New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-03-05
AMERICA AND JAPAN.
TIE. PARSONS AND APPLIED AXIS En-
HIBITIONS.
SECOND NOTICE.j

import ant as the manner with him, IL Is not hcoes
sary 10 assume that there is any lack oi the iac"S
Of picture making In Hrs art. The most obvious
OF his artistic virtues IS highly developed power OF
observation After this there + apprchcnded rs ul'
crring an instinct for pictorial oh"ct he'ic"He
again and infinitely the pictures referred 10 YES
t.rday we have found really remarkable uniformity
of sclcctve constructive ability In the COLLECTION.
Apparently intending 10 do more than reproduce
some casual ASPECTS OF nature Mr. Parsons has never
thclcss made each one his sketches composition
picture in itself This is perceived whether he deals
with pure landscape or with flowers The Latter are
never easy bring Into focus. so to say II pctoria
units. As has already been said Mr.. Parsons solves
the problem by treating floral subjects not In Their
Isolated but I'm their related significance of HIS
min ty three water colors thc greater number depict
flowers but not Is a flower piece" In the usual
sense OF the phrase. Take No. %, Peones by inc
Temple steps,: No. 81. "A Field OF Lilies" or No. a.
Single Camcllia." Nothing could be more unprc-
mcdtated more expressive OF the Wild free grace OF
the flowers. Yet gencralzcd these pictures are-ih
No. 20, THE Foot of Nantalzan,' the mountain
slopes are marked with the iris with broad splashes
| OF color-;hc acute observation 10 which we have re-
crred and the careful finished character OF the artists
style, preserve unfalngly the individuality of the
flowers which happen 10 b. treated. The iaithlulhcsS
not alone to form, but to the manner Of the howcrs
| growth. There could be installing the starry
azalcas In No. CO. Wet Gods" study OF the carvcn
| Idols scattered on hillside dedicated to temple
but than the shape OF the bios. oms reveals the
OF plant there Is the closest analysis Of the
way which the bushes cling the rocks. Tie same
| sympathetic touch Is noticed Ia the droop Of the tall
lilies In No. 81, which has been mentioned above, No.
o. The Edge OF the Tokado Road and No. 3d.
Auratum Lilies and Wild !ydmngea'; III the dell
cate poiSc OF the iris In No. Al, "A Field OF his
Nagoya": In the hrmer bearing OF the howerS In
No. All, "scarlct Autumn Lilies; In the welghty
qnlcsccnce OF the big leaves In No. 90, Lotus
Flowers" and No. >, study OF White Lotus; and In
the aerial sofineS, and lightnes, Of the vines In No.
| IL, Wild WISiaria Afternoon Light" and No. 49,
| "A Glade OF Wstara."
| Through all his experiences with these fragile
models Mr. Parsons has maintained In MS color Il
| dclcacy equal to their And this quality l.
confined to the pictures Ike TIE last mentioned,
Hike No. -, CHERRY and Magnolia with Its masses
| OF trembling blossoms. like No. -. "Cherry
| Blossoms In the RAIN II exists In studies oi
| strong broad effects. such No. -, Rape III
| Flower In which the fields present an almost ur
| brok.n surface Of yellow, and In No. -. ~ fihN
| Weed Of which tho color values are In Il similarly
| simple scale II j. OF the principal sources Vi
| th. Intimately realistic effect with which the bulk
| and dignity Of Fu,iyama brought within the
compass Of small water color without any loss VI
| lmpr.,,ivrn-ss being caused by III" restricted ''"''
The celebrated mountain has vastly ias'ia''u MI
| Par~ons, ana 1t Is continually rrapp'hHhg III ais
| ,.,cb,, in So &. A Gray Evening FuIi~an from
the Clouds perhaps. mor' snprby than III any "'''
| of u. wafer coIors exhibited; In NJ. .. "hP'
| Rice I'm which II look, down on prac"fui scene VI
| rural labor peasants WORKING III III" a"'"'''"''
fields: again In No. -. "Tull'an WITH us zap VI
Gland 20 and in Others Of which 1t would be Idle 10
dive the numbers, and OF which Oh" Is rs aruH,''
and beautiful A. any Of is companions "h We
49,, -, tho maintain Mr. Parsons has found rich
.,rtch., Of grass spangled with blossoms. "he ol
| ,e Iov,Il,.st 81 all hts pictures Is NO ~ >'op' VI
| rul,a u study OF spacious moor "iU' ne y"
| grass cutter, moving homrwari. Iho"e" ne - NV
| pro,.s..dy IA painter Of the figure h' can 'i'h''s
| ,h., T. + not too con pcuors. and the aniih""''
u,,,b tb. peasants bring into this picture Vi "'
mountain slope I, repeated IN many 81 "''
,,,,, IA. last touch their lifehhe convincing
Character TIE. fresh atmosphere Of rraliS Is INV
atmosphere which p'rvad"s The '"''''"o"' ""'
am. If IN. pictures (, without some cH'r"' i"'
u,,ul,. TO bo speedily appreciated bS "'e p"'''
They range In price from 800 I" F''0' ~,
, l,yy r,,r,s but already fifteen hay" Deem SOW
~ ...on An ,rt four Of these have been bongh
| T., x,, >,rl Il, four purchased Nv
| ,,su,, Ga Jopnn The collection VIII 80 l" h"H''"'
49, a whole. however. and III" l'''"''9
here, Will bc sent back after they nave wv"
libltrd ia London 800 ,,,,,. ,t,l, ,yhich
th. women proposing To contribute 10 INV | A.,
' -, ,.hI,,o, have filled i've of the MI
,'..,,,,,,,. p,l,ri., woven and cmOf1'c''i '""''
- No., I'm evidence. aud In ia" man 81 nv H.
