The courier. (Lincoln, Neb.) 1894-1903, 1901-02-09
THE COURIER

that his mind vac. in waye, irritated
while working there. Either he was
hurried or was working to order, or was
fenced of by not speaking the tongue Of
the men on the street, or wanted to 60
to London, or something else. for bis
work here and there shows all these
things reflected in its face. and there.
fore lacks. In way. completeness that
his exhibition Of last winter held. Ii
contains some exquisite pieces OF work,
things OF the kind that have been appre.
ciated by the Senator who owns the
Rousseau. but, nevertheless. it is only
through grouping together his great
work OF last yesr-some parts Of which
is at present on exhibition in Boston
this present exhibition in New York,
and the remarkable book, New York
BY Night" lying about his studio in
Nineteenth street, that any fair esti-
mate Of his position in American art can
be arrived at.
He brings to his trade point OF view
that isolates him from nearly all his
predecessors hero. In the selection Of
bis subjects he is the instrument in
game that will go on until there will
some day be no longer such subiscts to
select. In the placing Of that subject
on paper he uses the absolute touch Of
n ynaetor in limo opa a,,o,oanant apI
his pictorial sense and power to render
locality have never been surpassed by
any artist anywhere. His color sense
is rare, and if it is not always perhaps
as we'll considered as it may be later on.
it is because it is secondary, in a way.
in much OF his work to a white heat OF
black outline, and that it is as full as
those outlines will permit. His draw
ing is intelligent, though it could at
times cut little deeper to the bone. A
certain grotesquenees and exaggeration
in this particular is noticeable this year
in his work as against last year. but it
can be laid merely to temporary causes.
As for bis technique. he has already
done things with it that move our con.
seriousness and stir the experiences that
have made us know. And that is all
there is to the matter. AS an example
in sheer dexterity no one has ever
painted slush and ice and sleet with
such simplicity Of means. His touch is
virile. nervous, delicate, made Of iron,
made OF silk, made Of tears.
He ia almost at his very best in along
the Seine" az, in this present exhibit
ton. The distant view across the river
is worth the whole show Of the academy.
The Back Row, Folies Bergeres' 81. is
fine study in yellow and black. "Op
the Boulevard" co., is a remarkable
piece Of work, and 30, in their varied
ways, are Lies Chiffoniers" ~, the
Grand Ballet az, the Fourteenth of
July" CD, the Ballet Dance" CA,
"Paris Street 49,, AT the Convent
Door" an, and the following that are
not in the catalogue: bal Boullier,"
"Old London House" French Cabaret
Election Parade" "Houeetope," Near
the Church" Rue de PAbbaye." and
others.
The exhibition is not for everybody.
1t is too full to the brim Of disorganized
life, and the sight of this is not for those
who do not see beyond. 1t shows the
river thief, the rag picker, gaunt dane
ing women, the homeless beings Of the
earth, prostitutes married and unmar-
ried, and others overworked and under.
paid. These pictures will become real
mementoes Of these present days. When
things have evened up, other Shinns