New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-02-03
THE CHRONICLE OF ARTS
EXHIBITIONS AND OTHER TOPICS.


ETcHINGs-rHE IMPREssIoNIsM OF Mr..
THEODORE RoBINsoN-MR. REDS 4
ALTAR PIECE
TIC principal even; OF the week IL the openins
ct the water-color show, which was favoraoy 70
viewed in The Tribune yesterday. This interesting
exhibition, one OF the pleasantest We have had Al
TIE Academy In some years. may be seen oy the
general public for the first time tomorrow morn
in. At the Fifth Avenue Art Galleries the lnness
landscapes may be until the 18th. when
tscy are to be sold at Chickering Hall. Their
Place at the galleries will be taken then by
the miscellaneous collection OF foreign ana
American paintings belonging TO the firm OF Reich
ard & Co. Upstairs. in the Avery Gallery, there
viii be opened tomorrow an exhibition or water
coors and oils by George II. Boughton The water
coors are I'm Illustration OF RIP Van Wrinkle" and
The Legend Of Sleepy Hollow" One or two otner
miner exhibitions discussed below.
At the Keppel Gallery there has been placed on
y,cY, the etched work OF Mr. d. Y. Cameron. .
Sco:ciman who has been known 10 a few here, but
has not until now been introduced under such con.
ditions as mark tine present display. Mr. keppei
shows over a hundred Of his etchers plates. a dozen
of tho latter's drawings and one OF his oil paint
.ngs There is no lack OF material therefore, tor
tie making of a thorough estimate Of Mr.. Cameron's
work. 1t is remarkable in many ways Mr. Cam
eron is emphaticalIy painter etcher. and makes
Towers" where the rich tone provides an obvious
basis for the eplthet but in dainty linear studies OF
architecture such No. .. "Stirlng,' and In OUT
door sketches like No. so, Waves" He has hrn'
extraordinarily firm line; in fact. there Is almost
too much sharpness in his treatment OF contours
He barely escapes rigidty. And his line such as II
is Is not always either pure reserved enough.
Unlike Whistler and HaGen. who have both IN
fuenced him to some extent he has not Invariably
firm grasp of organic form. and to cover up his
deficiencies. he uses great deal OF scrawly line.
just as some pen draughtsmen will cross-hatch
beyond all reason. The dainty little plate cata-
logued as No s. "Tayside." provides opposite ex-
ample Both in the bank the left and the re-
Election of the bank IN the water there Is lot OF
meaningless line work. The breezy and charming
plate, No 10. "Arran." suffers from similar fault
and. indeed. there all through Mr. Cameron's
work a certain concession to insufiicency OF linear
synthesis. Absolute economy and eloquence OF line
he has vet to achieve In the mean time ne mas
delightful command over light and shade, as may
be seen by referring No. 49, White Horse Close
Canongate Edinburgh and for the picturesque
ness of old architecture for the human eccentricity
and charm in the physiognomy OF an old building.
ne has a sympathy which renders his English, SCOT
fish and Dutch sketches quite nimitabe. The plates
OF Venice less successful. the touch being less
elastic and less But in all his work Mr.
Cameron has color and pictorial vivdness He 10
as pairterlike in his portraits as in his landscapes
admirably modelled. and there Is excellent work In
Nos 90 and 81. both pictures OF Dutchwomen Mr..
Cameron Is interesting etcher. one OF the most
accomplished and individual in that group which
includes Frank Short c. j. Watson. Colonel Con,
and one or two lesser known followers OF Whistler
and Haden He has suggestions OF Meryon In MIN.
some of Meryon's drectness. some Of his emotion.
He IS not yet a man OF the first magnitude. because
he Is not yet past master OF linear feiicity, tho
felicity par excellence OF etching, but he Is a DRILL
liant craftsman far he goes, and Is likely 10
prove more powerful time goes At present
amateurs in New-York will be indebted 10 Mr..
Keppel for bringing entertaining personality
within their ken. There some drawings shown
in which Mr.. Cameron's linear defects are exas-
gerated and there Is one oil painting In when his
virtues as a master OF breadthsand chiaroscuro are
allowed to shine. Altogether 1t is a welcome little
show II lasts until February b. when II Is possible
that Mr.. Keppel will bring forward the original
designs made by Daniel Vierge for Mr.. Jaccacfs
papers La Mancha in Scribners Magazine
Verge Is practically unknown to the great American
public. and regular display Of some OF his latest
and best things would be a capital event in the art
season In New-York
There was opened yesterday at the Macbeth Gal
lery, and will remain view there until the 10TH.
an exhibition which 1t is tempting TO describe as
Illustrative OF the mpressonism OF Mr.. Theodore
Robinson. rather than mpressiorism In general
This because impressionsm IN America has been
taking numerous and alarming FORMS and Mr..
Robinson seems to dsengage the essential spirit
o. the art from conflicting elements and to express
IT with forcibe clearness In brief. ne is mod
crate judicious. and therefore deeply interesting
as well as plausible Mr. Macbeth has hung the
gallery with thirty-three works. score OF them
done In America and the rest dating from PERIODS
of European travel. On both sides OF the water
Mr. Robinson has used his-eyes well. and seconded
them cleverly with his brush. He does not appear
10 be qualified 10 see much beyond surface facts.
and consequently only such facts are visible In
his p' lures. He has neither Imagination nor SEN
timent. and the spectator must therefore be con-
tent with a purely visual report OF nature Ihat
report however is given with such taste and SKILL
sence OF subjective qualities is not SUFFERED
to- pS o 0ey he sn ' and he Of lush
meadow in No .Shipyard Cos COB 20 app Pre-
The Canal: to see with what refined vision Mr.
Robinson has grasped the unity OF the scene S
and with what precision he has recorded the subtle
values o, the color scheme therein feaor @
Koe Hn eaa nfaal Brook picture
and mystery which turn Of em Psnan e
on n ' fWo petuTes in the entire collection which
have hint Of the quality 10 when ar we NJ 81
November. Both OF these pictures have dim In
mations OF something more than color ana ,V' MI
With ni the light Transforming them BOTH that Mr.
Robinson is concerned. and following the impress
sionistic dicta of spontanety breadth ana strvhs
n mospherc accent. he contrives to secure tho
most astonishing freshness ard fidelity. Witnout
trace OF feeling without any sensitiveness uut tnss
az an Optical character he has put vitality into
his work and made it artistic. He draws ven;
grounded in matters OF perspective ana moue",msi
80 form in his skies as well In his trees ann
has finally pictorial sense which rarey Of
M ., "a Biri' s-eye View" which Is undruy
crowded is quite exceptional As yu,s
converting TO saw and says IL with cons
~ symmetry OF selection In matters OF s III.
he may not 30 deep but ne Is WISE "''"'" '''
ii,rits and proyokes sincere regard
o, r,e,s,n, feature OF Mr. Robnsons exhibition
is that shows him to SO much better oSca.iass
an nns or two OF his works have appeared In local
exhibitions Another impressionst. Mr. Robert REID:
offers similar surprise IN me In1ivn o., the rhst