New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-03-19

THE soc1ErY OF AMERICAN ARTISTS.

pa'"''.e .ouo,ce ,rspirting. but the nots
throughout IL fresh and anima'e'' i"e"' " 80
whore visible in the landscapes an" '"' ''
in the figure pieces. while among 'he p w i7
kev "a usually OF vvacious Decorative e'"' "''c''
There Is a gratifying lack OF sensai'o"a' p.'u'es.
- ma ~ anv consequence are represented ana
the broad impression conveyed ~ o''e "a "'',sr'
enerov and sobriety As usual TWO P''~ "o'.
heer awarded Tho Shaw Fund mas oeeh "'''s"en
this year to Mr.. George II. Barse. IT, i'r ''' "i
canvas entitled Might and the "a"''e
l.. an Academic composition. such as We nav zen
Lrarod, NJ times In the Salons, painteh oy boi-
gu.reau refebyrc or their pupils Inc TWO hsWes
drftino across the sky are excessively l''""''',
No. conventional. and the draugh'sfnHnsnP' ""on
"a Mr. Rarse's chief element OF strength - 49,
notable individuality. Furthermore '"e '''
no.yy Vet with I'll these drawbacks - s'iH
"ca''' A., ~. bury might have made worse
so,oo II "a a capable piece Of painting the nra"-
~ ooa ue repeat though II reveals no cnarm
80 s,vie and the picture VIII DO very w" ~ q"
example Of what most OF the eNho's -.
resented are trying for, nancy 30. ~ w. ~
49,, command over the materials - their a''
our only regret Is that Mr.. Barse' opl's - VI
trained a painter should stu nave ro''',e -
-, e. new or impressive. We might wish
hin, some Of the imaginative power WIZ" 49,
IN Mr. Vedder's DIANA not 'ar ""is, -,
,r,gb, wish Mr.. Vedder some OF ms J''i', -
e s,,,, We uay note here that the Dana
Interesting
,,r IN spite Of the morose face OF 'u'
no ,i. ovorweiehted by Mr.. Nedd"rs leaoeh
so,h ,,r,s and equally heavy inheN'oe 'o"'''''
~ ~, ,,,zo for the best landscape mas oH"h
-, 80 Nr George r. Bogerts Evening non
e.ur" Here we have not even a shos' u
.b tho Jury for the spirit OF '''S ii's
49,. and sympathetic, the color - REMARKABLY
49, 90, tho stvle IL winning There IL 80 much
a,so ,ha, Is good Mr. Frederick b. Williams may
h,v. borrowed mis- inspiration from C0'o' anu '''
% her, r Minor but his two landscape espe-'''s
M 400 THE Revel," exquisite all 'he same
Then Mr.. Chase's Long Island studies are 'e"s"''
,,, IN their eaye,y and sparkle. The one among
,beu, that is in n more sombre KEY Inc No'''"s
o.or,, 4" catches the eye first through the picu-
roscueness OF the single figure on the horizon ou't
holds the attention as a skllfuI STUDY OF al"oS-
nhere Mr. Coffln's massive morning scene - 90
good that II ought 70 have been better HAD ne on'
,ouched his brush to more subtle Issues gV.ne
more free and vitalzed play 10 the da"illhg hgh''
b,d no INT modelled his foliage with more courage,
forcing omen the thick and allowing the air
10 wake them into lie. he would nave inspired
-sb for an increase In the number OF prizes As Il
,s this is by all odds the best picture ne mas exho
tied in a long time. Another landscapist. Mr.. p K.
NJ Rehn also sends canvas which marks st'Ne
ahead In his little Massachusetts, road scene ~
seems to have turned his back upon that !rspd
tone which for years has kept his work from taxing
the place II has deserved on more than one count
The Landscapes are free, have indicated, from
much impressonistic error The pictures most con-
spicuous are remarkably sane. yeracious produc-
lions Ike Mr. Appleton Browns captivating winter
scene. Christmas Morning" or the glowing River
at Evening" OF Mr. Eaton. or the masculine study
by Mr. Horatio Walker. Hauling the Log" only
at rare intervals do meet such obviously ar,i-
fetal arrangement" as Mr.. Johnston's Midnight.
Central Norway" and occasionally painter
who has in times past roted in incredible effects
contents himself with being merely artistic Mr.
Otto Bacher sends such famboyan, studies Of
sunshine he has sent 10 the exhibitions before
His winter Day is painted with the utmost
serve and refinement. and is remembered one Of
the most conciating things in tho show. The
naming landscapes are not particularly imposing.
nevertheless there are first rate qualities I'll tho
pieces signed by Mrs. Whitman. Mr. Robertson III
Mygatt. Mr. L. NJ. Wies. Mrs. Prellwitz Mr.. Scho-
field. Mr.. Wiley and Mr.. Herman d. Murphy II
they do not inspire much discussion Il is not be.
cause they are without sincerity vitality. -t..
The sea pictures almost without exception
strong Charles Hopkinson IN No. 3l2. Marine"
brings vertable breeze into the room and srixeA
fascinating note Of vivid color Mr. Smell
sends piece In the alert. free mood which
characterlzes the painting 10 which have 1rst
referred. ami there are marines by Mr. Woodbury.
and Alexander Harrison which dis
posed TO linser Howard Russell. Butler exhibits
two pictures. and OF them. the cool little Long
Island sketch. is in his matter-o;-fact style:
but the larger Clearing" is full Of movement and
has in It's turbulent sky remarkably strong and
interesting passage. Mr.. Whistler reappears upon
the with less than four paintings only one
of them, imagine. being of date The
exception alluded is the curious portrait study %
woman. "A Note in Carmine." which contains some
powerful and characteristic workmanship. but
which fades quickly beside Its companion. Before
one OF these, The Blue Wave" the observer stands
seriously Disconnected. There is hint OF the
master In the wave which gives the It's
INA Cnf shA
ground are ugly and intrusive. There is nothing
In the work TO compare with the superb West
minister Bridge, superb IN its synthesis OF the In
Vulnerable piles and busy navvies, and still more
triumphanty beautiful In rs broad effect o. color
and its quality OF style I, is puzzlins 10 study
this picture and The Blue Wave" together Il
ought not to have been difficult to fuse INTO A sound
composition the raw material OF the latter, yet
Whistler himself could not. or would not, use Il
In the right way. The struggling fabric IN the
bridge picture seems hardly fit subject for artist;
treatment at all. but Whistler employed II IN the
makinl OF a masterpiece Perhaps this Is only ono
more Illustration OF his fondness for paradox The
symphony In Violet and Blue Is an amazing.
imposing picture Ike the Westminster Bridge. IL
Is merely ravishng and Irresistible. The charm
or this little panel lies almost beyond analysis. 4,
Ia potent. one thinks, exclusively its sensuous
side on the side OF Its tender, melting color and
then the originality OF the work Is perceived he
imagination feels the touch OF a peculiar temporal
ment, special genius. and and above all these
facts there Is the consciousness that the picture
sprang from some rare moment in the development,
OF that genius. Altogether this is the gem OF tho
exhibition. picture for which we would willingly
exchange some OF Mr. Whistler's most ambitious
portraits
1t VIII not be surprising II Mr. Sargent drives hi,
usually docile public TO a similar conclusion His
portrait OF an excessively norid gentleman No. H.
DR. {. D." is no doubt freely and torcbiy
painted; the small sketch OF Robert Louis Steven
son has the attraction Of painting done evidently
with swiftness and enthusiasm-.i Ut is "a good bit Of
characterization and the execution Is exhiarating