The sun., 1901-12-29


work. while IL may create for a while an
| illusion Of refinement, will not satisfy us In
the long run.
| Many of Tryon's landscapes reach
| pitch OF delicate suggestion In the render.
| ing OF soft air caressing atmosphere and
shrouded light that is unsurpassed by any
| painter In this country; for the impression
| Is much deeper than that of an enhancing
skill In the management OF the pigments.
| The spirit Of the landscape stole into ms
heart when boy and has abided with him
In his manhood he is 30 much child OF New
England, sweetened by its tenderer In
| fuences as well as nurtured on It's hardl-
hood, that, sharing it's strength and re-
finement, he gives expression TO himself
when he reproduces these qualities in his
pictures. Hence, in both directions. their
complete CONTINGENCIES. fact. TOO,
| which helps 10 Justify this appreciation Is
that his pictures show an interest in so
| many moods Of the landscape. and the de-
| renders each is regulated by the demand
of the occasion. You cannot divide the
| past twenty years of his productiveness into
special periods Of style; any attempt to do
80 will bring you up against the insur-
| mountable objection OF finding that two
| canvases of very different feeling and man
ner OF painting are dated the same year.
| Development, necessarily, then has been
| in style; increased acquisition OF facility
| and the power TO render more penetratinRly
the mood Of nature he Is studying But
evolut ion of motive YOU will scarcely ma.
| That from the first has been realistic; in
| the sense, that the landscape, as II appears
TO him to be, affords primarily suficient
incentive 10 his study.
In the presence Of nature he makes
studies, intent for the time being solely
on recording what he sees later, in his New
York studio, the poetic suggestion of these
| studies will come to him and he composes
picture. But the process IL from realism
TO poetry and not contrariwise, as one sus-
poets 10 be- the case in the poetical land
scapes of some painters. Tryon's way Is
not unlike mans regard for good mother.
In the days of his habitual intercourse
with her IL was her dignity and sweetness
that grew into his life, the changes of ex-
preston In her face and voice that won
upon his devotion. her beautiful reason-
ableness that was accepted as quite nat
ural thing. IL Is only when the sons life
is drawn apart from the habit Of her pres
ence that the sentiment of mothers love
IL realized So Tryon's Withdrawals TO
city life allow the poetry of nature TO steal
in upon his imagination: when he resumes
his face-to-faoe communing with II, tho
life habit OF absorbed regard comes back
TO him The result of this is that the senti-
Inent OF his pictures grows out OF the actual
and represents the soul of n fact One
finds ones self admiring the extraordinary
truth Of the visual impression, and then
often surprised that material 80 homely
should yield such abundance Of poetic
suggestion, forgetting, for the moment,
that poetry is not an element OF nature,
but a quality of the painters mind. repre-
senting the degree of sincerity and eleva-
tion OF purpose with which he has APP
preached his subject. Tryon's poetry comes
of the associations gaTnercd through lie
Of afeCtionale intimacy with the country
of his birth. IL II as true and spontaneous
as filial love.
His technical skill has secured the respect
and admiration of hls fellow painters
They assign him that final TIL" Of approval,
"a painters painter, meaning That only
those who know bv practical experience
the difficulties and trials Of technique can
properly appreciate his ability and re-
sourCefuneSs and certainly not implying,
a. IL sometimes the case when TINS eX-
preston is used that the admirable quail
tiles in the picture are primarily and solely
technical ones Attempting in non-painter
language To summarize the spirit OF his
method, one may, perhaps. TriuC" II 10 ~"
equivalent elements IN lus own character
poise and sympathetic penetration. III"
balanced effect Of his landscapes IL very
notable: n harmony of color in which there
IL no lar. a similar "pulpulSe in the de-
tails Introduced, delicate adjustment OF
strength and tenderness and of sentiment
TO faCts-an ensemble of uninterrupted
unity. In the matter of sympathetic peue-
tration-a rather clumsy expression Tor
which | can find uO happy alternative
his method IL even more remarkable. |
allude 10 th" afe, t1nate studiouSue-s with
which he aualyzrs the significant con-
stitucnts Of the landscape and to the degre"
in which his eye peuctrates the secret al
the envelope of atmosphere. ui that par
ticular quality of atmu-phcr" character
i~tc Of New England ! would 'I'" MS
the @Early Spring. New England, not as
an example OF one Of hi most beautiful
landscapes. but AZ triumph oi technical
resource, 'u which Wa- awarded the gold
medal iu lsHs a. tho Carney" exhibition
ia Pi'tsburg The foreground L. pasture
with brook winding through - aud sew
eral leafir~s trees which spread their
delicate network 81 brdrchc- against
clear, open say that icudeu- -hgh'lN near
the houzon Beyond II cultivated land,
partly covered with "a" brilliant green Of
Young vegetation and partly red, upluTAed
-oil with "a team ploughIng Further back
are gently rising hills
The front e The picture II painted With
remarkably drlDafe detail. and lu 'h" dis
tsut plu- th''r" b. q similar suggestion CON
,ey,.l 81 th. " urthIu~-- - the SCENE 90 iis-
miuutely STUDIED In.ro h not a square
inch lu the COMPOSITION that o. without
Iui. .gtIual Interest. aud vet tins elaborate
mosaic 8ulir- intu rlngl" impression -
spacIul-Ir-- Tor the rra'lN" riguitoanDo
II "ach plan" D. 'le picture hH- b.-H ~
ffa,. lt,A ta tire I"uui'-' par ui 'L"
ground Hli up ln'u 'U' ,ApaIrf 90 skN
lIl. I- li' primary ff4'a'Iuuui iNu I.... .Iu
49, aud uo tha' ut ta' a,tuai r.,u,. auI
fIr4 f.I..sH. H N.Y IH.' 'Nt- 'HI ... 'hr
irlt aNIrg lU thI- aud I.sf dIuaHlHu .H iHr
-.Iaiafr interest OF I.. EHrH.r U.|'-
lI.-a. a..lIa'r rendering .f '.. - ~ U.
fsFNrutIE a'uHHII IIU.If. .|... lNr .i..T
i.Tu.. Hnl ,.4HH t..F. ... u'U.HI.
r-.f I.'' u" i.".... 90 -'i'F r..'..F
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81 tI.|f tn ..a.| .I.I...H ..I..... U..