New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-05-04

be such difference in the tone Of the two OBJECTS
We object however to the uginess OF these moor
ing-po-ts than 70 their undue prominence. Ihere IN
enough in this picture, when all deductions
have been made, TO win for Mr. Palmer "luer
recognition than he has been able to earn by mnch
work Of "a painstang quality and nice observation "a
are shown here, bur which he has applied for the most
part to far less Important subjects.
Mr.. William ~. Chase's " Bavarian Landscape seems
hardly worth while. As composition, If composition IL
may be called. 1t s entirely wanting in interest
straight band OF water the foreground; then
straight band Of meadow with two or three willows very
uncompromising in their stiffness; and above all
straight band Of sky an unreleyed OF duh gray
clouds. in a wherry il pushing off fro II the bank
Mr. Chase rarely fas 10 keep his work In tone ana
this Is IN tone, but the tone Ia not attrac-
tiveo at east-and only attractive tone can make
Nor do get much more comfort from r A. H. mayer
"Nantucset what can say OF either OF these two
landscapes but that 10 h dulli SIR. lhiyers less dll
perhap than Mr. Chases, but only cause II II better
composed In Mr. Chases picture the eye, II 1t travel
from one side ~ the other II Is not led In one direction
side Of the picture than in the other In MI
and we are led 10 that by slight loongs across
the sedgy sand Then comes the water. aid over II III
the gray sky hangs mass Of neecy clOnu-tns IL al,
aud fnr Miche or Buy sdael this would be enough OUT
Of which 10 make deeply impressive picture But CT
tanly no one can say That Mr. Thayer has done thls
We may admit that II lonks like Nantucket, but really
who cares Tor tIat name Il only supposed 10 be
handle 10 such landscape this; We look Tor the uni
versa in H. not ur he particular aud for elements that
make. according artist them, beauty Or gran
deur. All Is IN the artist-nOthng IN his theme. Mr.
IAayer cares nothing for color. Wen. we VIII
care nothing for 10 either, nor Tor compost
ton, nor for line. But something we must
have, and have IL intensely, WHY paint at al
And the want feel In this picture s want 81 force
81 earnesl ness-the landscape weak and claracefs
aud the painting, however clever part OF II may De,
technical, leaves only a -pOnding impression
MI Curriers' three landscapes are as much too strong
those OF M Chase and Thayer are too weak MI
CurIler has theory would appear and he throws II
al our heads but Ills practice conienns MS theory Tor
the fanatic impre-HOuist would admit. We suppose
that pictures painted TO be seen, and III
one way another enjoyed. Now, AT no
distance any one 81 ~ Carriers pictures
here Je seenthat If to say. distance, nGt even
with ones back against the opposite wall can We resolve
the elements compose into harmony. tue say
and the arth viii not come together can the paint
forget the paint II came from There is of couis no
one way Of painting. ana make nc objection 10 Mt
Curr1es laying on his pant with p4ette-Anlie OF
VII his ing vita suck, 50 long az Dy doing 80
lie produces any pictorial effect whatever. AL w ask
Ii hat the effect produced snail make u forget ne
Mcans by which II Is produced. The effect l. ali we
want and ought To be the al-in Of the artists aim
but, lie appears IN these pcurcs, we see nothing
but the material with when b. ha worked very hard to
say nothing We de- not wish 20 make charge OF auec-
talon, but We must Insist mat thls Is not art