New-York tribune., 1903-01-21
ART EXHIBITIONS.
Paintings by Mr.. MacMonnies, Mr.
Walker and Others.


and even those who have known CT this artists
facility with the brush since he first
abroad in the eighties. have been accustomed
thinking Of him sculptor that his first dis
play OF a considerable group OF important can
vases cannot but strike them with monlentary
sense OF establishment Presently, however, aston
ishment gives place to an easy acceptance OF
these paintings precisely the kind one would
naturally expect from the author OF the familiar
bronzes with which they are associated on this
occasion The essential qualities of the latter
those Of man with an instructive feeling for
FORM a quick and firm grasp of technical prob
lens, and a style that is Of nervous force and
picturesque elegance all compact. There is nothing
phesomenal about the ample list of honors set
forth on the back OF the catalogue. though at
first blush it might seem q remarkably long one
be put to the credit Of man only in his
year The truth is that where many artist tolls
through the years painfully endeaVoring 10 make
his technique keep pace with his ideas. Mr.. Mac
onnies has possessed, from the start the aptitude
Of the born craftsman. He was barely thirty when
he executed the immense fountain conspicuous
IN the Court Of Honor at the Chicago Exposition
hut the first thought that mind with
recollection Of that brilliant improvisation is Of the
stamp OF technical authority it bore Of the apomb
with which the sculptor attacked a theme of
peculiar compexity, and carried it to successful
completion In all his sculpture, including his
monumental composition and his statuettes. Mr..
NacNonnies has shown the same iuency, the same
lghtness OF touch, the same keen perception of
plastic effect. The group Of bronzes in the present
exhibition, which includes. by the way, reductions
Of some OF the works originally cast on large
scale, gives in its vivid illustration of these quail
ties. and OF the ebullient spirit which makes the
broad atmosphere of this scUptors art, the best
possible introduction 10 his painting.
Il is brilliant painting, brilliant TO the point of
glitter. for he has shaken himself free from
the bonds Of dull clay and stubborn metal. passing
the freedom Of infinitely more elastic
medium. and feeling the eXhilaration Of man
with ali the delights Of color before him, Mr. Mac
Nonnies has proceeded TO strike note so joyous
that II is almost violent Perhaps the most elo-
ouent testimony 10 his Measure in his new field
IS 10 be found in the large portrait of his wife
and children grouped at their ease in a sunlit
French garuen. Bright reds and sharp blacks are
here given their ful value telling with almost
startling salence against the wall OF rich green
LEAKAGE that serves 70 keep the key in check with
deprivinF il Of its strenuous resonance Ths
big canvas is flooded with light and air If is ex
ample OF impressionism taking everything from
ths inpressionistic formula its exaggerations
and its obscuTities. Large and ifelike and clear
Is this family portrait boldly conceived, freely
composed bat admirably balanced. and executed
with vigor and swing which find wholly
captivating. II is impossible for Mr.. MacMonnies
leave his 6gUTeS iTnEnoble, or in that environ
lnent which betrays the lfeess air of the studio.
His portraits are brimming over with vitaity'
and not the air portraits alone The anlrna-
ton in repose Of the just cited, the swift
movement IN the portrait OF q gaElY appareleo
la6y eagerly advancing toward the spectator across
g sunny lawn. are not more inspiriting than are
the elements which so 10 make the figures in the
portraits painted indoors seem extraordinarily
alive Energy. underlying stately demeanor is !
clearly expressed in the Madame La Comtesse de
Trobrtand'- masculine power is as accurately re-
corded in the full length OF stalwart soldier in
uniform and the artless attitude Of another type
17-ds equally sympathetic Interpretation in the
portrait of Mr.. John Flanagan, the sculptor,
seated atom Of z ladder in his studio Always, in
short Mr.. NacMonnies seizes the natural carriage
his sitter well the characteristics in that
eitter's physiognomy. and gives the beholder a !
Eense Of moving in the company OF living beings.
He accompiishes this through powers Of ex-
preston through force in modelling and d skill
n the handling Of textures which the willing
servants OF wonderfully active intelligence. The
result is series OF remarkably vtalzed and
striking portraits
The general impression they leave is that Mr..
NacNonnies has begun where painters Of twice his
experience are often content-or obliged-to leave
of; where others in his place would be showing
promise he shows achievement. Yet it would be
rendering anything but friendly service 10 him
70 appraise these paintings as conclusive lustra-
7ions Of his resource. Their color needs refining
I'll through. 10 take transparency and
quality without which IL seems impossible that
even the best OF these canvases should wear
we'll" The large portrait OF Mrs. MacMonnies
and the children for example, good il is, pos
sesses when all is said, more Of the exhilarating
lravura Of q successful exhibition picture than OF
The lasting charm which attaches TO the merely
beautiful work OF art Beauty, no doubt the artlst
sought 10 express this work, and, for that mat
Ter il all its companions Certainly his paintings
throughout seem thoroughly sincere. There is no
obvious straining after effect But effect, VlVld
and somehow pyrotechnical effect, is all that We
recognize Depth. tenderness. subtle and per-
sonal feeling in the treatment OF Color all these
are lacking There is nothing TO haunt one, noth-
ing 10 sink into the mind and refresh II WIN
new and exquisite sensation. Instead one is dazzed
fv the color which perpetually trembes on the
verge Of being garish and crude; one Is hled win
admiration for the painters techTlcal slfenslh
but deplo-es the absence Of temperament OF DIS
7inction from his work. Consolation comes win
the realization Of the tremendous stride which MI
1acAIonries takes at what must be regarded as
practically the beginning Of his career as paint
If he can, so after his long apsoT ploh III
sculpture make portraits like these, so vibrant
with life and SO fun of ability time alone is needed
20 steady his gifts and purify his methods leaF-
ing him 10 the production OF work not only strong
hui beautiful Meanwhile his appearance as a
PAINTER is 10 be hailed interesting event III
American
Fifth-gve is full Of "one man exhibitions AT
the Monrross Gallery some nfteen or elghleen
cattle pictures by Mr.. Horauo Walker are SHOWN
the collection giving fair idea Of his oeNeIoplenl
from 1gss 10 the present year. The bulk or the
work shows in hold relief one characteristic es-
peciauy & tendency TO conceive Of form as present
ing rgidy differentiated planes 10 the VISION OF uie
artist certain harshness is visible no matter
what the theme nav be- The oxen We see IN MI
Walkers paintings are built 50 TO say four-square
70 al The winds that blow huge. massive creatures
who lose in pastoral charm what they gam IN 4ln-
Jressive dignity II is the same Win Cne HuiI1o-i
figures introduced. and even with the HeeS' an
have. n The main. feeling or haroness aho 100
great weight Yet there is rough truth In every
thing that Mr. Walker does. and especially there
IS 10 be dscerned-swallowing UP his manneTlsns
On every occasion-an intense feeling LOT the