All this is, however, built on a foundation of solid knowledge. Mr. Parker is an excellent draughtsman and understands thoroughly the possibilities and limitations of his medium. He has long been known among the artists in the Quarter as the most scientific of them all. The chemical composition of the colors, their action and interaction, and the result of time on their brilliancy--these Mr. Parker has studied minutely. It is a subject with which the old masters were thoroughly familiar, but which painters of today too often neglect. Sanity is one of the chief characteristics of Mr. Parker's work. This is a day of extravagance, of cutting loose from all ties that bind us to the past. In Paris the academies are virtually emptied of students, that the young men may search for individuality in their own little ateliers. The Cubists and the Futurists are the flowering of the tree of experimentation that has thrust its roots even into the most academic of sanctuaries. Many a promising young man has lost his head entirely. But Lawton Parker has succeeded in keeping his. He has gone forward with his day, but not blindly. He has carefully tested each step as he came to it, and has stopped short where sanity stopped. The old virtues of draughtsmanship, composition, and color he has kept. But he has added thereto the modern discoveries in the treatment of light. He and his colleagues, the little group of painters called the Giverny school, are already known as Luminists. Frederick C. Frieseke, Richard E. Miller, and Karl Anderson belong to this group. During the summer months they paint at the beautiful little village of Giverny. They experiment with light in all its possible manifestations. Frieseke and Parker have an open-air studio together, a "water-garden" traversed by a little brook. Here on warm days they paint beautiful opalescent nudes in the sunlight, among the shimmering greens of the leaves or beside the luminous water surfaces. All who have followed the exhibitions in France or even in America during the last few years are familiar with this "nymph pasture," as it has been wittily called. It was here that the prize picture was painted--but not on warm, sunny days. A year ago it rained all summer, and in desperation Mr. Parker resorted to an indoor canvas, executed in the house adjoining. It was painted with extreme care. One comparatively unimportant part of the canvas, a bit of wall space, he painted over twelve or fifteen times to get just the precise shade he wanted. This painting is now on exhibition in this country.