calm. there being nothing els" CHOW" "''' = -,
than the best tapestries aud sums ~" '' ia,
, 4, ia ,,v canals them. The fabric, owe '"'''
, supriorlfy Wien they are superior l" 'u'"'"' -
'.,. ,,1 IN skilled Workmanship; also 10 INV"
,,, c.vcrn,.s when conventional motives ''' ''
roy.d not when pictorial schemes "'' i
, | I'm the first gallery there hang SN'" VI ''n ,,r.
| ,,u.., rice, of which one Is copy o' ""P
v,,,o,s Dtaucht OF Fishes" \ second Is
Il. lis
| remainder follow single figure designs mA"c oS ~,
u | No., wl.ci.r Keith. They were all rhbr'iu'Fc" "
. | Ms, Anna Lyman. Saving III" I''"N P''"''' =
/, | which form Is no Of laIamo"'. ""p''''"' ~,
v,.r hcaniy Of color these hav" !, 'hro"h ""H'' W
a., ,.,r,y II the figures In them i quite III
: | sutIcIcnt In. Outlines are >'liIS i'"''''"" " w.
: T., but the slightest apprn'h 10 wv '" "
y o,,,,,, which mr.. necessary 10 III" adequate ~
,rsis, # pictorial subjects In textile ART III wv
| nI,ln surfaces Of these pieces, III inc "'"r'o''' "
= a,r,, + admirably executed In IN" conpn'a'u u"
IS ,,, -, massage, which attempt 10 express the rouh
* | I'm ,h. FIAT, tile work /, crude. But There Is !"
crdlty about the many silks In whch hor1i anu o."'
| ,o,,v.s buv. been convcntionaNd by MIS- 'aho"'
| Wheeler Mis-, Townsend, Miss Clark M''9 i"'"'
q, | and Miss Aspinwal. In these lhe ''nh'"'' wv '
| u n,m.cr,nate the cowsllp ana The ciryNanheini'
. n ncen reduced to patterns very aitSucally, IN
, SHIFTS are Of fine texture the colors are D'"ii "a"
, | the total effect OF I'll" pieces r'he',S '"o nm
credit pon hc associated artists ana the OrSai"'u"
:, which they collectively represent one group u"No'
o cI.la,iiral cmbroidcrics contains some eA'ih''
rich and very artistic vcstmcns made by 'hc s'''r
. Of ST. John BAPTIST. Miss Elliot 81 Mary i"'nN'"'
,ic,l ART society and the nuns Of ST. latrickS 'ah'
u ,, ana som, extremely poor examples exhibited b
= and r. Lamb. There Is much embroidered nue.
=" Of good quality. including part OF Dinner st
!. NJ sixty pieces done for Nine PATHS castle
y. Vale, by Mrs Gilchrst. and there Is duah'l'y
III lace OF which any Is especially fine or interesting
"a ,,. NJ them assigned exclusively to Miss Minnie
" | dwight containing uncommonly excellent Sl"cnci
" M expcrriced and fuy competent Workmanship al
- tbe other given TO various exhibitors, haNii
g mn. that rises above commonplace" level. 10 ~
III rot many OF the exhibitor, susid", ana pirtlculii
L I-.L4.l I.rl