New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-01-29
MR.. WHITTREDGE'S P/iHTINGS

Many of our amateurs Will not need 10 be reminded
that collection OF eghtyone paintings by Mr. Worth
lngton Whittredge Is upon exhibition at the Fifth
Avenue Art Galleries An exhibition by so sincere and
so conspicuous representative Of our older landscape
school sure to attract the attention of those who fol-
low the course Of American art. We have seen COM
paratively few OF Mr. whlttredgcs paintings at tho
exhibitions since his last SALE but explanation may
be found In the character Of the present collection,
which Is composed Of complete works. not OF sketches or
studies. Most OF the pictures are OF cabinet size.
The subjects include woodland trout brooks, always
fayore theme, views In the Catskills, various New
England pastoras and shore representations Of
canon mountain and river scenery in Colorado, and
few interiors. The choice Of subjects indicates care
fu apprecatve observation Of the facts OF natural
scenery, preference for form rather than the moro
subtle atmospheric effects, and occasionally certain
indifference to skies But there is always the stamp Of
the artist who is so genuine nature lover that ID
would be impossible for him 10 slight bis work
We believe that Mr. Whittredge one OF he first,
Il not the first Of landscape painters to follow
Leutze to Dusseldorf and the earlier influences upon
his art those conspicuous In the familiar schooi
Of the Hudson But Mr.. Whlttredge, like Mr. NC
Entee has been able to live In the present as well as
the past and 1t will be found that many pictures In
this collection show a receptivity and adaptaoilty
which we are accustomed to regard as rare among
artists OF older schools. In No rs, or better NO 40,
which is larger painting of the same subject we nave
good Illustration of the old schools artists attitude
toward landscape. One of his chief aims was compre-
hensiveness This general subject view OF the HUI
son River Valley from the top of the Catskills, was
nanted bv Cole and his friends and by their immediate
successors. Sanford Clifford painted nearly the same
subject and indeed Mr. Whittredge's picture might DO
taken as typical Of school, we're IL not thae 'le
methods of expression show change. Another VIEW
No 49, expresses the influence Of the modern dehaha
for harmonious tonaty in of quality which
anlaan in n
Thus in these pictures, despite the changes IN metod'
we are reminded Of the earliest days of American isnd
scape art There are similar reminders IN some
Others like the thoughtful, accurate sluuy ".
trees No. 10, which recalls the Work Oh
Durand On the other hand Mr.. Whittredge exrplts
proofs of sympathy with certain phases Oh 'no
modern landscape spirit. We should hardly eSpecs
10 find him painting "plein air. pictures with vioeo
shadows glaring yellows and the rawest OF greens.
Mr. Whttredge is too true artist TO take the new
simply on account of its novelty, but we can SEQ
that in one picture No S. he has had good reasons
for exchanging minute, labored brushwork ann eAacA
detail for broad summary execution WHICH ID a.
frank ard perfectly just realization OF erect AhoteF
but less admirable example of Free broad treatment may
he seen in No CO. Now the artist who can generalizd
az effectively as Mr.. Whitredge has done In tue eS>
ceent painting of arch OF rich deep green ionass
over a brook, No. 60, and who has the power
OF analysis shown in so many OF these pi0V"re's
is clearly painter Of varied Abilities anu
one who is certainly not open TO the charge OF
narrou-ness or inertia Or take No 60. The Valley
Farm which in subject inelines 10 the panoramic
like the old school work. But the spirit Is the spirit OF
the tonaiists OF to-day. Mr.. WmtFedSea rahec "
eolors is usually restricted and he Is not to be calico
a colorst in the full meaning OF the phrase bus III
this little picture of The Valley FARM we can SEQ
that the yellows and greens employed nave peelt
softened to indicate the influence OF atmosphere ana
that these and the other colors have been brOusns
together" until the picture offers soft ana aionlVns
The two groups of pictures which we have set asaSa
each other are suggestive objects OF sinuyI
IL would be superliuous TO say that Mr. Whlttreusa
is a careful draughtsman Of rocks trees ana oilee
features Of landscape 6ut Su execution.
Mr. Whttredge's pictures always CONVINCE Us uiaV io
artist has not been Nasty nor sove .s SooS Nc an a
that he mas done everything which the subject seeme
TO him require This is an elementary REQUISITE Oh az
sound craftsmanship, but il IS REQUISITE readeS
neglected In some of the very panty painting
Of the day Mr. exhibits NIB sey T6cb % S
found to possess many elements of interest Anon!
No. ~ The Plains at the Base OF the Rocky Noun,
tains' as really pictorial study In hed Whlch is
frequently yielded the panoramic Here t aSmrabS
brought together There are other pictures OK
Western scenery with cranes, or the tepees Gr mo
bright blankets of Indians as incidents or aLch a.
But on the whole we think that the work whlcn Is
most distinctive has been done in our Eastern woods.
the banks of the beautiful ~Gh nave
taught many of that 1T is not all OF hshlnS 10
ashs Mr. Whittredge we fancy Is follower OF the
gentle Walton but he has paused TO note the pay OF
Sunlight piercing through forest boughs TO 3e hasnea
back from the apds, and to study vsts OF DARK pools
bordered with rocks and ferns, aud OF shallow ana
broken water where the very pebbles seem awe win
light Mr.. Whittredge has found sermons IN trees
and hooks i'm the running brooks" and OF his dis
coveres he tells with absolute truth OF facts with
Ills Larger pictures like Nos 40, a and 3S. have IN
terested us less account of their comparative thin
ness and GOODNESS but deficiencies are Offset by
ibS qualities OF other pictures like the fine study OF
brches No 81 an admirable work, the brook scenes,
81 and so, and other ot these paintings Oh mono
subjects. ,., ~, !, IA 4. ..
cyadnaSdov evcning AT the Fifth Avenue Galleries.