New-York tribune., 1901-03-21
ART EXHIBITIONS.
THE TEN AMERICAN PAINTERS.

THE TEN AMERICAN PAINTERS
Although there are several landscapes and mis-
cellaneous figure subjects among the twenty-six
canvases shown by the Ten American Painters az
the Durand-Ruel Gallery this year the exhbition
is chiefly one of portraiture. 1t is a testimony .,
the strength of the group that this state OF affairs
involves nothing commonplace The average new
portrait is often a bore. because it is apt 70 hs
nothing less than pot boiler When the
Ten started out to have annual show of their
their claim upon the attention of the public
resided first of all in their disposition TO at least
avoid convention; and this has communicated a
vitality to their exhibitions which is especially
potent on the present occasion in the department
whose conspcuity We have mentioned. The por-
traits and the figure studies interesting in much
the same way. pieces Of painting.
Perhaps the most notable proof Of this-because
least obviously offered-is be found in Mr. Met
calf's portrait of mother and her child The
Secret 1t draws perilously the status OF
the merely pretty portrait Something over
sweet in the color. something of excess in the
smoothness of the execution threatens TO leave
the spectator cold. One gances at the same paint
er's Fish Wharves' and "Ebbing Tide" and is
half disposed to wish that the directness and vgor
of those two open air impressions had somehow
been drawn upon TO give The Secret" more force
and freedom. originality. But the substantial
merits of the portrait presently the sur
face; the color discoses elegance and delicacy; the
execution about the heads is seen escape the in
sipidty which hovers around it, and possess
quality and charm. These last epithets may be ap-
piled to one OF Mr.. F. W. Benson's portraits The
Sisters" in which two children playing near the
seashore are painted with capital animation. The
picture is full of sunshine. skfuly distributed But
the Girl with Gold Fan and Profile have only
surface cleverness; the effect in each. though
without vivacity and decorative value is too PANTY
and brittle; both canvases want depth and trans
| parency of tone and weight in the modelling The
Venetian Blind of Mr.. E. C. Tarbell aptly illus
| trates the point. Here is technical fuency here
| is nervous force put at the service OF a taking
| pictorial idea. There is also knowledge and pre-
| cision in the treatment of the models back; the
| lights and shadows are boldly opposed. but the
work is searchingy thought out and holds to-
| gether. We sorry that Mr.. Tarben has sent
| nothing else to the show.
Mr. Robert Reid's contribution is important In
bulk and in quality. 1t consists of two portraits
and three landscapes That one of the latter which
| contains a nude figure. The Bather, is more
beautiful than either Of its companions in its cool
| luminosity but neither this The Brook"
interesting little study has the dignity and strength
| of the large upright canvas. After the Rain
This is on the whole. the best landscape We have
| thus far had from Mr.. Reid The composition is
| new and perfectly balanced; the stream that d
vdes the scene raises at in the mind Of the OBJ
server a sense OF the sound and sight Of gently
moving waters. and nothing could be more con-
vncins than the broad yet subtle generalization
of the masses of the defr management OF the
different planes. which are shown In sufficient re-
lief but melt almost imperceptibly into one an
| other The Portrait with two figures. is rich
In the vitality of thoughtful Interpretation OF
Character il also noticeable for the large. sweep
ing treatment of its lines; il has human interest IN
rare measure. it has amplitude and grace In
draughtsmanship and modelling But The Yellow
Gown falling beneath il in some ways. sUrpasses
il in others This portrait of a girl seated near a
piano one hand holding flower and thrown care
bar b7iv r-ril aiTYSf
the other her head gracefully poised is decidedly
disappointing in the color about the face and
arms which exaggerates the darkness of the
shadows and lends unnatural hue to the flesh
Otherwise II is a brilliant performance The attt
tude of the sitter. unforced and wholly reposeful
nevertheless seems TO have been calculated pro
duce an inimitabe arrangement OF contours These
are superbIy painted; the touch is sure and flow
ing the style is distinguished. Especially does
this canvas exhibit the qualities clearly but less
brilliantly proclaimed IN its fellow. firm grasp OF
the problem of design involved. and huoyant.
powerful technique.
In sharp contrast to this robust work Mr..
Dewings small panels. In Pink and Lady N
White Dress" exquisite studies. wherein the ten
| derest and subtest color polished vet never hard
| surfaces. and the utmost refinement both as TO
| form and feeling combine produce effect
which one would be inclined call simply poetic
and fragile If the portraits not eloquent also
| of executive mastery and of peculiarly striking
| InQlVldudIty- MI er personal IoICe Is dlSo
prime significance in the show, making itself felt.
however with varying felicity in his four portraits
| The Symphony in Grey. with its vague touch Of
| japanese decorative ingenuity transformed and
veiled by the artists interesting idea. is alto
| gether pleasing. "A Morning Ride. which pOr
| trays two youngsters mounted on donkeys. CON
fesses 10 some stiffness the outlines and in fact,
picture and the portraits Of feminine sters
| which accompany it inspire longing for some
/ elasticity in the rendering of forms for life and
| limpidity in the color. curioUsly inert impasto
! af1cts these productions; they cold and dull
| But over all their deficiencies Mr. Weir's native
distinction triumphs: deplores their opacities
| of surface their lack of atmosphere-and finds
| them notwithstanding. strangely interesting.
The figure subjects sent by Mr.. De Camp The
| Green Shawl and Arrangement in Pink and
| Blue interesting. too. though they are hardly
! more than that In both there is accomplished
| workmanship. The painting of the gray skirt in
The Green Shawl is more than accurate; it shows
| with how much taste and aptitude the artist can
use his brushes. Neither of these Canvases. on the
| other hand goes beyond the stage of a technical
| exercise; while Individually clever they still
without pictorial charm and beauty of color. Mr..
| Hassam's ''Mdday-Pont Aven'' and Highland
Light just escape falling into the same arid
CORY: his Blue Sea is less fortunate. having none
| of the sparkle and warmth of III. others 10 make
up for its ugly forms and feehly painted figure
The Falls and Bathing Pool with sketch OF
| Gloucester" represent Mr.. Twachtmans impress
| sionsrl which has lately been discussed at length
in this place something less than its
| Mr.. Simmons. the remaining member of the So
| ciety. Is absent from the exhibition this year a
fact which every acquainted with the sterling
| qualities of his will regret.
/
| PEPRESENT pPTCrCT6N