The sun. [volume] (New York [N.Y.]) 1833-1916, 1900-05-10
EXHIBITION or THE SOCIETY or
LANDSCAPE PAINTERS.

sketches and water colors, by members Of the
Society Of Landscape Painters. are hung in
the American Art Galleries in Madison Square.
where the society IL holding its second annual
exhibition. All Of the twelve members Of the
society are represented In the exhibition. or
the ninety-folr paintings. which are cata-
ioglled separately from the water colors and
studies, George II. Bogert has sent seven.
William A. Coffin. six: Walter Clark, six; Bruce
Crane, eight. Charles II. Davis, eight; n. Swain
Clifford, five: Frederic W. Kost, five; j. Francis
Murphy, nine, Robert {. Mirror, thirteen, Leon
ard Ochtman, nine, Walter ]. Palmer, ten; ard
Carleton Virgins. seven. The works or the
several artists are grouped in the hanging so
that each painter may be studied in his DIFF
ferent moods by his own productions, unaffected
by surroundings which might be unwelcome
for some particular picture. 1t is TO be pre-
sumed that each painter selected the positions
for his works as 10 their place on the line or in
the second row. and it is interesting to note in
some instances how good paintings have
Yielded place on the line to ambitious paintings.
The spectator who sights the second row viii
miss some Of the attractive work and some
Of the good work Of the exhibition.
MIR. Murphy's sympathy with nature comes
80 h'hS NV VI '"N s''' Nv "
his landscapes take up more than half Of the
east wall. One OF them Of a unique charm,
Hill and Field +" "a of the catalogue). whose
composition is sufficiently defined in the title.
Is a landscape Of fine feeling, with the mild vague
ness OF an autumn haze in the atmosphere,
which Is agreeable. yet with an apparent UNI
certainty about tho whole. almost as OF a bit
OF landscape caught in q fortunate glance from
a railway coach window. The Blackberry
Lot" (5o), q mellowed canvas in subdued tones;
Morning '4o) with water In the foreground,
bearing the dull reflections OF trees which rise
through clouds. and The Old Thornapple
Tree" lall, a tree with sparse foliage on a
on the, slope Of which a hut is built. sheltered
Dy, other trees, are among Mr.. Murphy's
paintings which invite attention.
In contrast with MIR. Murphy's work. Mr.
DAVIS 8 occupies the next section OF the wall
,"ylouds-West Wind" (2S,. in connection with
his more familiar style, suggests a possible
clouds, He has placed them above a strip Of
sea and shore on a large canvas. In ,"Noven-
Der Wight 1901 reds and PUPPIES and browns
picture q stubbly field, with here and there a tree
on u, ridge rising bare against the last glow,
which, beyond a purple haze, tingcs the clouds
ai,er Ne sun has sunk bcl9w the horizon,
In a May Shower 900 Mr.. Crane has caught
a burst OF sunlight after Il storm, falling nIon
spring blossoms and the fresh verdurc, Mr..
(rane has been successful in a m~oorligh, com
position, Peace at Night" (23l. IN which the
calm and grateful repose of a summer night
In the country rest upon the bend Of "A road,
graSs-grown beside the WAGON tracks, just
at the turn Of which are cottages whose only
sign Of life IS given in the glow of lamps within,
seen through open shutters. The moon Is not
visible, but Its light bathes the cottages, the
trees be,wepn them. the r1adwav, an occasional
horse post, and in the deep blue Of the sky IS to
be seen here and there the CLINT of stars. Mr..
cranes friends who have been compliment
ing him OF late on the greater breadth of his
work may note among n group Of his sketches
IN one OF the upper galleries various evidences
of his constituencies TO the atmospheric effects
OF differing days. "A Spring Motif" NlO
suggests that the painter was happy IN work.
lrg out q study IN greens and reds and browns,
purple and violet. verdure and blossoms and n
spring SKY. A, small painting, Of unusual III,
Orange" ll2, CLOVIS with sunshine and color.
