New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-03-05

and academic "L'Amour ct Psyche, wherein
Psyche has hieratic loftness and alabaster cold
ness The blue winged Cupid futters snilingly
about the young Grecian beauty, and a garland
of petals OF roses forms an appropriate noroer
for this delicateIy colored work. CASTOR La
Touche lights up the show with his brilliant
reds and yellows enveloped in that painter S
vaporous poetic luminosity Rene Binet sends a
panel of thirty brilliant and decorative sketches
made in Palestine. Georges Scott exhibits some
adroity executed stirring studies OF the Imperial
Guard during the Second Empire There are
Hosarthlike sketches by Albert Guiilaume. pre-
senting humorous scenes of humanity IN the
Paris streets Luigi Loirs studies from "Cyrano
de Bergerac" have a full share of that artist S
yividness of color and excellence of drawing.
Nine Madeleine Lemaire has grouped IN d
separate room in the Georges Petit Gallery some
thirty selections Of her artistic work, There are
studies Of flowers of exquisite suotety anu
charm. There are portraits Of women and girls
of the various strata of the social hierarchy,
from princesses to courtesans. There are de-
lghtfully soft and roseate flesh tints enhanced
by the FASHIONABLE sheen of silks and velVets'
With amiable perversity Nine Lemaire mas
placed side by side the portrait of her grand
mother painted by the artist when only fifteen
years old and the portrait of young Partisan
portraits of yellow roses, pink roses, violets.
irises and tulips are delightful and soothing.
Remarkable among this parterre of water colors
is the recumbent figure Of a nude girl the irl-
descent pearl reflections Of whose flesh are set
forth on a tigerskin strewn with flowers
The exhibition of women painters in the Pc
tit Palace of the Champs Eiysees is a neretri-
cious snare. Women are delightful creatures, and
flowers are exquisite ornaments Of nature but
when women begin to paint flowers they never
know when to stop. The result is that the cata-
logue Of the women painters show reads like
the botanical lists of some gigantic floral ex-
hibition There are roses of every imaginable
hue and denomination, tulips, violets, orchids,
gIadioli lilies geranums, carnations (both red
and green, regiments OF chrysanthemums, bat
taIions of pansies, squadrons of saXfragia and
batteries Of begonias OF the eight hundred
numbers in the catalogue there are perhaps a
dozen paintings Of flowers and portraits of
women that rise above mediocrity. On the other
hand the miniatures are excellent. But there
are not many of them. AS there is no sex in
art there is no more reason why women paint
ers should exhibit together in one show than
should painters having red hair or shortsighted
eyes
The Automobile Club Of France opened its
annual picture show with q series of effective
portraits of women by Comerre, Abel Faivre,
Jobert. Umbricht and Zwiler There are ra-
diant nude nynphs capering in the sunlight by
julius Stewart; impressions Of Italy, by Franc
Lamy; delightful landscapes, by Karl Cartier;
green meadows and browsing cattle, by Julien
Dupre: harmonious humorous sketches, by Jean
weber, and strongly conceived Daumierlike
studies, by Foran Gueldry, the most vigorous
painter Of aquatic sports-rowing and swimming
exhibits panel of brightly coored river
scenes that are greatly admired.
The exhibition at the Haussmann Gallery OF
some forty works Of the landscape painter
Picabia is important as indicating the healthfui
influence of Claude Monet young artist
who is acquiring maturity and breadth Of con-
ception The works OF Picabia mark success
full effort in the right direction. His meadows,
rivers trees, foliage and farmhouses eyince
honest open air brushwork and truth
c. l. 3.