The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-03-26
AROUND THE GALLEAIEs.
aadssapss " D. ". lTrysa 1t the Msntsss'
Gallery.

Gauery.
At the Montross Gallery, s77 Fifth avenue
Il an exhibition OF paintings by Dwight W
Tryon. They consist both OF recent work
and Of many that have been lent by thei
owners for this occasion, some Of whicl
have never been exhibited before. As tn
earliest Is dated 1884, about three years afte
Tryons return from his studies ABROAD
under Harpingies and Daubigny, and a
there are several other canvases. repre-
senting the few following years while h
was still working with more or less REQ
|. objection Of foreign influences. the exhibi
ton offers an excellent brief summary o.
his career.
The early work abounds with character
subsequent pictures: q character rather
pictorial than personal. 1t suggests.
mean, strength and seriousness OF purpose
but does not yet give evidence Of the particu'
lar way In which, In a manner personal to
the artist. these qualities were to become
distinguished. The Starlight (lSs4). fol
example. with shepherd and flock vending
their way homeward over sandy pasture
and the Newport Harbor-Night' (lsss)
are admirable summaries Of effect, but
have not been studied with the analytical
observation that was to follow. Tryon,
indeed, had not yet got his foot firmly
planted on his native heath.
A son Of New England, II was the love
OF the New England landscape that had
made him desire TO be q painter. and 1t il
not until he fairly sets to work upon the
subject OF his prediction that his distinct
self begins to develop in his style. Then
the recollection OF this or that which he
had acquired abroad, Of Dutch or Barbizon
painting. fades: he IL face to face with an
other problem, a new and very different
range Of conditions, In the confronting OF
which he soon acquires a method OF ex-
preston suitable to the peculiar phenomena
of the locality and personal to himself.
30 soon, indeed. that 1t would be quite as
II we did not remember how
many years. long before he had Possessed
himself Of any technique, he was possessed
with a thorough knowledge Of the subjects
which he desired to paint. For, while power
is indispensable. knowledge, after all. is
the main ingredient in its expression; and
having the latter II is not strange that Tryon
soon discovered for himself a particular
manner Of disciplining his power to it.
The word discipline is especially apt,
since his art is based on the scrupulously
keen analysis that belongs
to the New England character. In his
case we must vary lola definition that
4 work Of art Is nature visualized through
the artists temperament, for there Is in
Tryon's art less temperament than char
acter. The latter is the force that ami
mates all these later landscapes, not. how
ever, without sentiment. but with a senti-
ment which is all the more poignant and
by reason OF the chara cter
which makes it so genuinely real. He
exhibits, for example. several pictures
II early morning. one Of them a d decoration
made In 1893, an early Morning-1eOO'
md Morning Twilight-1S03.' The deli
cacy either Of perception or Of rendering
,ould scarcely be exceeded. They have
,ates from Corots. but are not, like the
alters. exquisite transpositions from
nature, but nature very localized and truth
ully observed, yet localized. Spiritualized,
perhaps, would be the correcter word
ince there is nothing added or imagined,
tut only an extraction made Of the spirit
u the facts themselves.
One finds the same In 'Springtime.
xecuted as far back as 1899, in the exquisite
lelicacy Of which the very breath of spring, |
nost Soifue ana evanesoent, seems to
svsue .ne nafuy scene, uemonhgy, as II
caiceIy iIee OF the cnilI OF winter, not as
e. coilscpus on the NE SNnln Nsen, ana
= say .ne s,~he ~ haIuy, even aus,ere In
= . uepoIi.n., gonethins OF oieakhess'
!, no ~ oI cnafacoer, tne very oPpo-
.s u Sn appears III All tnese
J one OF autumn. a. in October Afternoon
, 10. th Eng Ooth pantSo
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