New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-12-02
THE SALMAGUNDI SKETCH CLUE.
SIXTH ANNUAL EXHIBITION.

The Salmagundi Club exhibited at the Amer
can Art Gallery Yesterday collection OF drawings which
shows the continuance OF improvement first noted Las
year. the reduction OF the amount OF publishers
| work. A few years ago the Salmagund catalogues as
signed the ownership OF large majority OF the works
either Harper Brothers the Century Company. Out OF
nearly 800 works in the exhibition fraction toe
small TO he considered Is given belonging 10 the pub
| fishers. This regard an advance, while we duly
appreciate all the encouragement and stimulus which
artists in black and white have received from
| the publishers OF this city. 1t is not claiming
too much to say that the salmagund
| Club owes its origin TO tho revival
engraving and consequently OF work In black and
white which began ten years ago. and was largely
conceived and fostered by the Century Co., then Serb
ncrs through the admirable efforts OF Mr. Drake But
the samagund Club has attained distinct individually
and is fully able stand alone. Fresh work executed
expressly for the exhibitions Is what have right
To expect and this arc glad to is the rule in the
present collection.
In another respect this exhibition presents less en-
cOuraging aspect The tendency TO Oycrclaboraon OF
comparatively unmportant conceptions, which Il com
mon to all exhibitions IL especially unfortunate when
displayed in black and white. There abundance Of
oil exhibitions for highly finished works The character
% the Samagund collection should he -kcchy and sug
gcstiyc rather than strained and elaborate. And we
therefore regret the prevalence OF abonous black and
white oils in the present exhibition In the
majority OF those who have subjects considerable
enough to demand treatment in oils could
treat them 10 much better advantage they not
-trictcd in their OF colors. Take Mr. Baker,
Morning In the Meadows" No. Q. for example. Mr..
Baker showed a painting ~ very similar subject al
the recent Academy exhibition. That a pleasant,
airy picture marrcd by somewhat harsh lights Here the
predomuauce of crude white In expressing the light
dcrs the positively gba.ty. No would hesitate
choose between the two. What has the artist gained
by the changed Nothing except another chance for
market Another feature Of th prevalence Of black and
white oils In th. collection ia that in too many instances
the game net worth the cludlctle idea Is sufficient
for an interesting sketch, but no: for a finished oil
painting.
There Is an example OF this IN " Coming acro.. the
Fields" by Mr. George ". Edwards. which Ike Mr.
Bakers picture occupies Of the OF the gallery
II is sufficiently hacncycd subject bat the artist has
~ 10 dwell upon Il az len 9Th IN black aud white os
result the cure completely -wamped 10y
hvid wall Of background. which does not back Nat
urally regret much misspcnt effort There Is not
such abundance Of new ideas and original anci"s that
the pomp and ceremony OF oils must be continually
sorted To ~ a means Of expression There Il ample
province for black and white work proper. Let
have crisp and suggestive sketches IN however
R 9 medium o,I the Pen ana INK ,E'tchr' W
been by an unknown artist. they would have attracted
attention from the wonderfully feicous management OF
mere lines II Is mol necessary 10 choose the most am
bilious medium In order to gain hearing. And u Il
to be expressed. With all due Difference To- the
noble army OF hOmUJpath..s dutiou and attenuation
should be hau-hrd from artistic Therapeutic. We
find uurcprcscutcd several artists whose work
should al have welcomed. We miss the poetic fauccs Of
Mr. Abbey tho colonial "reminiscences OF Mr. II ward
pyle and the breezy sea songs Of Mr. Burns, Mr. Thul
-trup and McssTs Blum and Lungrcn aO among the
absent. Mr.. Ehningcr sends drawing IN
cOOred crayon3 OF an Italian vintage, and
Mr. ". r. Smedey again compcs admit
character. Notice the profound and solemn expression ~
the old bare headed Of the meeting. Evidently
pearls Of wisdom could crop from his lips n LIZ would but
speak. lie feels that the fate Of people depends upon
hi keeping up his character for dignity and
him 10 make "A respectable Glrrchcad Then there
j. the anxious father Of family who Is brUOdiug the
potato crop Much for trouble ne has be sure.
yet there Il dash OF humOr In his portrait, for thinking
=. " Gregory gives something to admire In the
fnl head and the swing of the drapcrics IN
No. lOl But cannot much Of the left arm,
OF the way the basket hangs from the right,
W. Eaton, Julian Xix and X. ". Van Boskrck
contribute studies ~ land Escapes penetrated with
siderable feeling, and Mr. Harry Fem shows n fine scnsi
bihy ia his "PlOughman No 81 and 10 less degree In
crcasng apness for genres 10 hs study Of negro children,
No. 1863 Mr. Shrlaw who Is forced To take his subjects
from another age Is represented by four drawings. one,
CCllin Casting the PCrScus" il vigorous unm-
prcssIye. Another Michael Angelo visiting Tiuans
STUDIO" IL noteworthy FOR the expression which tho
artist has infused into Angeles intent figure Mcs4rs
Dewey, BOncr, Harry Chase, Monks, Smile, Murphy,
McCOr, and sarOny, with his clever figure studies,
have them all In this collection but pass by them
Mr.. stephen Parrish j. well
work, worth attention than we can now give. or
ctchings there several by DR. nden, and four
by Mr. Frank Duycncc, who In his style, appears DO
the son Of Whistler and the godfather Of Mc5rs Lungren
An