New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-02-05
MELCHERS AND PICKNELL.
THE WORK OF TWO PROMISING AMERICAN
PAINTERS

xessrs Reichard 6 Co., have opened a small ex.
bihtion of paintings by Mr. Carl Melchers ALI Amcri-
can artist residing in Holland, whence he has sent
several pictures Of much consequence 10 the Salon
and few TO our exhibitions. In the gallery OF
Mr. p Avery. jr there may be seen a collection OF
pantings by another young American artist Mr..
" L. Picknell. who proves his ability 20 treat the
gcure as well landscape. These two exhibitions
are worth the attention Of those who are disposed TO
take the pessimstic view Of the development OF our
Younger painters. II is true that the studio work
which comes TO us from young Americans abroad Is
frequently a reflection OF masters manner or an
attempt at tricky effect but it is to allow
for the formative stage in art literature the
two artists now in question have acquired ecnhcai
ability Of very high order. and the limits OF TIER
native powers are not yet defined.
Mr.. Pcknel IS the older. we believe. and he may DC
said to have made more progress toward oonipe.e
independence and confident mastery of his ART MS
work hns always been interesting but It's interest," ma"
been Limited by certain mannerisms which the ar1S'
seems 70 be finally outgrowing. Mr.. PlcRneu mas
appreciated form, light and some atmosphere p"aso
from the first. He has usually chosen oriniai'y
lighted landscapes, wherein every oo)ect was e'eals
defined With true chiaro-osouro he has dealt haruy
AT all and his pictures have lost something by ule
absence Of modulations. They have suffered aiso
from An inaention 10 textures which has often leit
them monotonously metallic. But in the landscapes
shown at present like those exhibited IN the autumn
we find continued for light and air. WIN
softer brush work and greater deleacy and variety
in execution These qualities are apparent in
the charming "svery Morning" but IL
is made evident by more robust paint
ings like the PASTORAL and "Rocky Beach"
that Mr.. PckneI has lost none OF his vigorous execu
live ability. OF some Of these pictures, like the
simply composed brilliantly expressed Upland slope
we have spoken before, and we need not dwell upon
he fine quality of the work done by Mr. Picknell IN
lis do nd
sympathetic than his sketches along the Massachu
sets coast since the artist peculiarly attracted
10 the warm colors and strong lighting OF Southern
landscapes. Two pictures in this collection, the
Wayside Pump and "A Toler Of the Sea-" sho"
talent for figure work which has found expression
in A Quiet Hour" This, which might be described
a. genre portrsiure. is painting Of young LADY
in black seated In chair designed for comfort pass
ing her quiet hour in the Ieisurely contemplation OF
prints. The flesh tones the light tones OF the mar
and the varying blacks Of the dress are rehuereu
with delicacy and truth of effect, when nave MOI
been equalled in other Of Mr.. PckwelPs figure PANT
inrs The bearskin rug thrown over the chair Is
rendered with finer feeling for textures than the
artist has shown usually, although the treatment IS
still a little hard. The only discOrdant note Is que
10 the white and red OF the hanging in the back
ground. which asserts Itself unduly. In other re-
spocs the picture is admirable example OF sklful
workmanship. as well ali example Of entirely
sympathetic expression.
There is no picture in Mr.. Picknelrs collection
which Is as remarkable on some accounts as Mr..
Nelcler's The sermon at the heichard Gallery,
but The Sermon really represents an experimental
stage while we feel that Mr. Picknen has advanced
further in the formation Of his style. Mr.. Melchers
is associated with Paris and believe that he studied
ard painted foi time in that Mecca Of American
art students. But 1t will be seen that he has not
beer svei-infucIced by the manner Of any master.
either French or Dutch. Neither in The Sermon
The central picture of this collection, in the portrait
nor the minor figure studies and landscapes which
shown is it possible 70 find the mannerisms which
are frequently Characteristic of modern Dutch art
- The sermon might be said represent German
influence. the study of problem made popular by
German artist the portrait on the other hand shows
the effort 20 create delicate color symphony which
has interested painters like stevens and Duran on
the Continent and Whistler in England, although
Whistler rs we need hardly say owes no allegiance
whatever to England of art. These points
Of resemblance and divergence are worth consideration
because they help to illuminate the character OF Ie
tive personality 70 become simple follower 81 gwen
master and to range himself GngGe'nGninsK on Tre
lie is irving his mowers in his direction ard in that
and the results Which he shows now. together with
paintings shown at other times. make IL evident
that he possesses technical ability Of very high order.
The sermon" * remarkable realization Of erect
and an extremely clever study Of character Primarily
to represent figures sned from behind TR
theme II familiar one but the artist has treated
IL in his own way. The scene is the plain interlo'
crude blue WOODWORK furnish aid whatever to the
painter. The first plane Of the picture is occupied
BIZ women seated i'm straight hacked chairs. The
artist has made attempt 70 emhcsh his types. but
he has painted their usually plain and even harsh
features with uncOmprOmsng sincerity, and even ms
study OF costumes is entirely realistic. These hgGres
in profile. Behind them. and raised little.
in low gallery. two hard featured elders lit under.
meath the high window. leaning forward eve liked
upon the clergyman their faces set in ex
preston of profound attention and solemn approval
doubtless Of sound doct1inal exposition. These
admirable character studies, and the artist who
possesses such power has gift OF no slight value
With the exception Of the elderly woman, who looks
rproYingy al sieepinE SRI teee iwo men are tho
aptest studies OF the KIND IN tue picture But ING
picture makes stronger appe;I To popular interest
example Of eye-deceiving@ effect, to trans
late the French studiO phrase literally. The artist
has himself the task Of securing perfect effect ~
relief. and in this he has succeeded. Every observer
certain 70 say that the figures stand ont" from
the canvas. and it must be acknowledged that the
realism Of the picture - due 70 the exercise OF high
degree OF skill The rows Of chairs have helped the
the artist deservN credit for his success 1t j. not
Of the first order by any manner Of means but
II IS a success dependent upon well-trained eye,
fine command OF drawing and modelling, and certain
Just 10 dismiss the picture simply tricky painting
and think that those who examine II carefully viii
admit the artists I'm the special task which
he has set himself, well his talent for the denea
ton Of character. There Is little charm of color in
this work. but the visitor will find simple color
scheme tactfully worked ont in another painting Of
woman in black against deep-blue background and
there Is example OF harmonious tOnality In the
figure Of peasant girl set against landscape back
OF bostman beside wharf, with red-rOofed build
ings interesting study Of form, and by pastil
study Of the nude. and other minor examples Of an
artist for whom the future should have much in store
COOKS. coachmen. dressmskers and houseservants
their