Dodge Macknight has seen with a keen eye the importance of this virility of technique to be found in Homer, and has added to this a passion for impressionistic veracity which heightens his own work to a point distinctly above that of Sargent, and one might almost say above Winslow Homer. Macknight really did authenticate for himself the efficacy of impression with almost incredible feats of visual bravery. There is no array of pigment sufficient to satisfy him as for what heat and cold do to his sensibility, as experienced by the opposite poles of a New England winter and a tropical Mexican landscape. He is always in search of the highest height in contrasts, all this joined by what his sense of fierceness of light could bring to the fantastic dune stretches of Cape Cod in fiery autumn. His work in water-color has the convincing charm of almost fanaticism for itself; and we find this medium progressing still further with the fearlessness of John Marin in the absolute at-home-ness which he displays on all occasions in his audacious water-color pictures. Marin brings you to the feeling that digression is for him imperative only as affording him relief from the tradition of his medium. John Marin employs all the restrictions of water-color with the wisdom that is necessary in the case. He says that paper plus water, plus emotion will give a result in themselves and proceeds with the idea at hand in what may without the least temerity be called a masterly fashion; he has run the gamut of experience with his materials from the earliest Turner tonalities, through Whisterian vagaries on to American definiteness, and has incidentally noted that the Chinese have been probably the only supreme masters of the wash in the history of water-color painting. I can say for myself that Marin produces the liveliest, handsomest wash that is producible or that has ever been accomplished in the field of water-color painting. Perhaps many of the pictures of John Marin were not always satisfying in the tactile sense because many of them are taken up with an inevitable passion for technical virtuosity, which is no mean distinction in itself but we are not satisfied as once we were with this passion for audacity and virtuosity. We have learned that spatial existence and spatial relationships are the important essentials in any work of art. The precise ratio of thought accompanied by exactitude of emotion for the given idea is a matter of serious consideration with the modern artists of today. That is the special value of modern painting to the development of art.