The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-03-21
rHE rWAOnYMAN sxHIsITION.


| An exhibition Of works by tho late John
H. TwachtmAn IL bsing beld at the Amer
loan Art Galleries, previous TO their sale
on Tuesday next. Il has beeu arranged
under the auspices Of committee OF ANA
teurs and OF the nine painters who during
the last few years were associated with
him in the exhibitions OF @The Ten
notable innovation on this occasion Ia the
stamping of each piece -Twaohtman Sale.
following the French custom, which at
oncS fixes for future purposes the prove
nance Of the picture and does much 70
check fraud.
Even to the admirers Of Twachtman's
art this exhibition will be In the nature
Of a revelation. Like myself, they have
probably seen his work only In ones and
twos at time. OF in small groups. when
| the presence OF other work still further
lessons the chance OF properly approaching
It. mean by properly with that clear
understanding Of the artists motive that
30 large gathering as this enforoes. Then
the mysterious loveness OF his inten ton
and expression, qualities OF which l was
only dimly conscious, appeals with unmis-
taxable CONTINGENCIES.
One sees him as he really was, an i'm
pressionist of extraordinary susceptibility
and subtlety Of Interpretation. One places
him in the same class as Monet; not as an
imitator, but as approaching nature In
much the same attitude Of mind, and with
the same analytical tendencies. a. to study
Of light and atmosphere. He studied
the facts Of nature. but was conscious
rather OF the imagery with which light
and atmosphere invested them, idealizing
and spiritualizing the material. My per-
sonal ACQUAINTANCE with him as q man
was very slight, but the impression he
produced upon me was one OF mingled
shrewdness and simplicity; Of keen, clear
mind and childlike sweetness OF disposition.
And. perhaps, it is not far wrong to say
/ that this blend Of qualities characterizes
| ton there can be no doubt. or Of the ex-
| quisite tenderness OF feeling that pervades
| the majority Of these works, varied In the
! others by gladstone buoyancy and alacrity
/ Of feeling.
ization Of light and atmosphere, reaching
| a very close analysis Of the particular phases
Of each. In the recent exhibition Of Mr..
| Fullers Monets one felt how maryellously
the various kinds Of winter day had been
| interpreted, and one will find similar
shrewdnese Of distinction In Twachtman's
pictures. For he, too, was keen student
and lover OF the manifestations OF winter;
4scond 10 81 land
scape under the varying moods OF winter;
and they were painted while he himself
also was Possessed with the mood. There
is in these no more or less skilf,l apptca-
paint them In his shirt sleeves during the
sweltering heat OF summer. as one has
heard OF winter scenes being painted; but
there on the spot with the ctual scene
around him, the influence OF winter In his
blood and the special quality Of the days
such examples as Hemlocks' (esl. Snow,
storm Q1), THE Frozen Brook (%D and
Melting Snow $50, / can only describe
| the effect produced upon my sensation ~
s psyyohsol eI or OF the Winter landscape, 60
deeply do they penetrate to the spirit OF
| the scene, the hutter OF spirit behind the
| soundless motionless face OF nature. Do
| you know this hush Of winter IN the country,
when no note Of bird. babble OF water or
| fall OF leaf disturbs the absolute hollowness
| Of silence; and yet know the feeling OF there
being within this inert nature heart i'm
perceptibly beating with lifef II % you
viii APPRECIATE With what extraordin.ry
outward aspect and The hidden susgsstaon
Of q winters day. .-.. g.
Or let us forget for moment the emo
tional impression. and study thee canvass
they compare with Monets work IN their
indescribable sensibiity to the most delicate
sohemes OF color and In the elusivsnsss OF
| the impression rendered. We may not
find these qualities equally N all the can
| traordinary and always wholesome, For
one may note In some pictures sensibility
amounting to Representatives., =, with
something OF the suggestion OF the disease
OF overstrung nerves. unwholesome like
the prismatic scum OF q stAgnant pool.
Never In these pictures. any more than In
Monet's, but always purity and Refreshing
healthfulness. A examples OF this, besides
the ones already quoted, We may turn 70
Old Well (so) and Afternoon" The two lat
ter are impreenAtsd with summer sunshine;
and. a. they happen To be hung close 10 each
other, offer Q ready chance OF comparison
and Of noting with what dlrecsnsss OF
different phAsss Of summer light. What
could be 1ovelier than the former (e0) In
its intimacy Of feeling and In the suggestion
OF trembling .greenery and vibration OF
several OF the pictures here rsprssent
the artists attempt TO enoomPass the
larger impression produced upon his mind
by grander scenes Of nature, IS mani
Tested q Niagara or IN The feliowssGne
In the hint they give that the artist real
ised the difhcuNy of his tash and the ns.oes-
si,y Of concentrating his mind upon the
one impr..sion out q 9 thousand possible
ones that seemed 10 po~seas him most
strongly. Thus in Niagara Fails u would
apt~sr to t- ,he vsiss dust that noats
On the faoe % the vall Of wstef and gather.
ing volume coils up la vol,ms- u cloud
mist. cot, volatile saPor. Nc mskss ~
"A. forget ths crowd Of Other srnsations
thai Is. se.ns inspired Ia us hsnos IL
IL lmpos-ibis for this pasture Ca create
the s..a.r VI intimate cssinpi~4spe-- that
90 srIsslssss bsforv ,hs ons- II Ices mao
n.sslisSus sublea
Wi.sn | .,,oks al,oy. ~ basyanoy ~
f.sllns . had ssiscAally VA inind No
assils.,s' lssl = sL.d sld~ vith plnk Ash
housps and sAiiis.sss moofed NJ fpsnt,
il..-s oi,lss-,s ssd the blus sky 9Th sla,l-rs
~ sli,s slovd r-a~sssd el ~. gay, bsisk
sursas - ti~ wsssf. u 10 full ~ ti.s i.r-
o1sse.s AID .siilsfstlsa - Lfzsd, s,.sS
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/ nlll IA alsaduis fa.llsk.f s1Isrl.s4tEI AID 10