New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-12-02


and the dome of st. Pauls as 1t looms up from
| the bridges. and to paint the Tower Of London
| the most beautiful Norman relic after west
| minister Abbey: and there are other drawings
! of familiar scenes in the worlds metropolis.
| Other veterans have visited their former haunts
| or have gone far afleld Mr. r. Thorne Waite
| is again ploughing the South Downs: Miss
| Montalba, In her beloved Venice. has ideal
lied a British fleet In ivory tnts and fiushes of
pink; Mr.. Hopwood has been up and down the
| coast and over in Holland; Mrs. Allingham
has found the Michaelmas daisies in a Surrey
| garden; Mr.. Napier Henry remains afloat off
! Devonshire and Cornwall and Mr.. Alfred Par
| sons has gone astray in America to paint mag
| nolia trees in Massachusetts, and dogwood and
| white pines the Hudson. Mr.. Albert Good
| win is one of the most restless OF travellers;
| but 1t does not matter whether he is doing
! Venice from the Hebrew cemetery idealizing
Naples and Vesuvius or composing a sea dirge
at sunset over a wreck. there is always the
| maximum of yelled reality. and Turneresque
! glory of light I'm the sky and the face Of the
| waters. Mr. Carl Haags Arabs have disap-
| peared from the walls, but Mr.. Weguelin con-
tinues his woodland idylls with chaste and beau
! tiful drawing of nude figures. Mr.. Allen. weary
| of painting quiet Ravens with broad daylight
effects. is dancing with the satyrs of impression
ism and revealing in fantastic blobwork There
| ors and only Mr.. Hughes has the courage re-
| qured for portraiture in this medium.
Mr.. William Rothenstein ordinarily sets the
! stve for the painters of the New English Art
| Club at the Dudley Gallery; and fortunately he
! varies 1t every other year, The plain girl in
! shabby room has gone out and the substitute
| for her this season seems to be abstract con-
vention that there must be neither beauty nor
| ora in tha Mr. Roth
way by planting deserted quarry under a dark
! lowering sky-as unpromising subject as can
| be readily imagined. There broken lines OF
stone and turf with a section of rough fence at
| the top and fringes of stunted verdure at the
! bottom; and awkward hosting derrick casts
| long shadows across the picture. There Is good
| technique in this sombre picture. but nobody can
! accuse the painter of coquetting with prettiness.
as was the Mid-Victorian habit. The new con-
vention is not generally adopted by the land
scape painters. for Mr.. James Henry brings out
! the pictorial beauty of Yorkshire moorland
village: Mr. Mark Fisher reproduces the lowell
| ness of a garden walk among shapely trees and
| masses of verdure and other artists indicate
| their preference for good subjects. There are
| signs. however, that the new style will be fol-
lowed another year. for already Mr.. Harrison
| is painting a bunch of gorgeous hydrangea
! against ugly green folding blind which Is
! T.
| glorifies a commonplace scene with pale twi-
| light and sacrifices beauty in a storm picture
for the sake of emphasizing the transitory gloom
| and disturbing influence of black clouds. Mr..
| Steer is a painter who takes his art seriously
and interests himself in subtle problems of light:
| and Mr.. David Muirhead is another artist
| whose work has rare technical excellence. How
| few pigments he in his autumn evening
study yet what pathos there is the low tones
| of gray!
The humorous element Of the exhibition Is
supplied by Mr.. Sargent. who was once a mem
Der OF the New English Art Club, and likes to
| try experiments in rapid brush work. Under
| the title His Studio he contributes comical
! sketch of a painter in rusty coat. Working
| with his palette a landscape which is tilted
| UP on chair and bed. The bolster is at the top,
and the sheet and blanket flung over the
foot of the bed; and the narrowness of the room.
with it's bare yellow walls. is indicated with a
| few decisive strokes of the brush. There would
be pathos in this glimpse of poverty if the artist
were not putting all his energies into his work
with overwrought intensity. There is another
| sketch by Mr.. Sargent with even holder brush
| work These two contributions from the great
! est painter in England are placed each side
| of Mr.. Furses portrait of Mrs. Jervis White
| Jervis The dignity of age is In the seated figure
| and in the folded hands and serenity is in the
! strong refined face underneath the beautiful
| gray hair Family portraits are outlined on the
| wall behind her chair. and there is with
| racemes of light purple flowers a small stand
near her feet. work like this, with it's indi-
| viduality of style and dignity of treatemnt, is
a proof that England has lost great painter in
! Mr.. Furse. He had instructive knowledge
OF the values of tones, and without displaying
his dexterity knew precisely what he could do
and never left the character out of a face Mr.
| Wilson Steer has a carefully painted portrait
! OF lady in black but 1t lacks Mr.. Furse's dis
| tinction of style Mr.. Walter Sickert has por-
! trait Of Mr.. Zangwill. in which excellent
! likeness is spoiled by muddy color. Mr. Am
| brose McEvoy's large portrait of Mr. c. X But
! Ter shows good modelling and is full of promise
Mr.. "OPENS portraits less interesting than
his improvisation the Organ" a brilliant
work. with perhaps too large group Of villagers
around the organ player. but with vivacity in
! the treatment. There is also a vigorous portrait
! by Mr.. ]. E. Blanche OF Mr.. Charles Shannon
and Mr.. Ricketts, which fairly pusates with
! vitality. The New English Art Club has a
good many faddists and dreamers. but its mem
! bers think and act for themselves and have
| genuine creative impulses. 1t deserves the en-
! enlargement it receives from painters like Mr.
! Sargent and Mr. Blanche Inf