New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-05
ART EXHIBITIONS.
,,t Paintings By Mr. z. "
m n,,riar and Mr. d. ". TryoH.

W.
r,suins ana 1I. ?, che figure pieces Of the frst
Nentress - I4.-s and in the landscapes OF LAG
Of thess 70. cunts for much, but in a pecui10t
other .n-,rsrzrnent counts Tor so hluSi1 - -
way 9 OBSERVER might almost let SUBJECT So $50
thst fhe 0Ds', .+r would still be deeply stirred
hs s.-,Isnstton Of sn TINS tes III -" ..+and
he e,ss-srsl ppoeess which Is bound 70 -,
psychoiosiOa, ~ every work OF art having an
the P1os nns5tt7s quality. Mr.. Whistler vas
oris'" ,aintsin that the Work OF a i'lasI I. az,
Tph. <-o-, its inception. ano IL Is true - -
fnisaea ts worth his salt knows when no a.
81" *. touch upon the canvas JUS -,s,ntfnr.
hs as - sn respect TO tbs comple1eo 80 e
driv1ns g matter OF fact. lamentaoly lall ~
Re may -. attention, but this viii be 'ni
os.E -,si ability rather than through 80
laeA y rat Il is equally true that d 49, 80
e o--- ~ evolution takes on some "a -, +be
n co... az a natural growth traits "'-o-l
80. ,trnselt perhaps could not AWAY .o,t
srus' 40, his initial programme ING Po-N
II Spec .o-+sIn confirmation IN the present CA
receives Cei'
hotion. - xr r.7xfnr NAV he said to
TIE h-,-1sn interest as he eschews GlaIiHs GU -
mid be actually embarrassed VIC ,.-looo4a
ne sslr dramatic motive, for II FouiU ul'- 49,. q,
n@HA n .eoc,s+Iou OF ideas IN which ais art ls
the emu I'D direct his attention to issues Win
Foop,1 &C an artist he has no instructive coii0et--
:. -rouid Introduce a Earring nooe iNlo VIC
A hs--oonlss Of his world FoF MN '-o -
1t q
e.. Is enough. He has not that ieeiiLe -
TisiOn - -bicr would credit Il with past OF
oHg .. q future. he does not want l. -
p's Ia viii Justify It IN MS OWL way -,
a. vav which looks simply 10 Us
u sud to the charm Of such surfou'14'-7
.o-n as taste may suggest ana ingenuity may
-. Not one OF his four pictures IN THIS "a
-. more than the ghost OF story 10 pell
-4 .,-bsns II scarcely tells even that In "a
1st three girls are seated on garden oench
- -ool beside which fourth ngure stahuS
H a. hesd. but whether the rod Is a concession
~ ,hs tttle or the title mas been casually Sug-
- - 4ha rod IS imnlaterial-the picture is not
81 en- alIusiou TO the anglers art 1t is Simply
I.,,n of four fair women. The musical insuu-
- IN ia Lutte" canvas Of the same general
Ls-sc+s- with the figures disposed in dnerent 70
,o7s snd attitudes Is. like the fishing rod, an al
-. irrelevant episode. The musician ana me
.1 ., tbs "Brocart &c Venise" and the single
80 se,,ra IA the panel called Woman IN Purple
- c-ssn /" are also devoid OF anything that could
= .rsn remotely described as Of literary slgnll-
.-oe Yet when al is said the painter OF these
.1,t1rss remains SIS much the poet as any maker
.. illustrations after the great writer's Only ms
:. tbe poetry which springs from the half uncon-
s,oDs contact OF imagination and mere paint
.5- rsv5ug iUstihes his irnmobile appariuons 70
himself very possibly on the simple hyPosheSis o.
,rsrnretIng the surface beauty of form and color
1.f when he proceeds to work out conception
Will
t.ras he brings TO It a delicacy Of emotion tram
e,snding technique and he justties himself IN the
avs OF the beholder on higher grounds Painting
his figures with loving care, searching out the last
-sanements az line and surface. there steals into
his ptc:ure q witche-y which gradually pervades
IL and touches the Imagination something rare
r.eu+ftrl snd at the same time quite beyond dedat-
t,,r The charm Of Ia Peohe' and La Lutte IS
Ike en- exhslationi you do not trace Il specifically
70 the dekgn-though that has merit OF It's own
70 the slender figures or TO the strange indeteri-
us.s background OF summer green You attribute
# rather, 10 the imPalpable atmosphere expressed
N every touch It IS as though brush work dedi-
Gated az the outset nothing more than the regis
ts4,on Of color values wrought by sheer fervor
Of feeling TO pitch OF lyric excitement; as though
By some mysterious process an artists pattern,
usng the term IN It's Whistlerian sense. trans
formed into deliberately poetic creation This IS
vhy ths absence OF the human interest from Mr..
Dswtags four pictures awakens no regret This Is
why on the other hand the description OF the four
as SO many studies Of color II this key or that.
would give an adequate account Of the matter. The
!ntsregtang thing is that the artists temperament
which might seem from one point OF view TO be
satisfied with technical vrtUosties alone ia really
knded by the contemplation Of beauty and ex-
pan6s as though under the influence Of finer air,
ultimately expressing itself in more than technical
terms His material suffers a sea change and the
products Of the studio vibrate with the life OF 70
uanca
Nature is sternor muse Tor Mr.. Tryon than she
Is Tor Mr.. Dewing. He cannot as the figure painter
car arrange her effects altogether to suit himself
N place OF costumes accessories TO be manipu-
lated musician manipulates his theme, he has
70 reckon with broad truths which viii brook no
arbitrary notifications; and. indeed, it is an es-
ssadal part Of aIr. Tryons aim TO record those
truths with all possible fidelity. How well he sue
ceeds the reader may for himself by referring
70 any Of the eight ten landscapes which ne has
ssnt to this exhibition The russell dnts Of autumn
ana the tender melancholy OF the season in the
November; the penetrating atmosphere Of early
winter IN The First Snow; the elegiac sentiment
OF evening in the Twilight and the solemn radI-
anoe OF perfect night scene IN the moonlight
, al these things approve the painter as first and
last aR accurate ard sensitive observer. In every
thing that means the correct statement Of land
scape forms OF the contour Of ground or Of the out
line OF Tree he is sure with the sureness Of per-
feet sympathy and a sFaHed hand. we pause be-
fore one picture after another to note passage
OF faultless modelling IN the sky. hint Of texture
that Is worth yards Of ambitious realism CLINT
OF color that is as flesh the color OF nature
fseE But when eli OF these virtues Of represen-
tation have been recognized there IS left the one
great virtue whereby Mr.. Tryon lifts himself head
ana shoulders above the pedestrian makers Of
truthful landscapes It IS his temperament that
gives him his rank
He too. imports into the fabric Of his design ee-
menus which We must call poetic though poetry IN
the literary sense is not his object This comes
OUT II his prediction for a certain broad scheme
o. composition which he varies In details Of line
Go mass and varies still more IN matters Of tone
la Agnung but has returned to many times In
ue course Of his career. We refer TO his favorite
arrangement Of an uneven. but q rule, not sert-
uSy accented foreground, with a row of trees
cunning kind OF screen IN the middle distance,
1i' SKY IN which great part Of the interest IS
concentrated. This Dissertation is mt to taken
~ literally Mr. Tryon does not work from a
. .s.47 and even when placed side by side his
o. similar scenes retain IN each case an in
. ----1-si quality. But something like a leaning