New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1905-02-19
NEW-YoRK DAILY TRIBUNE SUNDAY. FEBRUARY

Ing Ford" Crome,s '.Twilight', constahIe,s
Bay Of Weymouth" Berghem's Animals at
Fasturage," RuysdaePs Wheat Field % and works
by Corot Daubigny and Jules Dupre Grand
architecture like Rouen Cathedral interested
MN less than picturesque woodland scenes In
winch masses of foliage could be balanced In
composition and contrasted In effect; and he
reselled alike In vistas OF the sunny banks OF
the Seine and in glimpses of dusky corners OF
ROLAND under darkened, cloud streaked skies
Laianne was painter himself but he instinct
iveSy chose his subjects and arranged the details
of composition with reference to etching as his
iavor1te art; and his own works were Invariably
reproduced with lightness of touch and delicate
grace Technical difficulties he faced with nm
firing ardor and patience. as is shown by his six
trial proofs of Nantes Ia Joiie" after Corot
One understands after a faithful study of this
me collection what Mr.. Hamerton meant when
nc SAID that the fine arts offer drudgery enough
to be training both In patience and i'm humil-
ity' and that in etching and line engraving both
these qualities are developed to the pitch of
perfect heroism
Inc Society OF Women Artists celebrates it's
haif-century with exhibition which Ia at least
impressive from the quantity and variety Of the
coHecion. There eight hundred en-
tries In the catalogue. and there is either little
or a good deal OF everything in Illustration Of
art processes. There are two rooms with at
least 800 water colors; there are $50 oils and
pastels in the central gallery: there are minia-
lures ny dozens: there are examples OF scuipt-
ure' designs for stained glass windows, wall
papers arusuc furniture. book plates. picture
frames mirrors fire screens and tiles; there IS
piack and white work In great variety: and the
nanoicrafts are illustrated until the bewildered
spectator finds himself wondering whether there
Is anything IN the busy workaday world that
women cannot Go. One expects to see the en-
proiderfes for cope hoods the curtain blinds OF
hahowovsn Giik. the sachets and lace collars,
the applique dinner centres and tea caddiss Tho
toilet sets and bedspreads: but surnrIses are in
reserve when the cases Of enameIs and Jewels
are found. with the repousse copper trays the
bronze door knockers, the picture frames inlaid
with mosaics, the beaten silver dishes and
solo caskets, the oak carving and the embossed
leather, and all the other evidences OF womau's
skill in working with all known materials and
her taste and ingenuity in designing anything
that Is useful or ornamental in the household.
Inc cumulative effect OF so large and miscel-
laneous an assortment of woman's art and
handicraft is considerable; and the judicious
spectator will leave the galleries in Suffolk-st
without critical examination of the trhilee ey
hibition 1t certainly will not be wise for him
to finger in the rooms where the water colors
OILS and etchings are exhibited. for the bulk of
the work is crude commonplace and inartistic:
anu whlle the handicraft Is varied IN the other
departments. there is little evidence Of genuine
talent for design OF appreciation Of what is
really decorative and elegant. The impression
which is naturally created by such a tumble of
amateurish work is that women ought not
to be encouraged to hold such exhibitions, where
everything that is sent in is accepted and where
artists of real talent are not represented The
true principle is equality Of the sexes in art
work; and this is to be upheld by opening So
cieties and exhibitions TO both sexes and shut
ting out work which is distinctly inferior in de-
sign or execution. I. ". r.