Working with Caran D’Ache crayons and Akua Kolor inks on a beveled plexiglass plate. This was a fast little sketch from a photo taken by my friend VLB early one Sunday morning a few years ago.
Particularly individual is the work of John W. Alexander, whose large picture of Isabella and the Pot of Basil hangs n a prominent place in our gallery. The Munich training of this artist is less conspicuously present than in many others who have made long studies on Germany. There are some of the best qualities developed in France, known particularly and generally misunderstood as “art nouveau”; but a strong personal note dominates all – the use of a singularly happy graduated sweep of line is always an integral part of his compositions. In this particular composition, the low tones of clack and white – the general atmosphere and pallor of death – are carried out with a masterly and almost hypnotic truth to the sentiment of the story which it illustrates. Alexander has a wonderfully developed ability to indicate – without representing accurately; and yet so strongly is the attention centered in the objective points of his pictures, that one does not notice or feel conscious of any part having been slighted. Absolute certainty for his own impression makes it possible for him to lead your eye that you see it as he does. This is the greatest power of an impressionist painter.