New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-04-15
ART EXHIBITIONS
AT THE UNION LEAGUE AND REFORM
CILrBs-CHARLES CARRYL COLEMANS
WORK-OTHER PAINTINGS.


r,o ore., names figure in the exhibition at the
Union League Club this month PETER oe iiooe
and Albert Cuyp. or both we expect great ','iss'
and In both cases are trihe oisappo"u
The Interior" by De Hooghe is quite without the
golden mellowness and fine Transparent tone ~,
which one looks The Portrait or tehlie"an
by Cuyp Is neither as keen IN dra"i's ho. 90
luminous In quality as 1t ought 10 De- pu' oo."
are interesting pictures. because poth nave wv
ouet distinction OF the time they represent o"o
fingers over the honest workmanship In the Cuyp
with its STRAIGHTFORWARD painting OF head luii Oh
character and over the simplicity and soidity Oh
tho p,cture given to De Hooghe The two panels
OF tavern subjects by Pieter de BOOT are charac-
teristic OF the kind Of art associated WIN INC
famous names Of Ostade and Teners' out ih.ri"
scally they are of slight value Neither Is .here
much to commend in that Landscape ny .o"
Constable which stands in this exhibition midway
,a,ween the old and modern schools. The great
Embellishments feeling for nature Is indicated III
this canvas and something OF his fresh lhoi'iuua
instinct for color is also disclosed. On the o''e.
hand the dry impasto In the SKY suggestive VI
some claylike qualification spells the veraci'y VI
the study and the work is everywhere hurrieu
and thin This gives US the beginnings or goou
picture not a masterpiece. 1t Is among the "'ou
ern things indeed that this show Is most agree
able There is capital military picture ny De
taille I'm Tonquin" which has the attracuVehess
of a dramatic theme treated with spirit The pct
ure has repulsve details, notably In the hauVe
heads hanging in the tree, but II Is a sparkling
piece OF technique. Two French landscapes mere
d,sn,aved ara the more interesting for being seen
together II is amusing to compare the loose put
sure workmanship OF Corot In The flute fayei
with the terse almost mechanical. art OF CaZh IN
his ''Wheatfeld' and TO see how the older man
having abundant genius. has made an idyii OF IN
comparabe charm out of his picture. whiie Ca%ih
hIe qkI
has failed TO put the faintest touch OF emotion or
spiritual beauty into his work Striking ianu-
scape by Mr.. John F. Weir. two pleasant hhehs'i
studies by Mr.. Van Boskerck and examples Vi
Inness Wyant and Quartley go to MI OUT '"i'
small bu, artistic exhibition. 1t Is good 10 see
among the works of the three deceased painters
lust mentioned the sparkling study isle or
shoals" by Arthur Quarey, one OF the best OF all
known souvenirs OF his rare talent
A., .xh,h,t,on OF nearly fifty pictures has been
arranged at the Reform Club and will be visible
IN members and their friends until next Wednes-
day The collection Is extremely miscellaneous III
character embracing number OF works ha'ine
no great artistic value but scattered aIohs '"e
walls are several fine things. picturesque FISH
erwoman" by Franz Halls is one of these excep-
tonaI performances a canvas powerful III s'S'e
and beautiful in tone and right under 1t hangs
small sketch of Gericaults, Francois premier
showing the king on horseback whch IL "io'e
winning in spirit than most OF the examples OF"
that painter which have found their way 10 THESE
shores There are some well-chosen pictures ny
other painters OF the period-Rousseau' Dupie.
corot and Daubigny-and several landscapists Oh
a later time are well represented, notably the
Dutch Jacob Maris Gerome, Vibert, knaus' boi-
heur Shirlaw Chase Lenbach. Cazin anu lhau-
low are among the remaining names IN the GAIA
logue curious comparison may be mace oy t,S
ting both this exhibition and the exhibition at the
7
ure nv the late George Inness, Sunset at Etreta''
which closely resembles In subject the E're'a'
nv the same painter at the Reform Ciup Inc man
ner OF the first vastly different from the manner
OF the second.
Az the Avery Gallery there Is an exhibition OF
paintings in oil and pastel and drawings IN char-
coal by Mr. Charles Carryl Coleman. This artsts
| method fuctuates between fluent breadtn anu
rather excessive degree Of polish. AT all times MS
draughtsmanship has singular purity anu pr pr
cision but when his method takes the mario" PAIN
N which we have alluded the work loses In free-
dom and vitality what It gains in perrecuoh Oh
detail and the austere outlines seem SIMPLY haiu'
Witness the large Twilight and Poppies' an au-
mir,,ble design damaged by the Inertia Oh the
surfaces which cry out for holder looser hahdins
of the brush III Music Be the Food OF Love
PLAY On is another Illustration Of polish carried
too far This is less like a modern picture thah
an old Illuminated missa But we mention THESE
few things only TO turn with the more satisfaction
TO the bulk Of Mr. Coleman's work In the tan up
right panel, "Prmavera-Villa Mura' CAPRI the
tension Is relaxed the cleaning tones are soit-
ened and the effect is nothing less than exquisite
In fact Mr. Coleman only falls short of his aim
when he is too nsistent upon 1t, as in the brilliant
hut hard Capri Terrace over the Sea- or the
Quail Nets at Capri, Island o: CAPRI lie Is far
more plausible when he leaves spontaneous I'M
pressions TO take care Of themselves. as in the
Of
fascinating studies Perhaps his highest plane is
TO be noted in the beautiful Moonlight at Capri
a work Of striking synthesis and deeply poetic
feeling, or In the even more tender study or the
same theme. No. 25 Town OF Capri" Once more
Mr. Coleman treats the beautiful cluster of houses
against their mountain background In the large
Capri Drawing In Charcoal" but this is chiefly
interesting for the promise It gives of noble pic-
ure in colors. on the whole. Mr. Coleman appeals
to the observer in a strongly persuasive, exceed
ingly refined and indvidualized manner. His art
Is fun OF knowledge taste and quick sympathy
for a beautiful environment. There IS something
reposeful and captivating In his clear drawing and
graceful decorative design. His work commands
attention at once, and IT stays in the mind
The Wunderch Gallery is occupied by two small
groups OF pictures by Mr.. Bancel La Fargo and Mr..
Kenneth Frazier respectively. Mr. La Farge's
chief gift Is that OF a coloris but there is almost
as much Importance 10 be attached 10 his tact In
handling the resources OF the palette. He can be
vivid as In the sparkling marine, "Oh Gay Head"
but the note is pitched too high. the harmony
Is always maintained unbroken and the effect Is
often beautiful. Some OF the sketches lack hexibl-
ity one asks for a more direct nervous and even
| audacious method but there are others like the
Rocks and Surf. Newport" which show that Mr.
La Fargo let himself go when he cares to do So
There Is another hint I'm The Bee Hunter OF
greater strength and more practised hand than the
artist invariably exercises. We may note also the
admirable design In No ~, "On the Beverly Shore"
Both in color and form this collection Is indicative
OF merit which ought to become more impressive
and more charming the artists control over his
Instruments is strengthened. The work needs now
more and more authority.
Mr.. Frazer's exhibit includes portraits and land
| nil lone I'm The medium one