New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-03-21
ART EXHIBITIONS.
The Ten american Painters at the
MORtrOSS GalZeru.

eis' which may vary in Importance from season 10
season. but are never undressing. This years
display Of a group which has become an institution
without becoming hidebound fills the Montross
Gallery with the right atmosphere. tt is almost
complete. Mr.. Simmons absent in Paris. makes
no contribution, but the vacancy left by the death
! OF Mr.. Twachtman has been filed by Mr.. Chase.
IhlEty-tWo paintings hung. some OF them works
OF considerable significance. and others of slight
er more casual character. The presence of a few
sketches is be regretted. in an exhibition
like this they serve to emphasize the note of indi-
VIdualty the note which il is the particular pur-
pose Of the Ten to express.
Most of the members Of this organization have
done a good deal of work in the open air. a fact
which has percepubly counted in supplying the
familiar vitality of their exhibitions. but it may be
be said Of all OF them that they have made il their
nrst aim to get much character as possible into
their work much painted surface. On this
point craftsmen dissmiIar in other relations OF
art as are MI Dewing and Mr.. Weir firmly
united. The result is an exhibition in which the
thing itself and the way in which the thing is
done divide attention perhaps little more definite
J. than on most occasions. Yet the Ten would not
make their unqUestionabIy serious appeal they
had not often way Of turning the two elements Of
interest TO purely pictorial use achieving unity of
substance and Of form. Mr. Dewing does this with
his customary serene pose in the single painting
he sends, a portrait Of young lady seated
against background of light and unbroken tone.
The refined deneation Of the lovely head and
shoulders. the subtle meditation OF the blacks in
the dress, practically everything to the
cess OF lhis panel as a pattern design: but the
artist has never shown more feeling, he has never
put more life, human interest, into his work
than IN this instance Undertaking a task of pure
portrature where his siters have often left him
free to dwell on harmones OF color alone, he has
added the charm Of character to the charm Of
technical authority
This merit Is disclosed by Mr.. Tarbeu with
very different accent, in the open-air Portrait of
Miss Eleanor Hyde TO which made apprecia
tive reference when 1t appeared in the recent
hibitiOn Philadelphia 1t is the kind Of painting
that makes deeper impression It becomes better
known. Though it scarcely appears TO the fullest
advantage IN the present gallery, its bold lighting
requiring q richer and wider environment ind
it now even more impressive than found it
month or ago 1t is a positive JOY 70 see
craftsmanship true. atmosphere vivid. and
everything in a painting that means sound work
manship. fused easily and so surely into the
rounded, we'll balanced and eloquent whole that
means sound pOrtraitUre. Mr. Tarbels other eN-
hibit A Girl AIendiuE.' which repeats in a modi-
ned form the motive Of his Girl Crocheting' Of
year ago does not quite raise the same emotions.
His sincerity almost trumphs the difficulties Of
repetition. Opening a door into another room, be
y0ud that which his model sits. he has Increased
the range of his values and the costume too has
given the chance for a more varied play OF color
The picture has beauty. But It lacks the placid
sweetness Of the earlier work. and lacks moreover,
ter but its spiritual reality Possibly it is be
cause this Girl NIeudiug does not. after all.
pear to be doing anything, but IS merely fixed m
an adventurous attitude that like her less than
we liked the other. Last year Mr. Tarbeu gave us
a page from nature IaThis year he has superlH-
posed upon It something of the studio pure and SIM
ple-we would feel that even If we had never seen
the finer of the two Canvases.
Mr.. Chases two portraits and his charmIngly
lighted interior The Green Window Curtain
"a all
Portrait OF Mr.. Pach'' is firmly. vigorously and
very sLilfullv modelled; the more loosely handled
Young Musician" is more attractive IN tech
niaue and there is something very deft very gra-
clous about the interior study. All three would
he the better for deeper strain Of feeling, for
fresher less artificial air II is interesting to OBJ
serve the reaction of MI Reid experience out on
doors upon the largest of his four canvases. The
Gold Screen. portrait of seated girl in yellow
The sunlight typical Of his open air paintings has
got into his color which is laid in broad. glowing
masses and there is the same nervous energy
shown I'm the robust. flowing lines of the compost
ton. The small Head" hanging near by is very
nearly killed by contrast with this vlrue perform
ance and the two small sketches. White Iris
and After the Storm likewise suffer. though the
marine has. in its brief, summary way, compel
ing quality. Mr., Benson best work IS done IN rem
dering the structure of the head in his portrait OF
. man. the luminosity of his Three Sisters" is
couu erbalanCed by thin, sharp quality IN the sur
faces and the pictorial felicity Of his Coasters IN
Harbor" loses much of its effect through the
rather Fictitious nature Of the color scheme. Mr..
De Camp also makes a lucky stroke with but one
of his three canvases That is in his Self Portrait
a first rate effort along straightforward lines In
La Penserosa" and a Girl with Book there
is nothing Of conception or OF style that is above
the commonplace
T.andscape elements dominate in the spaces occu-
MED by Mr. Nietcalf Mr.. Hassam and Mr.. Weir,
The frst Of these artists who sends six pictures,
reves i'm the best Of them the exhilaratins sensa-
rious which we noted In treating the independent
show he made not long since of his latest works
He falls to carry conviction in picture like The
Misty Moon. something escapes him. and he pro
duces an agreeable arrangement of tone rather
than the portrait Of place or the unmistakabe
,r7pressou OIL an authentic mood But in the cool,
sparllng U9hts Of "On the River" in the beauty
and sentiment Of such scenes as he has painted in
the dainty Poppy Garden and the radiant
Mountain Laurel" he fills with sense of the
truth and freshness of nature and capuvates us
with his clear and animated way Of saying what he
has To- say Mr.. Hassam. like Nj Metcalf is un-
even In his June IdyI' he has painted an inter
estue picture strong in texture and in color. and
only needing to be euvelOped in greater subtlety.
q greater suavity. to make its central charm felt in
fun force. The Early Spring-Central Park Is a
striking experiment is without beauty. ard so
is the hard nude called THE BUTTERFLY His figure
work is better I'm the small sketch called "Bather
Mr. Weir sends one work from the Agure. A Gen
tIevrouau." which beyond a certain winning note
OF STYLE contains nothing to touch the magma
ton His I'VE landscapes are equally ambiguous
Two Of them. The Shadow of NV Studio and
Hunting the Raccoou-Night Scene" have a kind
of rou1auri. SAVIOR. but I'm these, in the other
Iandscapes he seems rather to he feeling Ills way
toward beauty than to be seizins il and expressing
il with complete understanding and power On
the other hand. Nj Weir uses So far as ne goes.
stvJe that has life in NJ. and emo. as began,
with appreciation Of the exhibition one lifted
above the ruck Though the Ten may not be Ter-
refIaII.- setting the river a1Ime. they let