New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-02-04
PICTURES ATTHE ACADEMY.
THE AMERICAN WATER COLOR SOCIETY.
SECOND NOTlCEA

lead TO admiration repulson depends upon the
quality Of the style. If poor, it damn a well
executed picture far as its spiritual Potentially
goes il good. it may man whose technique is
lame. one reason why Mr.. Abbey Mr. Lafarge, Mr..
Bcckwith Mr.. Wiles, Mr. Curran. Mr. Hassam, as
significant they is that they are aggressive.
IL is easily conceivable that Mr. Abbeys style might
fail please that Mr. Laarges or Mr. Beckwit IS
might appear unattractive to another and that Mr..
Hassam's might be objected TO the ground that
il not yet altogether his that II it does not always
back TO Beraud in particular 1t almost always
French than American. But main point is that
these have styles, that they recognizable in
their works. The peculiar pride of the lardScapiss
should be that their paintings often cOored by In
dividuay and to good effect. There Is considerable
work in which the personal note IS observed, CON
ceIning which one Of the most favorable re-
fections is that il stands for distinct points
OF view and modes OF execution, some
times borrowed but often original. An interest
ing inquiry might be extended along this line an IN
qulry less pertinent because it is old. no less In
erestng bee it of the most obvious provoked
by every miscellaneous exhibition of American art
Why Is there more originality among the andscapist.
than among the figure painters! The answer mas not
vet been demonstrated by the artists formulated by
any Of their critics. II We had no good inquire
painters large body Of excellent landscapists mghI
point to solution in The conclusion that the American
genius expresses itself more inevitably and more per
artists capable of strengthening this exhibition where II
is weakest the study of the figure is certainly dom
nant in the schools and in the studios thus hdca'hH
widespread preference The fact remains that ii is in The
Landscapes here that it is safest TO LOOK for eneseuc
grasp Of natural data and individual treatment OF he'
One important part Of the Landscape representation Tor
all It's vger truhfulnesS fine feeling. is more of
credit TO Holland than it Is 10 America.
Mr.. Bastert's two pictures. No. 562, a quiet
Place" aud No. 462. A Bright Day in
October" are pure Dutch: are the admirably
loned productions of Messrs. Poggenbeek. kever and
Iugenholtz: least threequaItoss Ducn are the
ront buttons of Mr.. Ranger. Bot No. 40. "sn.w
In Autumn by Mr. shurtleG: No. 425. Autumn
Evening"" by Mr.. schillng No. AS, Edge OF
Wood by NJ. Murphy; No. 3sl Frost" by Mr.
Ochtn.an; No. 3S9, Early Morning. by Mr.. Foster;
No. 400 on the Edge of Cornish Moor by Mr.
Lathrop: No. 4O4, The Early Morn by Mr.. Dewey
No. 625. willows along the Brook by Mr.. Mentc;
No. $50, "The Autumn Noon" by Mr. Nichols;
No. $50, The GIanfed,' by Mr.. Gay No. 15i,
Winter Landscape by MIR. Hatt; No. 4j7, Forest
Of Fontunebeau." by Mr. Reinhart form an encourag
ingly American group. Every one OF the
pictures is typical Of vision which has re-
manned undiverei from its original tendency by
the mannerisms of any wellknown master. At the
same time they reflect. generally family 10 be sure,
but always perceptiby and sometimes very clearly the
progressive ideas which animate modern European
landscape art ideas bearing upon generalization in the
handling Of trees and vegetation upon subtlety III The
treatment of light and atmosphere. While not one is
professedy an impressonlstic' record, the majority
have the essential qualities OF impressions
and directness.
Impressonsm, indeed-that which IS implied in the
French sense Of the worlds scarcely in evidence ut
oil. Mr. Franzen might be classified with the school
on the strength Of his two intense pictures. No co.
