The sun., 1906-12-28

wherever he plants his easel there 10 a
picture before him. By preference he
haunts the Harlem River-you recall his
noble picture at the last Academy, a verita-
BILE transcription of snowscape-while his
vigorous power and sincerity are best seen
in those pictures that are the least arranged.
His work is at times happy improvisation
without the shallowness and evasions often
Characteristic Of the impfessionist school.
Lawson records minutely, yet 10 never the
slave of detail. He has the synthetic vision.
These hills-badly hung in the east gallery
are excellently appreciated. The air blows
over them. There is room for the eye tired
by gazing at cramped canvases. You are
abroad under the heavens.
Childe Hassam's portrait, No. 50. IL
study OF lady In chair with dull crimson
tints. The background is more convincing
than the lady. The Little June Idylle,'
No. 27s, Ia one OF his bewitching woods
with trees in shivering sunshine and a nude
nymph, possibly In pursuit OF timid gen.
tleman Is the subject Adam and Eve
according to Bernard Shaw? II is full Of
delicious tonalities. The Ancient Mar
iner," No. 2eO by William E. Norton. Is a
spectre ship on q sea OF slaty greens. A
little canvas, -On the Aqueiuct,' by
Charles Vein, reveals a fine sense OF
values, much delicacy in the display OF
green's and real atmosphere. A discreet
note Of white is introduced by the woman's
gown. There are half q dozen, perhaps
more, little pictures in the exhibition which
are worth studying, though they are
modestly slowed away in awkward places.
Many larger canvsses are -skied. but that
iii L.. h.. -.
pear and the younger rule. And then the
rebels will become the conservatives, and
the game Of art will as ever 60 merrily on.
Two well contrasted impressionistic ex-
amples are hung together. One above is by
Gengiro Veto, Viewing the Cherries,
Toxic. and Is a sensitively painted garden,
vsporous and quaint, the cherry trees bear
ing misty white blossoms, the entire effect
one OF placid vibrations and soft pinkish
light low in the horizon. 1t is q picture
that would delight the French, ',Neo-Impres-
sionists, Apart from it's technical value, It
has sympathetic charm and subtlety.
Beneath It Is a frank, almost brutal. impress
sion by NJ. Petersen, The Sun Shower
1t is a type OF brush work familiar enough
in Paris, though not much liked as yet in
New York, where meticulous fnesse is
most admired. The Petersen canvas de-
picts a group OF men and women huddled
about a tree during a shower. The sun
dapples their backs and heads. 1t Is very
wet solar shower. 1t is a closely observed,
closely reasoned study en- plein air, painted
in broad tdches and with daring tonal appo-
sitions. Yet it is safe to wager that many
persons would lift eyebrows only TO lower
them as with the widened gaze OF admira-
ton they view some goo-goo motive Of some
esteemed but bat blind academician.
There is a little Tree Group No. 252,
by Gustave Cimiotti Jr.; trifie smudged,
but interesting because Of the clever
employment OF blackish green against
cobalt blue tones. Paul Kings AT Dusk.
No. 2s7, recalls Belgian influences; never
theless, it is a strong, veracious picture, full
Of the wetness Of dim beach and misty sea,
and Of the slow movement of horses. 1t is
conspicuously hung and much praised.
Frederick Ballard Williamss Vermont
Hillsides" has some fine tonalities. The
Sand Dunes OF Paul Moschowitz is an
excellent performance. f. Luis Mora fur
nishes several sensations for his admirers.
The Pirate and the Prisoner No. 40, rep
resents two Of the painters youngsters,
possibly enjoying the aftermath Of Peter
Pan" There is no doubt as to the vivid
impression evoked by these vigorously
modelled and painted children. We prefer
his Spanish Cafe No. 220. in which are
shown the figures Of girl and her cub
admirer. She is seated at a table. She
wears heavy fringed shawl-white, with
blush reflections. She carries half opened
fan. The light filters through the blinds
in yellowish shafts. II falls across a tables
upon which stands half emptied water
carafe, some glasses, reddish cordiaIs in
bottles. The entirp scene is permeated
by lazy, dusty atmosphere. The woman
fols, her escort smokes a cigarette. Il is
a trifie theatric and smacks a bit Of the
property Spanish genre picture. yet it is
alive, even insolent. Brilliancy, rat her
than depth, is its keynote.
Mrs. Alice Meynell. a stylist among Eng
lish prose stylists, and also a thinker, once
acutely remarked that il the exterior man
Is Greek In his architectural symmetry.
his interior is Japanese--that is, asymmetri-
cal. This judgment disposes happily Of
a very unpleasant subject-the insides OF
human beings. At the exhibition under
discussion there are some portraits which
are japanese without and possibly Greek
within. lnere are lew genuine nOrrOrS,
many modish specimens Of insipid girls
and barber-block gentlemen. These ma
chimes" are made foT money. A man must
live and not by art alone. A portrait of
Arthur Forrest by Francis Day shows
that clever actor in a nonchalant pose
wilhelm Funk presents a portrait of Mr..
Robert Schwarzenbach in a pose conven-
tional-sitting sstride a chair. but un-
forced in attitude. Mr.. Funk has improved
very much since the time when he painted
all his masculine stters according to Franz
Halls formula---there is more Funk in his
work nowadays. This gentleman Of his
is attired for a ride, in khaki color, with buff
boots. His right leg is in design rather
arbitrary. being angular in its nex and stiff
in the boot. The general tone Is har-
monious, the face speaking. Funk also
exhibits a night piece, ON the Road to
Fontainebleau,' with a subdued moon
and plenty OF atmosphere. One of his
few open air studies, it reveals feeling for
landscape. Albert Sterner's portrait OF his
son, No. 20, has been much admired. So
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