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WOMAN IN ART by Friends of American Art, and presented to the Chicago Art Institute in 1914.

One of the most piquant little faces in modern art is the painting of the child, Mary Shepard, a demure little maiden of four or five years, seated on a slightly elevated bit of ground, her hands clasped in her lap. A beflowered and beribboned hat hides most of the willful hair save one coquettish lock; a dimple in each cheek, a merry twinkle in her eyes, and the lips just ready to bubble over with laughter. Without a word, she speaks for herself and for the artist.

Jean McLane was born in Chicago, September 14, 1878. She studied at the Chicago Art Institute and with Duveneck before her sojourn in Paris. The numerous World and International Fairs have been of advantage to the artists; in fact, the art world has been the foundation on which the exhibitions have been built. Jean McLane won a bronze prize at the St. Louis Exposition, 1904; first prize at the International League, Paris, 1907 and 1908; the Elling prize, New York Women's Art Club, 1907; Third Hallgarten Prize, National Academy of Design, 1913; the Lippincott Prize, Pennsylvania Academy of Fine Arts, 1914.

At the Panama-Pacific Exposition, San Francisco, 1915, Mrs. Jean McLane-Johansen not only captured a silver medal for her work but had the merited honor of her work being hung in Gallery 61, the room into which the Art Director quietly gathered some five dozen canvases and some small sculpture, representative of the very best that women have given to art. "Mr. Trask, relying on his wide acquaintance with the art of America, had cared to make a kind of Woman's 'Salon Carré', and there was no question about it, the result was not only significant but beautiful. It was by no means exclusive, but there one could see the work by Ellen Emmet, Cecilia Beaux, Mary Cassatt, Violet Oakley, Charlotte Coman, Jean McLane, Janet Scudder, Anna Hyatt, Bessie Potter Vonnoh, and Abastenia St. Leger Eberle. Some women sculptors, Edith Burroughs, Evelyn Longman, Gertrude Whitney, and others, had friezes, sun dials, fountains and so forth, scattered about the grounds where they belonged—in the open."

We are glad to insert the above quotation, for it gives in a nutshell the galaxy of some American women in art, and the status quo of their work and the world appreciation of it at the Panama-Pacific Exposition in 1915.

In that Salon Carré, Ellen Emmet presented to art lovers, to parents, in fact to everybody, a fine specimen of "Boy," painted full of character and the joy of life, as he has bounded into the studio. The cap came off and rumpled his hair, but never mind. "Grenville" has the kind of vitality that is contagious; eyes that 143