painting and Sculpture at the Current Annual Exhibition

Art Work Featured with the Review:“Myself” A Painting by Leopold Seyffert Which is One of the Features of the Current Exhibiton of the Concord Art Association.

May 25, 1926.

Boston Evening Transcript

The tenth annual exhibition of the Concord Association continues to attract attention and favorable notice. The awarding of medals and honorable mentions took place last Saturday:

To Daniel Chester French, the sculptor, was given a special medal of honor. In painting Abram Poole received a medal for his portrait of “Madame Bozanska” and in sculpture John Gregory received similar honor for a work entitled “Philomela.” Benjamin T. Kurtz was given honorable mention for the sculpture, “The Lizard”; and in painting Victor Charreton received mention for his canvas entitled, “Snow on the Mountains.”

Mr. Poole is usually referred to as belonging to the Chicago group of painters. His style is formal and his manner of painting smooth, finished and rather somber. Mr. Gregory was born in England but has spent much of his life in this country, studying under American sculptors and working in the studios of MacNeil, Gutzon, Borgium and Herbert Adams. Mr. Kurtz, who is represented at Concord by three pieces of sculpture is a native of Baltimore. Chareton, the French artist and impressionist, is well known to collectors by whom his work is much favored.

The committee of awards for 1926 is as follows: Frederick W. Allen, Cyrus E. Dallin, Gertrude Fiske, Charles Hopkinson, Edward McCar . . W. Roberts. [clipping torn]

May 16, 1926

The Boston Herald

Art now lures tourists who worship at the literary and historic shrines of old Concord. At the Art Centre, Lexington road, the 10th annual exhibition of the Concord Art Association during May and June displays paintings and sculptures by many of the foremost European and American artists. Open weekdays and Sundays, this exhibition draws an attendance at least equal to that of many metropolitan art shows. The accompanying pictures are from the Concord exhibition.

The Mystery Man, by Cyrus E. Dallin, member of the state art commission and maker of many Indian sculptures of national and international celebrity. [Note: Including, by Dallin, ”The Appeal to the Great Spirit,” Bronze, 1908, at the Boston Museum of Fine Arts.]

Portrait of Chauncey F. Ryder,” by Ernest L. Ipsen. The likeness of a distinguished landscape painter, a summer resident of Wilton, NH by an able New York portrait painter, formerly resident in Boston.

Breton Peasant,” by Malvina Hoffman. One of the sincere and well characterized works of a daughter of Richard Hoffman, pianist, who has achieved international fame through her sculptures.

“Myself,” by Leopold Seyffert. The self portrait of a Chicago painter, a frequent national exhibitor, who is a leading member of the faculty of the Art Institute of Chicago.

“Madame Boznanska,” by Abram Poole. Bringing to Concord the effective if somewhat mannered work of a Chicago artist who has studied under Carl Marr at Munich and who has an original style and quite distinguished manner.

“The Centaur,” by Emile Antoine Bourdelle. A vigorous and consistent sculpture by a French master who since the death of Rodin has been held the strongest living exponent in France of sclpturesque expression

“Snow in the Mountains, France.” By Victor