The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-12-10
AROUND TIE GALLERIES.
water COiors by walter l.. Palmer Al the
Noe Art Galleries.

At the Noe Art Galleries formerly :. p.
Avery, Jr.,) Walter l.. Palmer is exhibiting
series of water colors OF architectural
subjects and of snow scenes In the latter
he returns 10 field that he has industriotisly
worked for many years, but still with un-
abatcd enthusiasm. And after all that is
the main thing. lie long ago discovered
a formula for producing certain effects and
rcapplies it with unremtting frequency,
but, it is clear. with continually fresh
pleasure in the exercise, and so he com
municales fresh lease of enjoyment to
ourselves
For his power Of creating an illusion,
a. any ratio within certain limits. is quite
remarkable His pictures always suggest
the appearance of snow; and, much more
than that, it, sentiment; that vacuum Of
stiffness within which the least sound Is
sharply audible; the purity and IMMIGRATION
oi the snow and the magical Effects Of light
ard shadow. II We know nature under
such cuisa and love II, and suppose, We
all do, the illusion that he creates il cmi-
penuy enjoyable. Nor need the enjoyment.
b. maternity lesfened by our clear obeor-
walton of its lmi:s The effects arc almost
entirely confined 70 the fairgrounds OF ;he
picture; tncsc are apt 10 be .nclosed With
a hedc" Of trcoe that is quite pcrfunctoriiy
runder-d. with little or no suggestion of
planes Of vision, or tho thousand and one
surpriscs that the ;wink!:ng Of Ssre branches
reveals, white after a certain point of dis
tancc il reached reality Of atmosphere
IL swallowed UP IL Il general blurr!ness.
Still IL we will accept these water colors
for tn" good that Is in them, sc shall scarcely
be disappointed.
With the architectural subjects we rnay
feel less satisfaction. Here il a court Of the
Alhambra, for example, in which the solid.ty
and weight Of architecture are hardly real
lied, nor has the perfection of surface
ornament been given the serious study
that II merits, while We search In vain for
thai luminUu-ucss in which the scene
would bc hathei. In fact, the whole attack
81 MS subject II lacking in enthusiasm.
We shall feel the zane, ] expect, about the
four virws Of la salute" respectively
at night. noon, twilight and sunset, The
dlstinCtiNen"ss Of the phenomena in each
case seems TO have been realized feebly
or else expressed with too slight an inten-
ton, They do not carry conviction like
the snow SCENES Nor il the drawing always
correct; and this deficiency mars the effect
of two interiors, otherwise good In Seville
Cathedral" the perspective Of the pointed
vaults Of the roof is incorrect. the arch
leans and it, hutings are not logically
connected with the clustered columns
that support il Again in the Interior Of
san Marco" the pulpit is wofully out Of
drawing. Otherwise, the golden lustre
of the walls, the mystery of quiet shadows
and the delicate metal work OF the hanging
lamps are admirably rendered, while the
tone Of the picture is sonorous and the
feeling of the scene very truly realized.
Both these interiors, which represent a new
departure i'll Mr.. Palmer's motives, have a
~ l.t nj 81 al IN to
veal strongly aroused interest on his part
and very serious and heartfelt study. En-
ceedingly welcome will be further excur-
sionS in the same direction.