The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-04-25
THE AMERICAN WATER C0LOR
SOCIETY.

American Water Color Society 70 now open
ct the American Art Galleries This wa
formerly an important event OF The season
but the ripple II now makes has small mo-
mentum. The decline Of public interest
is due to many causes, and the society ID
at last waking up 10 the fact that with the
enormous increase In the demands upon
public attention II can only claim notice
for the quality Of what 1t o6ers. To this
end 1t has. not vigorously, to b. sure. but
with some degree Of courage. notably re-
duced the number Of tho exhibits. As q
pure business proposition. 1t Is wise not to
weary the visitor and possible buyer with
experiments which are chiefly interesting
to tho artist who made them; a. stimulus
to the production Of good pictures there
can be no possible doubt that quality u
better than quantity. Water color has
always been the refuge Of the amateur
and the diiettante, and the pressure 10 UNI
doubleday great on the managers Of the
society to take under its protecting wing
not only the productions OF this class, but
also the least serious work Of many an
accomplished painter. II would obvi-
ously be unfair to criticise a water-color
exhibition from . heroic standpoint. Tho
material does not suggest efforts Of that
stamp. 1t In particularly attractive az
medium when 1t 10 employed with an alert
and vigorous hand. when It declares pro-
cision Of touch. brood and accurate obser-
walton and shows - short road a possi-
bic to the suggestion Of the largo facts Of
nature. OF tho perennial wrangis between
the two camps, the purists and the body
oolorists. We have nothing 10 do. Much
may be fairly said on each side, and what
ono method loses the other gains
The focus Of one wall In the large gallery
Is the picture by F. 8. Church. which no
calls Snow Butterflies and the corre-
spending position on the opposite wall Is
occupied by the painting Of sSky Scrapers,
Broad Street. by Colin Campbsll Cooper,
to which was awarded the Evans prize. Mr..
Church's allegory 10 a little disturbing, per-
haps because one Is not easily accustomed
to q Canadian cupid, although the other
actors on the stage. the suburn-haired
girl in semi-clsssioal drapery. the sur
prised and delighted rabbit and the mated
birds do not shock with their novelty.
1t 10 moro conscious than the artist wished
1t to be. and the items Of realism are more
prominent than Is consistent with the sub
n.
Mr.. Cooper's cleverness In suggesting ng-
ures and his command OF fictitious realism
are just what Mr.. Church lacks; and, while
the latter makes US almost regret the dis
comforts Of the spirit Of the snowstorm,
the former fails to convince us of the
soldity of his architecture. the truth
Of the oppositions, or Of the aerial per-
spective. Besides, the influence Of tones
Of mauve Is much too strong to be agree
able. Charles Mente's Melting Snow In
March Is very satisfactory landscape.
Direct, straightforward and consistent,
It gives the true note Of the season. The
maze OF twigs and branches In the long
rank Of trees which stretches across the
picture Ia very well rendered, and there IL
! good deal Of firm and accurate drawing
II the anatomy. In the corner near by !
his picture hangs Carleton T. Chapman's |
The Wasp and Frolic, which might better |
De called THE Battle Of the Perspectives,"
or the two ships In close conflict are seen |
rom the height Of a masthead and the hori- |
'on still remains normal. Lapse Of atten-
ion In another direction d unfortun ately
ecorded In an otherwise good little picture, |
The Poets Corner by Arthur T. Keller.
The head and hands Of tho eighteenth
ury poet are drawn with style and amazing
but below the waist there Is |
haos. Hung rather high In Q corner h a |
by Hiroshi Yoshida, which, with
Is merits Of an Occidental sort, makes
Il regret that he has not found Full In her
oriental aspect still worshipful. As a
ut OF crisp, nervous and accurate work
nd an example Of consistent use Of the
'ure medium, Childe Hassam's study Of
he Thames Embankment, which, fortu-
ately for Mr.. Cooper. does not hang too
ear his -Sky Scrapers,- may well DO COM
nendcd. and We can but wish he would
ow take a lesson from himself. Much In
be came spirit Is a small sketch by James
Ienry Moser Of corner In the upper part
{ New York city. with the advance euard
. rank OF houses crowdins upon the
ough ground; and less spirited but yet
'ell studied and direct in its way, the little
by Miss Julia Brewster. Far
% esoteric Ia Sidney K. Hartman's sThe
and, though h does not
latter much. 1t would be interesting to |
now what the artist intended to suggest.
good example Of the reserved use of body
DIOR il a New England Landscape by
T. Bricher, which is composed with skill,
nd. though a tine conventional. has a
pod deal Of charm. Walter l.. Palmer's |
After the Snow the best Of the six land
apes he contributes and. indeed. one Of
Re best in the exhibition. 10 full Of good
ialities. The delicacy Of its oppositions
I'd the refinement Of it's tones would seem ,,
arcely possible with such free use Of
,inese white, but MIR. Palmer. with his
,usual skill, backed up by serious study
I'd sound observation. shows US the posi-
lities Of this material and converts us
his method.
The first real shock Of the exhibition 10
ct in the small gallery at the head Of the
airs Here are grouped seventeen land
apes by tho late Henry Farrar, which,
til mistaken sentiment. the committee
we hung IN juxtaposition- The loyal
ENDS OF this excellent artist honestly
tended to do him honor. It Is a fetch
the profession that mans work n best
% BY itaelf; that 1t b the only way In which
) real status may be determined. Given
snty Of epac 9. with suficient variety Of
bject and Of effect. this theory Of hang
Z may sometimes work out well. But In
. case of Mr.. Farrar. who was an artist
distinguished ability. the grouping has
ne him q great. though unlntentional. tn 1
stice. There are SO many pictu res of