The sun., 1897-04-08
SOCIETY OF AMERICAN ARTISTS


Paris. Perhaps " fad Is too fiippant word TO
apply to work that Is often serious in intention,
but fails TO convince because we know that a
manner OF seeing has been taken up by tho
painter that is not his own, but has boon OBJ
served as the way Of proceeding adopted by
some originator. A few years ago there wero
many young men in France who made them
selves look at nature through Claude Monet's
spectacles. After they were discarded over
there. and Monet and a few others were left con-
tinuing on their own lines with moro or less sue
cess, as wo know, some of our Amer
lean painters modified tho system here,
introducing pale lilac, pink, and straw
colorcd tints in their work in place of Monet's
uncompromising rods blues. and yclows.
The Scandinavian painters. on tho other hand.
exaggerated Monet's color notes, and in their
"impressionism,' as 1t is popularly Called pro-
duccd much more violent reds and yellows than
he and turned the blue into purple. But within
the past year the impressionist fad, the most
affected part of it at least, seoms to have run
out it's course, and thore is but little trace of 1t
in tho present society exhibition. Some good
results OF tho general movement remain.
Pictures are cleaner less brown, and more frank
In color than before impressionism cleared the
painters palettes Of several dull and lifeless
pigments. Last year there one or two
canvases betraying the influence of Carriere's
gray monotony In painting, but there is nothing
In this years show to prove that 1t has taken
anything like firm hold. Last year, too, there
were one or two pictures, such as Mr.
Hopkinsons portrait of woman holding
n pet monkey, which foreshadowed move
ment toward black as tho chief note
in picture This movement is excmpliied with
much more emphasis in this years exhibition
than in the portrait referred TO by two
vases by Albert Hcrtor, STUDY of Shadows"
No. 80, and Robe Japonaise," No. 40. The re-
suit In neither seems to Justify tho extremely
low key in which both pictures are painted. No
quality of color no force. ID obtained that could
not have been obtained in scheme painted
light enough to be seen clearly. A third picture
by Mr. Herter. lie Soir," No. 242, is also low
toned, but 1t is very reasonable. 1t presents an
effect Of lre-light on two full-length seated fig
uros. The young woman's head, which 10 the
nearer to the fire, is the more brightly lit up by
the glow. That of the young man sitting on the
wide couch beside her, is partly shaded but 1t is
sufficiently luminous. The values are very well
studied, and the canvas is an cxcellont one in
painting. There Is just trifie too much sem
timent In the figures to mako the picture
sympathetic to the sturdy Of mind, and there is
queer little red square on the cover Of the
couch, in the lower left-hand corner Of tho COM
position, that does not explain itself. These
points aside. 1t is most happy in treatment.
There arc half dozen canvases by Charles
Hopkinson, who is now in Boston. They are
figure works, and are low toned, but not black.
They are treated in a fat sort of way, but are
not fiat as modelling. One in particular, "Por-
trait" mo. 263l, Is one of tho incest things in
the exhibition. 1t is attractive In aspect, clever
In handling, looks like excellent portrait Of
the sitter, and is undeniably individual. A por-
trait by Wilton Lockwood. The Violinist no.
315), is another example OF low tones 1t is quiet
and reserved in treatment, but has not the life
OF Mr.. Hopkinson's smaller figure
Approaching low-toned color scheme but
not at all diversified, without distinction in
color, and rather brownsh IL anything. is Mr..
Eakin's large picture. The Cello Player" tNo.
252l. But it Is very serious and 1t Is very good.
The figure lives and the hand holding the bow
Is admirable in action. The composition is most
simple, consisting Of the man, the chair
he sits on and his violoncello. There is neutral
background of brownish gray. 1t is good
picture TO look at and one to like for good and
ALL Mr.. Alexander's woman in Gray" (So.
236) is decorative in general aspect but Is not
real, not. at least, in the head and the hand.
though tho skirt and the curtain aro natural
enough. Mr.. Isham's large portrait OF "A
Southern Girl" no. 239). near by, Is complete.
soundly painted and sane. 1t contains
some remarkably good painting OF accessories
md tho characterization is attractive. Mr..
Rice's portrait OF lady tNo. 339 has
lady like air and is cleverly handled. Mr.. Beck
with's representation OF Mr. Laurence Hutton
sitting on a piazza bench, with his dog Roy by
his side tNo. 247l, bears the aspect Of veracity
and is frankly rendered. Among other portraits.
for there is n large number at the society that
are interesting and especially good in one way
or another, should be mentioned Mr. Thornc's
weldrawn head tNo. 299I. Mr. Boston's very
attractive and handsomely colored half length
of a young woman in red and black, with red
background, Mr.. Tacks pretty Maid Marion
(No. 2s2I. Mr.. Cox's dignifed, well-drawn small
Portrait OF Mrs. o." no AZ and Portrait OF
Mrs. X. c." (No. 268). Mr.. Fowler's picturesque
portrait OF lady with n large hat mo. 5oD. Mrs.
Lockes pretty Portrait OF Cyril tNo. so.
Mrs. scars's excellent picture in pastel of
lady in a blue gown NO. 7il. Miss
Emmets somewhat coldly colored but directly
painted Portrait of Mother and Son" (No.
3l7), Mr.. Gordigianfs quantity costumed
Edith" no. l77), Mrs. Whitman's portrait
head of n gentleman in uniform (No. o. Mr..
Bells " Orchids" (No 295), Mr.. Kendall's "Por.
trait" no 35,, Miss Bake's somewhat dry, but
promising PORTRAIT" no. ls4l Miss IIillss spir.
tied " The Princess Osra Go. o. and the same
artists charming miniatures in the Central Gal
lcry, Mr.. GaugengiKl small ngurc or young
man 60. 33O) Mr.. Lows "A Profile" tNo. 255),
Mr.. II. r. Buffers Portrait OF w. b. F., Esq"
(No 2iO). and Mr.. Julian Story's sketch for the
Portrait Of II. X. II. the Prince Of Wales" tSo.
Az, with its agreenby colorcd scheme of
black and yellow in the costume. Loose
ly constructed and without sufficient en-
velope, there is, nevertheless, much good
In portrait OF young woman in brightly col
ored street costume tSo. l72) by Thomas Wall
Finn. 1t is something to get healthy. live color
IN picture, and moro care IN drawing would
have mndo this canvas fino achievement.
There Is something lacking in the drawing, too;
some minor faults Of proportion. and a little
blockiness in modelling In the portraits of two
ladies and baby, soap Bubbles "(No. 24), by
Kenneth Frazier. But there are few canvascs
on the walls that have more personality and the
management of the color scheme. with its diiil-
cult blues and greens. Is decidedly clever. The
costume o. the principal figure, all in blue. with
q skirt showing shades OF green In the light.
tains some fine color and there is a harmony In
q