New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1899-04-04
ART EXHIBITIONS.
THE TEN AMERICAN PAINTERS"


group OF painters after another from time imme-
MORTAL We regret that the Ten should have tenn
porarily reduced their number 10 nine. WORK by
Mr.. Metcalf would probably have been welcome
But 1t Is better that he should be absent tnan DO
represented perfunctorily and It is furthermore
refreshing to find that his colleagues nave NOT
sought to fill at all hazards the same space they
filed last year Only twenty-three works are
hung. against forty more In the earlier show
and the restraint exercised is admirable Inc iac'
that this collection is smaller and IN some ways
inferior to Its predecessor does not invalidate the
broad principles originally adopted by the Ten
Those still made manifest. The show Is again
interesting because 1t brings forward unconven-
tionsl work that Is sincere. The atmosphere OF
thoroughly artistic ambition remains.
The freedom of this small society from that re-
tichism which often menaces similar bands II
shown by the diversity Of style which the exhibit
tlon illustrates Portraits painted with the utmost
conservatism and gravity are shown side by side
with landscapes and other pictures done in the
spirit Of the sheerest impressionsm. Mr.. Edward
Simmons is responsible for Of the portraits. lie
sends also a small study Of n woman dressing
Morning" and as we deplored the absence OF
everything save portraure from his share OF last
years exhibition suppose we ought TO be CRATE
ful for this proof OF his versatility AS matter
Of fact II is not quite what is wanted. the tender
modelling about the head and the perfect harmony
Of the color being insufficient TO givG the picture
that beauty which alone could redeem the triteness
OF the subject Topics OF this sort need felicity OF
design and distinction Of style II they are TO De
made excuse for artistic performance. We turn
with interest to the large portrait of a man,
a work with abundant vigor and truth, showing
the most winning delicacy In the elucidation OF the
lines OF character in the strong, genial face. Mr..
Alden Weir, conversely Is far less attractive In
his two simple andj closely painted portraits than
I'm the two canvases done more flexible and
in the PORTRAIT OF Lady" especially In the upper
part of the right arm and in the pale blue curtain
introduced in the background. There Is also some
capital drawing in the face. Here however, and
In the Portrait OF Lady and Child" a kind OF
inertia characterizes the dull fiat surfaces; one
appreciates the artists veracity but one longs for
n loosening OF the tension. the work is too rigid,
too bald. Yet In "A Flower the contours are mod
eled with notable suavity the tones are blended
through the farce Of sensitive as It Is sure.
and the whole effect is delightful. The landscape
with ngurts ard cattle too. "A New-England
Ploughman," is buoyant with air and light and liv-
ing color. Never has Mr.. Weir painted a more
beautiful background than that which lifts to a
high plane the prosaic subject OF this picture The
mass OF trees is treated with wise synthesis and
tho vivid sky splashed with moving clouds. crowns
the scene in the most effective manner. II is diff
cult TO see why this work should have much
vitality the portrait called ~ Flower have so
out alluring qualities. Since Mr.. Weir IS certain
Of his powers in one direction why should he diss
pate them in another?
Mr. Hassam seems constantly to narrow the loop
hole through which he might escape from the dead
ening influence OF his reading OF the mpressionistic
method We have recently had occasion TO point
out apropos OF his large picture at the Academy.
his ENHANCEMENT In process which requires for
It's successful exploitation unerring refinement of
vision and precision Of hand. The saccato effects
Of bright light he render fairly well. and
renders them in his picture Of two peasants seated
out OF doors In the Sun. Brittany" but even I'm
this he misses the bland sufusion OF n scene by
the same flood Of sunshine which plays capricously
around the figures In II. Down the Spanish Stairs
Rome reproduces the glare but not the subtly per-
vaslve quality which is the special note OF the place
once In Morning Mist" Mr. Hassam seems nearly
to grasp the broader effect OF atmosphere and light
but the picture goes to pieces in the foreground
partly, we may observe because Of draughtsman
ship Unexpectedly poor. The same disconcerting
fault spois The Brook" picture with pronis-
ing background and figure In the foremost plane
that is ungraceful in itself and lamentably
modelled. The fascination OF the open air has
worked upon more than OF the artists in this
exhibition With Mr. Benson 1t comedies with a
judicous and metho6ical feeling for form. The
scene in which he has placed the figures of his I'm
the Wood" IL lit by cool sunshine the key Is fresh
exhilaratng but the two children detached
from their surroundings more definitely than is the
case with most pictures resembling this in general
scheme; they drawn I'm clear outline and typfy
not inaptly the golden In painting human
bodies under the trees. Mr.. Reid is even more
eloquent this point Figure and background
alike in his work bathed In light and they |
meet in a very subtle harmony of color, but the
subtloty is part of q singuary firm and vigorous
method which never generalizes too broadly or
annlyzes too sharply. Witness THE Gamma" In
ch tail eta
grove with hand uplifted TO display the flower from
which the picture takes It's name. Merely as de-
Sign this Is full OF grace and movement. But the
great merit of the work. as OF "Azalea" and "Fleur
de Lys" two panels Of kindred motive. resides in
the accurate fusion Of form with light and air and
color. In the absolute symmetry of the thing. in
the marriage of technique with idea, A publication
Of the lighter tones in 'Fleur de Lys" would give
that picture a more luminous and more engaging
character yet its present condition Is not unlovely
Illustrating a very slight decension from the stand
ard of unity embodied In The Gamma" To draw"
with the brush means not simply TO manipulate out
lines but to coax masses. to coordinate broad
tones and flying lights and shadows. into just rea-
lions with one another. This Mr. Reid accom-
pshcs and he uses his skill In the creation OF joy
GUS delightful pictures.
Something Of the same sort Is aimed at by Mr.
Twachtman and In one OF his four contributions
TO this show he succeeds. Morning" is a SYM
pathetic and almost a mastery Interpretation Of
an enchanting scene. studied In an enchanting
hour The tender. palpitating lights; the fragile
elusive tree FORMS the rare sentiment OF the theme
the narticulate poetry Of II. are all brought to-
gether in pictorial whole that is conceived with
originality and handled with sure understanding
THE Brook has the same balance, shows the
same selectve tact and is a veracious study Of
tumbng water. but It has not the charm of the
fellow MY House" and Winter are both sug-
gestiye studies Of atmosphere but as pictures they
are anonymous and unlnteresting With Mr. |
Twachtman. as with Mr. Weir. have to expect |
inspired moments and others less fruitful. In the
same category with them would place Mr.. Jo-
seph De Camp. His Girl Sleeping is crude |
sketch. atrocousy painted. and The Looking |
Glass Is more prepossessing. though the draw
Ing is a little better But between these poor works