New-York tribune., 1899-02-07
ART EXHIBITIONS.
MR.. THOMAS p. cLARKE's coLLEcr1ov
OF AMERICAN PAINTINGS.

American
representative gathering Of American ptin,,n,,
been brought 10 the hammer. In fact we know :,
only one other amateur. Mr.. ". T. Evans who b.
approached Mr.. Clarke in persistent and cathot,
support Of our native artists. II Is true that son.
of the painters whose carly canvases reappsar, 4,
the long procession which hls the American Az,
Galleries from top TO bottom may justly claim ha,
they have travelled far beyond the stage Of dev4,
opment which those pictures commemorate Som.
Of our strongest men are visible here In unlnno,'
tant productions alone few artists may resrs,
too that they Go not now paint rs well A. they
painted. according TO their works in this collection
ton or fifteen years ago. But the fact remains tha,
the American school is. on the whole. very well
illustrated so well that ons IL tempted 10 turn
from the description OF this picture or that to gen.
eralzations on the broad characteristics oe ths
men living and dead who make these closely hung
walls profoundly interesting. The temptation has
especial force when the landscapes arc considered
These make a noble line. coming down from tbs
work Of Homer Martin and George Inness to the
painters active to-day.
The Hudson River school carried on the rather
dry and excessively laborious traditions derived
from Europe and particularly from Germany IN
tho very earliest days OF our artistic development
But is mln.stratons ovcriapped those OF the paint
ers who were destined 10 meet the incoming tide os
French naturallsm. and IN that period OF transition
landscape painting I'm America ~1s half good and
half bad with some of the old rgidlty clinging "a
H. but with tho STRINGS Of now NE in rs vein.
Curously. the best examples n this ambiguous
condition Of affairs must be sought IN the presen,
collection I'm the works OF men VINO later prac-
tised landscape art only at intervals, deyong their
hest energies to other work IN the 'Sunit Woody
Of william Morris Hunt and in either the "Au-
tunnn" or tho apple orchard in Spring" CT Mr
Iohn La FARCE the student Will discern the fusion
OF haltlng method WIKI that intuition o. nature,
secrets which is the sign manual Of the most sue
cessful landscape painters We have had. Compar.
these with the specimens Of Sanford r Clifford Or
J. F Kensett. II Is plain that A great step ahead
has been taken. We know from Mr. Ia Farges
south sea and Oriental studies that ho has some o.
tho movers Of a great landscape painter but tbs
seed that he and Hunt had IN their possession was
to flower most brilliantly in the paintings ot Homer
Martin and George Inness. These TWO men. who
were. with US only few snort years ago, spannei
f., their careers tho whole development Of American
landscaoe from the gradual disappearance Of ths
Hudson River school to the permanent establish
ment OF the most modern ideas In American stu-
dios The growth may be aptiy studied In the seven
naintings by Martin which Mr.. Clarke owns. Il IA
even symbozed in one fine picture, the large "Aii-
rondack Scenery" The foreground OK this bears
traces Of the close analysis 10 which Martin was
accustomed in his youth. The glorious sky has ths
rich broad character the melting color. which no.
oven the Barbizon painters could surpass. You
feel that only one of veterans could have paint
ed the majestic "Headwaters Of the Hudson" Il Il
da ted 1869 and there are mnuteIy painted passages
I'm It which are eloquent of the date But the CON-
position Is in the main, work OF synthssis, and It
IA the natural precursor Of the l.ttls Marine,
nainted in lssJ which the most "adyanced' OF the
Younger men might be proud t. have painted.
Martin in short in spite Of his early training Win
its deadening influences. was landscape poet one
OF the band that has done almost more than any
other TO bring honor to the American school,
George Inness was the choragus OF that BAND
There are no less than thirynine paintings oy him
in the Clarke collection. and, while these vary IN
quality there is not one that fails 70 disclose ths
born master. He. too had 70 grow away from
mode OF expression too cramped ana sim ior 'ns
natural movement Of his genius. When ne paln'ea
the Delaware Valley" IN 1858. he was only on ms
threshold Of his true manner. But even on tns
threshold he had q certain quality wnlca keeps ,hs
old work still fresh and charming; the lta!aL
Iandseape' Of 1873 shows a decided advance aud
IN the Gray Lowery Day. Of 1871, one OF the mos'
beautiful pictures he ever painted ne Is on lAe
ground that he 70 occupy uncnalIeneea 70 tas
end We cannot pretend TO traverse all me pc'-
ures by which he IS represented here. 1ney MAKES
collectio, by themselves. But We may point out
the charm which distinguishes them all the charm
OF work executed out OF q close STUDY OF hatu'e'
out of deep fund OF imagination and out OF
great store Of technical ability We are aware tha'
the technique OF Inness was uneven. sometimes
tree forms IS vague and fumbling. But the broad
impression he wished TO convey was always han
dlsd with consumnate vgor. He might he uneven
He was never mediocre. never colorless. MS SOP,
was wide Il embraced the tenderness or tne Ena
OF the Rain" the bravura OF the winter Evening
tho opulent and yet subtle color of "A sunny Aa.
tun,n Day" or The Mil Pond" Now he woua
paint the cool luminosity OF the moon as IN th'
Nine O'clock" and again, attacking the gFesn'
bosky depths OF picture like the summer TO
uage" he would I'll his canvas with tne humm'Hs
vitality Of the day. Through all his worK 'al'
note OF personal charm played It's enchanting par.
He equaled the Barbzon men on their own g'ouH'
and he never lost a jot OF his originality.
With Inness and Martin II Is natural 70 gronp ITO
late \. H. Wyant. who belonged 70 their genera
ton. There IS remarkable dignity In his IarE'
woodland study. Early Morning" and the acee'
OF strength which is given BY the sturay % "ee -
the centre Is repeated in the workmanship "noa
is at the same time very subtle and poeUe' DIV
this very painting. from the accident o. It's posIo.
on the wall reminds how the succession n@'
been carried on from Inness Martin and Wyah' "
artists who are now in their prime MI De".'
sombre Edge OF the Forest" Mr.. Tryons Emo :,
the Day" and Mr. Davls's Deepening snaoo"s
all hang near by. with other examples OF IeSs .S~
work The effect is homogeneous. and II 5 worm.
ot the magnificent display that 1nness makes "
the opposite side OF the room.
Most can raise the flowers now,
For all have got the seed.
An observer unacquainted with American ~
who happened TO meet It for the hrst time IN tnss
galleries would. we venture 10 say. be ho,aHs
less than amazed at the general proficiency o. v" w
landscape painters. who have not only the 81
merit OF truth but have beauty. poetry ana W., w.
vtduality Tho American who knows al 'hls =,
OF Old Is chiefly impressed by the fact tha' -
wears so well" =,
r. this point Is less satisfactorily disposea :,
among the figure painters there is neyerthees'.
much good work to balance the faded anu e"s A..
compositions that one 10 not. in the long iu. 49,. =,
appointed And some OF the hguro pieces "Ae n
many Of the landscapes. have not only worn "s'
but have positively gained Witness Mr. h'H. Ia
vigorous compositions His pictures OF 'hs v ~ =,
War especially THE Bright SIDE are as -" .,
vitality and humor when he painted ",,r 'nen
tho sixties; and his coast subjects are Sun sNp "a