New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1896-02-20
PAINTINGS AND ETCHINGS.
THE GLASGOW SCHOOL OF ARTISTS

THE GLASGOW SCHOOL OF ARTISTS
crea, deal has been said in eulogy of the Gias'
,,y school OF painters and many people III New
York have doubtless wished that the coleeto" "a
p,ctures sen, by those artists to fhiiaueIp''' "'
chicago might be brought to New-1o Eh AH'' ~
has been gratifed. and about one huhuieu p
,,ps NJ the Klackner Gallery show what the sc"0o
80, Ia I, is strong in achievement. 1t Is stronger
- rror,ise and in the spirit which underhes All It's
v,rk whether the latter he entirely successful %
not Indeed, II may be thought upon '"spe0"
these pictures that they fall some Instance 9
~ he beauty essential to fine picioTl"i ART u''
ms does not irvaliGate the primary virtue u ''''
Ill Tho, virtue g a deep sincerity. The Gas
COW men have abandoned cleverness chlc' co"Non-
ron: they have turned their backs on inc INNS
and ambitions OF the popular studioS' 'ieS nav nav
set out with a refusal 10 bow the Knee 10 '.'io'
Monet or Corot the ate.!or Julian or the u@"'"o"
Of Desas. Without taking their independence 100
seriously without assuming that 10 be themselves
they must give free play to every eccentflcty they
hann4, TO possess these honest painters nave
aimed 20 get veracity and loveiiness INTO heT pc'
ures at the same time and In a straightforward
manner The first they almost always secure Inc
second eludes them from time TO time But the
charm OF their effort. the invigoratins quahy u
The schoo. as a school. It would be haEd 10 praise
TOO highly.
What the Glasgow men have TO learn apparently
IS he necessity fol- refinement in the mere meului
hey use. Pigments must be treated Win !VsPcO'
a.I understanding. no matter how rarehed the al
=, osphere Of the painter may be. And no one IN
ms exhibition unless II be T. Mile DOW or
.iicaulay stevenson. has any OF that loving TEN
a., h. ess for his vehicle of expression when gives
...a..ty' TO the surface Of painters canVas-ha!'
d. etrates Il 10 its furthest depths with trans
/ .r,nt ana subtle magic. But II this defect In the
'chool be Franted-a defect which Will pass. ana
with II certain sobriety OF color which drciihes
into t.nldity often-there IS nothing but d'snt
:, be found in the entire body OF painters. Mt
stevenson ia full OF poetic feeling ana o, broad
vigorous workmanship. The bold precision OF MI.
David Gauld, the simplicity and original chaIin OF
Mr Whitelaw Hamilton. the quaininess OF Mr.
II ,rnel the mingling OF subilety with masculine
force which distinguishes Mr. Guthrie, tfe del'-
cately EXPIRE ss!ve technique OF Mr. CrawhxI. ana
iha engaging qualities OF Mr. P.ris. Mr. CHRISTIE
a~i Mr.. Roche all Illustrative OF an unusually
srong movement In British art. They stand Tor
wholesome and direct reaction against the inieTtie
lrmptousness Of the men who have crossed the
channel TO discover Paris and returned 20 paint
pictures as shallow they fsciie This cOllec-
ton Will not remain here long, In fact, II Ia 10 be
AIKEN away In ten days Its presence should not
he overlooked There are astonishing canvases
hung The represented are not supreme mas
tors But their art s true and strong mat In It's
unobtrusive way. It comes like breath from TIE
inolrs: and while not one picture In the collection
demands elaborate description or ANALYSIS. the"
a. not one which falls 10 touch the spectator with
a sense OF freshness and power.