Afternoon and No. 634, + pectatOns, but he prac
tises an impressonism of his own adventurous rs
Rast Lena m he
the foreground OF No. GC7l, Monet's in the eS |
ploitaOn of atmospheric effects, but hardly like |
either Monets or rastcn Lepages in its excessively
clear and hard definition Of form. Mr.. tn. Rob |
inson is the only exhibitor who carries out impress |
sOnslc theories consistently. His work has the pro
pitiang attribute Of sincerity, 1t Is spoty AMI dill
cult TO accept rs true 10 nature, with every con-
dtion OF impressonSm granted His most reasonable
picture is No. 81, Tuning Up" study of young |
vionist in which the color though scattered Is good
IA quality. The movement toward freedom Of which
Mr.. Robinson represents the extreme. is almost uni
yersal Mr.. Henry FaITer has Examples OF the |
dingent work which long ago laid the foundation OF
his popularity, and there are few Others, like MI
". L. Palmer in his snow scenes and Mr. fraser IN |
his scottish and English studies, who err on the sac
OF putting too much into their pictures: but breadth
OF feeling and suggestivcness in brdshlug arc else
where the rule. Mr.. Fraser would be repaid by an
adoption OF the freer sten0graphc style winch
Is so largely i'm now ilc shows In No 49o, An
Old English Street" no 40o, East Gable, lghtham
Mote and several other paintings, an appreciation
OF the character Cf English scenery which puts him
on level with Alfred Parsons. Mr.. Frank saliaeet's
single picture No. 3D., IIaddon Hail." is another
work done in England that deserves praise for lis
truth to the spirit Of the scene il represents. For
finer. more impondeIable spirit, such a. landscape
Yields TO an artist OF poetic bent, No. 800, Even
Ing, and No. go, Moonlight both by Dir. MINOR
may be recommended.
activity among DaiUteps OF flowers ana sui
nfe which has produced the usual generous quantity OF
pictures. il 10 be Endorsed in a few instances. NO
4j3, ~Clemans." BY Miss Goodyear; No. 373, Pc
tunias7 by Miss Brown; no. so, Jacqucmlnots," by
Mr.. CubertsOn and No 3JJ. q" Parrot Tulips" by MISS
Wilcox, are painted with knowledge OF the sPecin
OF waercoior TO Their omoJec' S' a.
= Persian ArmOr.7 by Mr.. Locke. are good both IN
and handling. second tour Of the galleries az,
the fguic-pieces; much nsturalness IN erouplng, III
Mr.. Lumleys street-Scene, No. 1872. An ,pprccauVe
a portrait OF II woman. by Mr.. Hayden and the most
agreeable simplicity in NO -, Enn,i,' picture OF "a
= passing reference are by Messrs Keller Dieman,
emedley. Earle and saterlee. NJ zog6a,m, o whp
military painter who exhibits. There are studies Of
animals that arrest attention, By Miss Brown ana
Mr. Mcllhenny.
some paintings by Mr.. Du BOs +. liasbrOuck Will
b ,yd at the Fifth Avenue Auction Rooms TO night
and 10 night. There are ninety-hve pictures
I'm the collection. Mr.. IIasbr0uck Is foloriat Of
limited range but nevertheless OF some charm II
nictures like No. rs Autumn Pasture" and No. 60,
Autumn i'm the Cutsks." lie has special taste for
OK perimentng with shadows In snow scenes. al MS
winter scenes Crcditable and one OF tlem NO -,
Z. A Renaissance OF BygOne Days. very arsc "oik,
deserves praise for il, finish and accuracy
An exhibition Of the pictures left by the late Ben
,nmin r. Fitz is shortly 70 lie held at his former
studio No 49, West Fifty ffth-st., with View TO
d>posng of them at private sale. Tie executor
have In their possession several hundred painting, IN
Dill water cOlOrs and pastcls. The exhibition IS
likely TO be opened next Monday.
The sale OF Mr.. +. X. NJ. Rehns marines having been
concluded at the Fifth Avenue Art Galleries las
night Mr. George H. Smile and Mr.. j. Wells
Champney open ut the same place TO-DAY with an