New-York tribune., 1901-03-16
ART EXHIBITIONS.
LANDSCAPES AT THE UNION LEAGyrr
CLUB-A GROUP OF AMERICAN
PAINTINGS - COOPER UNION
AND DECORATIVE ART

all represent men no longer living George Inness
is the most conspicuous in our own contingent
Several of his earlier works shown alongside
productions dating from his maturity. Though the
growth marked by the latter is immense. it Is IN
terestng how. even in the overheated Light
Triumphant of 1851, the qualities which left hin,
at the end the same plane that Of the Barhl-
zon masters are clearly proclaimed. The touch in
the old paintings by him here displayed is not 81
fluid so broad. the touch in his best land
scapes. The style is less distinguished. the color
is less beautiful. But the difference is OF degree
not OF kind. The two later canvases exhibited are
both superb One OF them, Winter Evening" is
especially brilliant in its EXPIRE of atmosphere
the other. Trout Brook" is interesting in the
same way but has the added charm of presenting
lovelier scene. more thoughtful composition and
richer light. Both show in full vigor the magic
of his style
There are three examples of Homer Martin all
rather sketchy but full of his originality and keen
Interpretation of landscape poetry. The tiny panel
called THE Water Lane" has the simplicity OF
thumbnai sketch but it does not yield to the
elaborate performance in the gallery in freshness
and truth. The two wyants are fair, but do not
| adequately Represent him. II is pity that the
committee did not manage TO borrow for the oc-
casion the magnificent canvas by him, The Broad
J and Silent Valley to which reference made
in this place only a short time ago. The remain
ing American whose work Is illustrated is the late
W. Bliss Baker. cut off ir his prime bur not before
he had shown himself worthy member Of the
/! school which boasts Inness. Martin and Wyant.
Solitude a large picture of a clearing in the
woods with tangle of trees filling the back
/ ground. discloses in the treatment Of the leaf
strewn earth his tendency toward overelabo-ation;
! but the screen of trees is admirably painted and
over the whole canvas there broods the spirit Of
! sylvan retreat.
| Corot dominates the small company of foreign
painters with three examples. classical and
rather dryIy painted composition and the other two
I, IN sweeter. more luminous keys The Flute
Player is enchantingly cool and clear in color.
! Daubigny's Banks of the Disc is Impressive in
design. but not otherwise OF very much charm.
! Diaz Michel DGpre and Courbet are present in
/ creditable form. but there Is nothing above the
J in the group they make Rousseau. on the
/ other hand. may be seen in one Of his happest
I moments The POOL stands for his more closely
analytical nethod: the slender trees silhouetted
| against an evening sky. are drawn with perhaps
! too metcuIous a touch. but the almost bald land
scape in the nearer planes is beautifully modelled.
! and the picture whole has great dignity.
! Only twelve paintings hang in The exhibition Of
| American art which has been arranged in the
Montross Gallery. but these all Of value. One
! or two have been seen in public before; the others
| are unfamiliar. \ "Nocturne'' of Whstler's occu-
| pies the place of honor. lovely marine painted
/ thirty-fye years ago. The design is, Of course,
simplicity itself few sails break the deep tones
| Of sea and sky. with pin POINTS Of Ugh: cleaning
from the boats 1t is exquisite scheme Of color.
through which the impalpable beauty or ature ap-
pears at once the source and the slave OF sensu-
| Gus effect. Mr.. La Fargo lends for the occasion
| his mastery portrait of South Sea boatnlan. a
sturdy model whose dark skin, slistening against
| a background OF rich greens, makes an extraord
| narllv brilliant piece of tonalitv. Two ct Mr.
Dewing's decately painted figure pieces are on the
walls the poetic design, In Garden with three
graceful women. lending greater interest 10 a ro
mantle scene. and a Decoration IN which
stately figure with golden wand stands before a
ole les mart
the show with fine flower piece. Carnations"
Mr. Ryders Flying Dutchman" reappears
strong conception. handled with individuality and
power and rich color, and there is good barn.
ward study by Mr.. Horatio Walker. Mr.. Abbott
Thayer's Head" the portrait of a feminine model
has his we'll known merits and defects DeplOrably
cIaylike passages in the flesh painting are counter
balanced by the spirituality which is felt in the
| rendering of the face and the soul behind it.
Mr. Tryon'S three landscapes all recent proGuc-
| tions appeal by virtue of their veracity and their
| STYLE In one of them. "Farh4ven" which depicts
| a cluster of buildings seen across sandy land
| scape. with glimpses of river between the note
| Of color struck is clear and torcble. Even here,
| however it IS plain that the artist has Iabored
! with great restraint: and in the November and
| Sunshine After Rain" one wishes there were
| greater freedom. bolder more vttalized stroke
Some of the restraint might be thrown of, with no
sacrifice of the purity and quetude so Characters
tic of Mr. Tryon- In fact, il seems not lrlprooaoe
! that his work would gain by the venture
The general circular of information issued by the
authorities of Cooper Union for 1901 contains one
| announcement of signal Importance. II is TO the
| effect that The trustees have arranged full
course Of instruction in decorative art 70 be given
| in the daytime in connection with the Art Nu-
scum for students intending to practise any OF the
| decorative arts and who have already attained
some facility in architectural drawing and in draw
\ ing from the cast as we'll a knowledge Of the
orders OF architecture and their application II Is
added that special instruction Will De given IN the
designing of furniture, fabrics metal work ceraa-
| les stained glass and other branches. covering
| completely interior decoration The department.
will be under the direction OF Mr. z. l. Masqueray.
/ a pupil of the Ecole des BeauN-Arts. who has had
practical experience in architectural Offices IN this
/ city His opportunity is valuable one students
desiring instruction in the and crafts have Tor
! some time past been afforded chances in New-4ork
I 10 prepare themselves for serious work but the
development of pictorial art has not unnaturaHy
occupied most attention In the schools y cordal
welcome therefore awaits every new attempt 20
: place Instruction in the humber tn walks OF ire
on a firm basis. Mr.. Masqueray's department viii
be especially useful Il it inCucates broader the
} ory of what mural decoration should signify N
! this community. IL now means, in the majority OF
! cases the painting of important compositions ol
I these never have too many, but We also
need more OF the modest formal decoration. which
is in It's way. quite as essential as the more amoi-
/ tious schemes.
Allegorical designs, with human figures, are goou
TO possess, but also is such purely formal WORK
as Mr. Crowninshield, Mr.. Maynard and Mr. Llndon
| Smith have done in New-York and elsewhere a
/ wall that would be the better for color does not
necessarily require painted symbolism or history
y fiat tint, with well Invented border, Is some
times infinitely more effective than the usual picto-
/ rial decoration would be: system OF gracerui
! arabesques will occasionally MI a given space 70
/ perfection, where a painting with figures woun
only overweight the The famous corrido- III
/ the Vatican which Raphael conceived on an essen
| TALLY formal nIan presents an example not ons