New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-01-10
NATIVE LANDSCAPE ART.
THE UNION LEAGUE CLUB EXHIBITION

mon League Club, ana the close OF the club year
always revivcs the memory Of impressive displays Of
pictorial art As a rule these exhibitions have
! illustrated the powers OF the great French masters.
This year we are taught lesson regarding the achieve
mcnts Of own schools OF landscape art. Tho
idea IS most appropriate, the time well chosen. 10
is proper that the Union League Ciub should devote
its most important exhibition to native art. and there
is special proprlcty in the choice Of landscape.
wherein more than in any other field American artists
have done work Of distinctive character, and as Il
seems to IL, Of especial intrinsic worth.
The peculiar value Of this demonstration Of American
achievement in landscape art Is sufficient In ITSELF
70 make this exhibition memorable But the paint
ing, are accompanied by-twO other collections pre-
scn,irr cxan,plcs Of classic art which teach an I'M
familiar lesson. This, believe Is our first loan
exhibition Of Greek vases and igurlneS or the two
the Greek vases are familiar to the public, and
vet in our country have had few opportunities
for the study Of perfect examples of classic ceramic
art at first hand. The collection OF hsunnes rep
rescnts one % the choicest additions when inc crossing
years Of thi, century have made To our knowledge
Of classic art. some fifteen years ago t'c Hsune'
found in the tombs Of Tanagfa aroused inc acn'io'
Of European scholars and collectors, ard III 100 inc
exhibition at Paris witnessed the triumph VI mo
Tanagrl statuettos \ few examples Ike the hgures
marked j. o. and L, shown in this collecuoh' Dus
the nccuar distinction Of the collection lies IN us
illustration of later discoveries. Hardly hall doAch
wear, ago. some Greeks brought to Paris ic" hs"'p'
like the Asiatc Greek terra-cottas exhibited mere
They we're received with suspicion. Clearly uie'e
elaborate groups not 10 be assigned 10 I'h"sIa'
Int their Identification rendered dimcut by
,.,io,. causes, among others by the secrecy due to
thc law, AGAINST the expectation Of antiques from
Asia Minor and also from Greece. nevertheless
these figures were finally classified as OF A,iauo'
Greek Derivation and the place where they are iouhd
is believed 10 be the district Of Myilna' since lha'
time the chief museums OF Europe, with the cAcep-
tl,. Irftf-
uo,,e,son of these proofs that the grace beauty ana
dignity Of classic sculpture are not dependent upon
size. Two years collection Of these hsures
wa, lent b The exhibition of the burlington fIhe Ars
society i'm London. \ few Of orr own amateurs ha'e
aoprec,atcd the ovelinc.s 4 these figures y large
n.,t,n wound be out Of the question, for the supply
i. limited Int a single group is hardly to he eN'
hou,ted by an artist or amateur. Inc present ''i
lection is one Of unexpected consequence Hlocoi
+, described Uy expert as superior 10 inc ''c'o'
Of A-at.c creek figure, in the Louvre Inc MON
Iae Climb has the honor Of introducing the'p hsule'
T., our nriric i'm company with this superb i!u'tTa-
tiop 81 the noble forms and beautiful dtc"r'uOh
realized by the Greek cerami,ts ana TINS meho'"O'o
exhibition Of American land cape art.
Nearly All the paintings which are shown Eep'cSenO
the development Of American art since inc H'n"c.'e'
- p-f, and Munich began TO be potent in our studios.
The earliest landscape, IN point Of tme is Mr' ihne'''
MAGNIFICENT Delaware Valley painted IN l,"J' a
,,i,tin, which proves that view" may be maze
uctorlal iu,t 20, Nr. Bicrstddts huge MI III Don
ADJ shows that "a view may be simply an example OK
tooorrtuhy. 20 far technique Is c"hceiheu' N.Y.
