New-York tribune., 1906-12-29
ART EXHIBITIONS.
The academy and the Society Since
Their Fusion.

~ s,s two organizations Nevertheless II was eN-
.-,es that when The first exhibition OF the new
-erirne vas held - would show some signs OF the
,-5ss through which both bodies had passed. This
expectation has been disappointed by the show just
opened at TIE Fine Arts Building. Nothing has
happened. "Urited stand. divided We tal,'
runs the familiar motto The Academy and the So-
eiety suggest that Il needs revision TO accomno-
date those cases in which unity means If anything,
greater weakness This is no occasion for talking
about the lion and the lamb lying down together.
TIE tone OF the collection OF $50 pictures is alto
rether lsmbike.
presumably. Il was Intended that the fusion
would result in exhibitions more broadly repre-
sentative OF American art We decline 10 accept
this ore as representative in any satisfactory
sense. The prevailing note IS one Of comfortable
rnedsocrity. great many OF the contributors
mark time with exemplary thoroughness. The
trees IN their landscapes look Ike trees Their
Fortraits are probably good lkenesses But rare
indeed are those paintings which arrest the Wis
!tor on his journey through the galleries inviting
him % reflect work done with personal force
i significant that among the few pictures which
detach themselves from their surroundings. Mr.
V-insloW Homers The Gulf Stream dates from
-Na ar. Abbey's Sylvia dates from the same
year. and Mr. Brush's Mother and Child" dates
from 1872 We know nothing about the crcum-
stances attending their inclusion hut what they
actually suggest Is COMMITTEES anKiously bringing
n. ~ the last moment few striking things with
which 10 enliven commonplace exhibition.
n a welter OF ordinary work even a faint prom
iss OF talent IS welcome. On the very threshold
Of the exhibition there are three pictures Of
& hopelessly conventional type. but before dscour-
aEement takes hold upon the observer he luckily
discovers near az hand. little street scene by Mr.
Jerome Myers. Night Mission which may not be
of much Importance. but still has a certain quality
The artist has received an Interesting impression
sad has sought record II with a feeling OF his
He has seized effect Of atmosphere, an
effect of life, and expressed what ne has TO say in
plausible fashion Especially does Mr. Myers
please by limiting that he has 4 temperament. We
have known FOR long time that AIr. ". L, Lathrop
Is Fairly fortunate IN that direction, but perhaps
cor that very reason the less satisfied With
his Windy September After The first glance 81
this landscape which shows a welcome Increase IN
breadth of style. we are obliged 20 note that. on
the other hand the painter has put far less charm
os color than usual ,nto his work The next picture
70 hold attention is Mrs. Guinness Girl in FLIz,
tut il does hold long, for IS cieVe-Eess Is Of
the shallow sort Mr.. Bogart's Dutch Moonlight"
Is 50 handsome piece of color that wish
could ind in Il closer relation 10 nature. Ad-
lut-sble as much sensuOUsly and even POLITICALLY
handled pigment, i carries no conviction Ha1tever
rs regards truth. Passing from this. and from AIr.
Edward Gays fairly pleasing landscape The
Tide = Out" We come 70 one OF the most p-ovoca-
tive paintings in he exhibition Mr.. Albert Sterners
Portrait OF Nv Son
This IS a good illustration OF the manner IN which
50 many artists viii excite lively hopes, and then
let them fall Mr.. Sterner starts with good idea.
The boy n this canvas stands beside a shaggy
hound near a massive trunk. The group IS
placed on high ground. from which the landscape
stretches away 10 a considerable distance. Good
design snd good color might have keen eXto.ted
frorn this scheme but IN the Arst place -. Sterner
paints the boy and TIE dog with a lsrYa.ess pains
taking touch. iIl betting an open a-r SUBJECT. ard
when Re attacks his big Landscape ne leaves fhe
Impression not knowing precisely what 70 do with
g.. The picture, - have succeeded. should have
been unified by strong grasp upon :he picturesque
ress of the scene IS a whole: he boy and dog.
having been placed in 50 ambitious setting. should
have taken on something OF ;le vitality belonging
- IT, As matter OF fact, each OF the clements in
ne o-uositon seems 10 have been sacrificed 10 the
other sud the result fixture attractive in seTti-
r1ent. lr.t unirap-essiVe work OF art
~. Robert David Gauley has at any rate the
merit OF trying for something interesting In his
profile portrait, "Arabelle'' which hangs near Mr..
ster,sr's canvas. and in the two other portraits.
''Reve-ia" ard Miss c. which he has IN the
Vanderbilt Gallery. IN all three Of these produc-
tionS the decorative point Is studied with piGuant
feeling the color though not particularly dstin-
Euished. IS 81 good taste. and the general effect
sirGed n suggests an Independent point OF view
Ono dinliy recalls Aman-Jeans pictures IN LOOKING
e. these. and wonders what Mr.. GaUley might make
~ his subjects y Ia had a little Of the French
mans breadth and tenderness. HIS contours are
somewhat TOO sharply e0pl asized but he seems On
the way 70 the painting OF some admirable can
vases. TIE portrait painters here range as usual
-lr and down the scale. without often accomplish
:nc perfect harmony Of qualities Mr.. Thorne, IN
his study q pretty gTiish figure, The Terrace,
IS fscile enough, but insipld. We have seen how
Nr Steiner has missed accurate balance IN his
portrait os his son. In M Hassam's Portrait
the decorative covering of the chair back against
which the si1ters face s. shown, overwhelrns her
and Gslocstes the composition. Mr.. Barses VISA
Tis" vivacouslv handled. IS at the same time thin
!H color and without individuality.
II IS the mark q original hand that is missing
u.so from The Pirate and the Prisoner" double
portrait by Er. T. I. Mora Every year this
painter improves IN mere craftsmanship giving Us
fz-re dan nd oIe
upon The canvas with more authority. but not yet
has he impressed emotion OF accent OF style
upon LIS work One of his paintings here, Span
Ssh CAFE" IS a decidedly meritor!ous piece OF
realism but we turn from II Untouched by what
II. Nora may have felt rather than seen in his
excellent motive Technical deXterty IS uninspir-
ing when there IS little Of the energzing infiu-
erce CT character behind 1t. Take for another
ample Miss Emmers Portrait Of Boy with Whip"
I s painted with certain address, but the big can
Is empty. Nj. Curran tries IN his Sumner" and
IN his CLOUDS al Cragsmoor.' 10 convey some
thing Of the exhiaTatiOn which should flow from
the hilltop scene he has in each case painted. lie
defines his forms with kind Of hard precision.
but % the spirit of movement belonging his
themes he gives barely a hint j is the same with
AIr. Abbey n the picture OF 1893, the sylvia. 10
which we have already alluded. Some boldness Of
color he gets. and some romantic sentiment. but
his Egures are curious inmobne, where they
should have a springlike ebullience Of vitality.
Dramatic power sense Of life TiTid4y Observed
We sinly md IN Mr.. Homers The Fulf
Stream" q picture OF Negro lying on the deck Of
Z wrecked boat with sharks eagerly awaiting the
end os the tragedy, watersPout near at hand 70
p-ls on the agony. and a ship IN flA san on the
horizon so that a suggestion Of hope receclng may
I-t. IN Klpling's phrase. The giced roof on lAe
horror Human interest this picture undoubtedly
possesses IN abundance. and The thing is executed
w.tG rugged strength get IS q painter. in the
ttrtct sense sIr. Homer is hardly e. his best IN