Walter Clark T. one Of the men who has some
OF his best work in the second row, Fall
hung on the liue. Spring Haze" u0, n
charming composition with breadth OF tone.
fine distance and congruity of detail (which i,
on. the line many will agree upon as the best
painting in his exhibit. The landscape. full of
unobtruSive detail as i is, gives the impression
Of being easily handled. Blowing trees aro
white with blossoms, above them pigeons fly
about their cote in IA building partly screened
by other trees; at the other side a ploughman is
a. work In the field and in the farther distance
In Mr.. Collins Sundown" (el beneath a
luminous SKY a farmhouse in shadow, l. ap-
a meadow, where the long grass has already
taken on the moisture Of evening. A Sumner
Day liO( shows as the central objects Of the
drawn, aud beneath them sheep grazing. In
Solitude 49, under a wide eYpanse Of sky, IA
lone house, closed, on a low hill, is seen in the
stiffness o moonlight night.
Mr.. Minor 81 is "A representative exhibit. There
Is a fine sky IN Cloudy October" (Jjl. a char
artsrl,nc Minor ne with some asreeable color
light" 500, Early Morning tSsJ. a delicate
canvas with incidental figures walking on the
bank of a stream in the quiet Of morning; and
Midsnmmer Night, s5e,, viz a Ky inil Of
water oil lovely, quality In It's relation TO the
rest OF the landscape, occasional stars visible
between the, trees and the clouds, and AT the
iighfs IN the windows. are among those which
attract attention, as are Late Afternoon"
(oel, and Moonlight on The Mantle" 1851. a
curious effect of light at night.
Barbi2on painters in Mr.. Bogert's late After
noon" t6>, in which there is a free. light handling
a stream in shadow, a mellow light still touch
ing the farther bank and yellowing the edge OF
lingering clouds, The View near Harlem"
as Mr.. Bo0ert's work 80 often does, The foreign
and older painters. In his Morning, alter
Ram, = ,he sun has lighted UP the land~cape in
Nlt lHluult ulNldIlIP utmost before Illc ram IlS
gone. an early laborer has ONE to the field,
and the sky is full Of action rs the rain-clouds
are passing on. \ little sketch. View Near
E'aples" 90. which he did not soc ~ 10 sign.
has qualities that make it interesting in the
suggestion with which il is imprngnatcd.
The spacious "MoorlandS. Dartmouth. Mass"
t38l of Mr.. Chords i n characteristic work
and there Is an agreeahl" tone in the cool New
England Landscape, tiOL in which plCniCkerssit
beneath a tall, steep rock. Mr.. kCst'S most
ambitious painting may probably he snid 10 be
ii 'ENHnVlpu &n1rflN.lI NprAlaA Gt.t,, IL
and" His odd Bridgn, Downingtown. Pa :"
with the tono of the grasses in tic foreground.
and the "Fish"rman's Hut. Shinnecuck Bay"
with the movement of IN" water washing M
gently IN the shallOWs near the bank, also at
tract notice, Mr.. Ochtnan exhibits several
huOnllEht~, among which h The Sound nj
Night" ga In one Of his daylight landscapes
tho "tl"eting Shadows" On which give the
title 10 the picture, are the shadows of moving
clouds passing oyer grassy fields. The sky il
"full Of wind. az the nautical ones say. Mr.,
ochtman has n water color, "A Winter SYM
phony' lI3nl. with more quality than Is scrre-
Glider. birmingham" tSll, a woodland brook
and is surroundings, i happy in execution.
and he shows several water colOrs.
Mr.. Virgins in Normandy Bull Nl) hes
painted a dlRniled hull standing in a sedgv
pool His "Old Farm AT Barhi2on" (Oil, with
coming around n building, is freely
painted. with n suggestion that memoir did
much in ito production Mr.. higgins exhibits
some sketches In which more life is APPARENT
in some Of his paintings.
The exhibition remains open until Nav %.
The Texas "SIn KIlIerv