New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-02-18
THE PITCHING CLUB EXHIBITION
A CHANGE FOR THE BETTER

The Etching Club exhibition of last year ,
rarely perfect illustration Of things which should have
been left undone Ever since etching gained
ceptance with our public, and commercial expoita-
ton became possible snd profitable the general ten
dency Of the Etching Club exhibitions has been
toward the illustration Of etching employed as a re-
muneraave craft without regard TO the fitness of the
medium or the finest or genuine qualities in tho
Results For some years we have opposed this ton
depce but last year opposition seemed hopeless, and
there was nothing 20 do save 10 record the decline
and fall Of noble art, and to indicate the steady
advance Of Photographic processes
But the extreme badness OF the exhibition helped
TO bring about reaction. Those who have an APP
preciatve acquaintance with the art were unspsrng
in criticism and criticism in this case has exertsd
constructive influence. A few disguised amateurs
went from the exhibition resolved to determine for
themselves whether painteretching wero lost Art
in this country. The movement for An exhioton
OF original etchings was another influence, helping,
like the fear Of future punishment to bring about
deathbed repentance. There II too much reason ior
the fear that the complete recovery OF etching IS NOT
TO be hoped for despite such occasional rallies as toe
present exhibition Of painters etchings IN Paris ana
IN less marked degree the exhibition at home. But
the present only is assuredly our own, and this Is
comparatively encouraging That IS, the exhibition
Indicates an effort recognize the peculiar value OK
original design and there Is more OF dsposiuon 10
require intelligence and some degree OF sympa.neuo
feeling In reproductive work. This Is great nm
provement upon the exhibition of last year, ana IN
deed upon any exhibition of the last few years
IL cannot be said that improvement Is obvious In
the details of arrangement, for the bristing screw
heads and frayed burap left exposed are anything ous
inviting But II was an excellent !oea 10 iorm
sroup Of painters echngs In the southwest corner
Panel and the study OF these and other examples OF
personal design will not be found Improbable There
are six etchngs BY Mr. Whistler four OF which Nus
trate his later and oftentInes inadequate work. and
two. the aDressmsker" and the socaled Study Tor
n Portrait which represent an early period These
arc admirable examples OF acute perception and 70
markable power Of telling essentially truthful ex-
pression but the later etchings sometimes snow the
passon for mere note-taking carried to an extreme
There are very clever suggestions OF moving figures
before the quaint front Of the Chelsea nssnop 'noro
IS much vivaety in the figures OF the hgn-s~' an"
The Turkeys exhibits figure skctcned win cnafac-
teaistic aptness. But much Of linear WORK Is hcco
lessly ragged and unkempt, and the Lively expressive
ness of some Of the drawing is not always sumccns
compensation for the sllghtness Of the WORK among
tho etchers who have serious claims upon inc ANA
tsnts attention Messrs Pstt Parrish, Pennei' J. d.
sminis and Eichelberger have earned an honoraoie
place Mr. smlllle's dry-polnt study OF peoples ana
a quaint metal lamp, surmounted py meoieo'@ MON
ster, is a remarkable performance remarkable hos
merely for an intelligence In workmanship, which
characteristic but especially for unusual tact ana DELI
cacy IN manipulation and tho richness ana truth Oh
the result Possibly an exception might be taken to
the lighting but there is nothing to impugn the title OF
this dry polnt to recognition as sound and also
a brilliant example of the Interpretation of still liie
Mr. plstt shows HIS us preference for shore and bar
har sesnes and his contributions admirable cx-
amnes Of tactfui selection. A feeling for color ID
shown IN No. 1885, which exhibits soma clever render
ing OF refec tons and In No. 1870, where the compost
ton IS less adroitiy managed. larger plate,
q Misty Morning. with fishermen hauling up a boat,
shows the artist essayng the figure upon more am
bilious scale than usual and with considerable sue
cess "on the Mass Is another unevenly balanced
plate, with scattered composition and weak drawing
Of the sedgcs the left whiio the Atlantic Doeks'
has been injured By everything Mr.. Plat seems In
oned to insist upon aggressive blacks. and OCCASION
ally he and Mr. Parrish also take liberties with the
| lighting Of their scenes But II IL always possible
| 10 point 20 Mr.. Haden's 1Agansnnons ~ precs