New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1879-04-05

and az for the M n worth painting IN thcse Gays
will hard make much concession to costume Hs
coorcd ncck-tic Dick ms probably The last hota-
ble who DIRE himself up. who took pleasure IN nashy
chains loud waisJcoats, and spanking trousers. -
NOW We are cont mt the artist shall pant us hcads ohN
Of men, and even of women. too, for he most part.
Mr. W II Low sends nothing 20 this exhibition of lm'
portance though we have always expected 10 near
oooin from the PAINTER ~ the Jour dcs Morris IN tho
first bton of the Socirty Of American Artists, WIN
IFS towering sky thick with soft white clouds He did
NOT however carry out promise of that picture IN
hi. years exhibition of the society aud those ~ the
present exhibition very insignificant performances
They have value as pictures. aud AZ slory-t'HIug
they are almost silly. We glad 10 he able tn vel
come IN Mr. +. VI. Boggs. a painter OF uncommon
promise HIS street Scene in Par-,' No
1873. ia a large and luminous picture. trne To
the spirit OF the scene and throwing Itself bodily on
its ruthfuncs. without the need felt OF dressing hP s
subject Whoever has really lived In Paris ana loVci
the great cty-not merely it speudors and ~ fasona
bic quarters soltudes, It's drcary us desoiac
regions "a well-and one cannot know Pans nor IoVe
her mill he knows her sad well her Laughing sido
will recognize this scene he would know IT III Gal-
lrry Of n thousand pictures; his heart would hho'A ]"
bis breast and whisper. " That IL surely piece VI
Paris" No with such picture IA DIT
Ionts Tfany's " At Iryington," No. 427 West Room
Here IA nothing distinctive, unless 1t be the scra"hy
cedar tree nor is there In particular Tor
giving The name Of the neat tame, little suburb to some
sheds that might be anywhere. We are often pnzzen "
know why is that foreign artists counting Eh-seh
among them are so skfu in discovering the pathetic
elements in their landscape and not merely In tho lah
scape properly called but IN their cities ana NaSes
their wharfs and streets while yet no American mas
shown the slightest capacity for doing this win
things and places at home. Why can James
Whistler make the Thames at London, WIN
its wharves and shipping. its old barges ana shahy
buildings so picturesque and interesting yet preserving
an absolute ruhfuncss, that everybody recognizes
II who knows it-and no American do this IN the
least for Now-York Boston, or any OF our curs'
standing with a poet the unfinished vadnct al
Cleveland looking across the great CALF that yawned
between the TWO ends, down on the Craving
river and with its factories that smoked ana
roared hundred feet, seemed below, the stranger
said What u field for the coming artlsti what
etchings shall have. what picturesque reports OF
this picuresqueness all your Bur the poet signed
and answered that the not get come the tide Il
setting III the other direction, our Hubert Hefkomer
gathers his laures IN England and finds his subjects As
lis audience there Nevertheless, it is than "e
be ieye for looking through the display OF The drawings
OF he pubicschool children In the Art Department OF
the Glove and Loan Exhibition, there were some small
nconspicuous sketches OF local scenery that bore the
wished-'or sign the Young artist somewhat or this
poetic clement tins pathetic link that connects man with
his surroundings aud 1t not surprising to hnd inc
drawings signed with the initials OF another crkoer
who perhaps will not only find food for his pencil al
home bnt a public to enjoy IT. II poet should come
along he would find the wharves and shipping OF New
York to-day capable giving him all the material that
Dickens and Whistler find IN London or That Balzdc
and ,leIyon found in old Paris But this viii be done
without in any way fOrcguzng the scene; we may not
know now that the romantic element IS living All ABOUT
us hut when the coming artist shows 10 us we shal
! recorniye how true Is his report.
! NJ. Eastman J0husou's " New-Enganl P'd'er," Is n
very pretty subject with some nice painting III It, the
old man benz one Of the artists characters man we
have can depict so we'll The girl Is less interesting
and why should have set her heart upon an ochan
past our telling perhaps the novelty OF Finding such
thing in pcdcr's basket among his SOAPS ana pms
and laces has uckloJ her fancy, and she meditates
a surprise for her agricultural father. In
| tho composition o. the picture too, we OBJECT
30 the dividing II into two distinct parts by The horizon
tai Inc made by the Junction OF the wooden siding of
the upper part Of the house with the brick under-
building l. the artist had been able to devise gir as
distinctly American il his old pcdcr and give her all
the good looks she hal q right to. We should have
counted one in the pleasant gallery Of genre pic
lures We owe to LIS perception and his skill
Tue " Portrait" by Mr.. JuIds schcdorn. No 10.
soud have along with those in the exhibition
! cited early in this aruclo as examples OF
the power Of expressing life. But this pic
| ture has a double claim upon our notice. III
asmuch az II admirably painted we'll is behind no
other picture in the exhibition In It's drawing and tho
quality oflts color 1t has maze m No. 1O1, Corridor
by the same artist, but ts. though skluy painted Is
not so striking rs the head I'm the North Room.
Ohor ncritouous pictures IN this room are
Mr. T. W. Woods " His First Pipe, "
No. 1885, M Frederick DeImans Ncwsboy,'
! 40 1913, Mr. Henry Fergusous Door Of Mosque"
No. ISL aud II. Jul Muuney Head 40. lj9. None Of
these lastnlmcd important pictures bat they show
considerable skill IN painting Mr. Woods Il so matter
| of-fact "a performance hardly TO deserve place
among artistic works. but have a respect for this
arts, a. who 10 be tue 20 nature and who Is
on the search for The Of facial expression and of
| gesture. That he wants culture, and tastc-whlch i
at the root Of cu.urc-i5 often painfully
evident. but we think never saw It
so violently demonstrated in his picture The Quack
Doctor" No SgI. South Room. There Is great deal Of
study expended this picture. great deal Of con
scentious care IN the painting and it'll" Ingenuity
OF mechanical sort IN tho grouping But nothing more
absurd more essentially unreal, imagined and
thcro 10 uncomfortable lack OF humOr IN II all that
makes the deliberately buiItup fun really painful lo
unconscious awkwardnCss carries long way back TO
| days when the Academy Exhibitions contained not
alone one such subject, but they behaved from every
| wall