uiar.t,-- uight D.. accounted the earliest 81 these
artists, since Dee taxes back 10 the objective arr Ok
Dusseldorf Il was prudent to restrict the exhibition
,o far a, le to examples Of good paln'ln-' wins
ont regard e. the historical illustrations oi our ai"-
,cape art. There !, constant Interest attaching %
Coles efforts az grand landscape OF the subIe'u''
order 10 Duiauds faithful representation, oil H''No
forest, and field. and Doushtys efforts al S'hWleP
pictorial representation but it would have been MIS-
leading - co back 10 the beginning Of our landscape
art or To- lv too much stress upon the objective aFs
which tae painter, ~ the Hudson ElNtr le'IIc' ~
largest mca lre from Dusseldorf. Nc''is lnAe'' anu
WANT r,prc-ent painters ot the older school IN iui
sympathy with the new NJ. Bcr,adt, another Ok
the older painters, reminds IL OF the EFFORTS OK
fiji. artist Mr. Moran and Mr. Hi 10 translate tho
natural wonder, IF the West into pictorial pfdseoo-y
Mr. Moran Nj. Niiicr may suggest 'eF'''i
English Influences. but the prevailing influences are
naturally French if We may suggest a classification
which ~ the case Of TINS ool--'u'h uoe' "'' ""p"
imitation.
nm. ,uoouraau. feature II tbs collection is nos
SD much the demonstration u increased technical pro-
tc.cncy a., tAe evidence Of closer study OF nature
and IL gain in individuality OF interpretation. IL IS
.a.y f., say that Mr.. collins beautiful september
Breeze watt to "a, reminder OF Cain. or Mr. Jonesi
~~ Summer ha, "a Franco spanish flavor. or MI
Tr1on', Moonlight" ha, a vague suggestion u
v.u.t u,. Moonlight which he
h,. shown before, lut We turn 10 Others
pictures Us these artists We shall ind them adapting
their tr.ftueut % the.r special problems, WORKING IA
wholly different ways and proving that they nave MOI
surrendered their Independence 10 abe conventions 81
any narrow school There are Two points which
invite genera, zatlou the tendency To substitute the
itiue or familiar treatment ~ landscape for elaborate
composition in the grand manner. and the lncrea'-
INK interest i'm c0loc. and The realization OF har
moniou, touality. Mr.. Twon is an excellent example
az the toual,f-. Mr. Coke las made an c-~ay IN
tnis direction bat his water is out Of key. and liz
show, a f,ieue-, Of textures from which Mr.. Tryon
is not wholly free. Tie latter occasionally fails 10
put atmosphere into his pictures, IN The Lighted
Village and another which is painting Of an I'M
pr-oned foreground. but on the other hand NJ.
rryou has shown his command ~ atmosphere and
distance his october jus, Nj clifford illustrates
III, thorouehnc>, in landscape work in his mellow,
comprehensive hut pictorial Na~laSanna." The half
dozen pictures by Mr. Inuca- Who certainly represents
uo school but hl, own. include the noble Delaware
Valley" the rich september Afternoon picture
wherein the h, been prods cal OF hi, forces and
oi beautiful ELECTS. and tho wonderfully fresh and
deloatcly expressed GRAY. Lowcry Day These
pictures are familiar Ia many amateurs and always
welcome. But We may not dwell upon these or other
examples Of oar first landscape painter, which are con-
tr.hutcd by Ne-sr~. Clarke. Adam, and Altman. We
have ,aid that Mr.. Iune>s illustrates the pictorial
treatment of view li MS 90 It"tMsun NtcN, ana
We might say the same 81 Mr.. McEntec whose
Eastern Shy at sunset" is admirable modification
Of one OF the older p.au, Of composition. Turning
to oIcr pictures. We ind fresh proofs Of the variety
which d. encouraging feature OF our art. II We
discover too great an lu,l>tancc upon the intmc'
treatment Mc>~r,. Murphy aud Poorc, we certainly
have au allopathc dose OF the comprehensive, tho
grand and 1l-aruc I'm Mr. Bler-tadrs work. II We
lind tendency q" ha-tv ~ynthesi, and rash gencralN
oaou ou the part of some touali-t~ Mr.. INOn aud
VIZ. want occasionally We may set against IL the
excessive anHN~ and deficient generalization which
may %" observed on the work of IN" late VII. Baker
especially his Winter Morning aud i'm Mr. Nl'ns
"Mapehur>t.' which. We may add. indicates praise
worthy effort 40 outdoor air and light. Mr. Pckneu
realize, the outdoor k.y. and his Upland slopes
illustrates the pictorial possibilities ~ simple material.
IN their evening studio, Nr>~r~ Ho-crt and rWon
show the effect of the closer inquiry int" air and
lLl1ll fLlllI .I. ~