The sun., 1906-12-27

ssf Certain passages in the painting OF
,hs far felt hat the neck and hair are capi-
.al We prefer the Girl in the Fur Cape
NJ s2s. in the same room, also by Henri.
!, is black, a felicitous black, with hint
- lace at the bust. A chic portrait. The
s,biact is a young woman with an inter-
ss,inr face, in which there is revealed some
o.vcbology. Henri is to be congratulated
an not serving US with the accustomed
s,Aden oreratic Carmen type in his Spanish
.,o. nut she is really too stupid to interest,
end she recalls family figure in that DAN
nat pcture of Spanish singers at the Metro
Dolitan Museum. Don't vince, Mr.. Henri;
this is kindly meant.
The two w. I. Smedley portraits-one OF
navid Bispham, the opera singer, the other
anorothy D. are much admired, especially
che latter. TO which the Proctor prize has
heen awarded. 1t is a clever, conven-
,ional treatment of whites in a brilliant
LIGHT the theme, a sweet little girl, playing
second fiddle to the general accessories.
psnham, whose modesty in private and
Dnblic life is one OF his most engaging
onalities, has been caught by Mr.. Smedley
eur 10 rif and thinking about himselfl 1t
is David Bispham discreetly orchestrated,
,bouch hardly a wonderful portrait. Louise
Cox has one of her cunning darlings, a
barelegged blond youngster, a grille OF
,he nursery, placed bolt upright on bench.
She is very nice. quite as nice as the other
children Of this too, too kindergarten exhi-
biton
And there are too many children on the
walls But again was the public pulse felt
and again is this clinical precaution sure to
be rewarded by public approval. George
de Forest Brush presents a solidly painted
mother and Child" No. s22. The baby is a
fat rascal, girl, who has the ruddy cheeks
and fair hair of Fleming. The woman, a
familiar face, is not lacking the touch of
maternal mysticism we expect from Mr..
Brush. OF the sincerity and feeling Of this
canvas there is no doubt-only, we wish it
was sonnet hing else. somebody else. Mr..
Brush was once more versatile. There is
girls portrait on the west wall by Richard
+. MAYNARD, No. 26l, which might be called
Come In" A tall young miss stands in a
doorway As you enter the gallery you
think for a heeting moment that the tall
young miss is coming through the wall by
a newly made door. This is compliment.
But when it comes to children there is
nothing in the collection like H. M. Walcott's
The Cotilon,' No 297; indeed, such paint
ing, such daring design, such drawing.
are seldom seen at any exhibition anywhere.
And the curious point about this picture is
that Mr. Walcott has achieved an effect Of
briancy without employing brilliant paint.
How many painters could have resisted
the desire to hurl a fiery bouquet Of colors
UPON the canvas? Mancini, for example,
has treated the same theme: so has Degas.
One is a magnificent bombshell, recalling
the lush description Of the children's dance
by Zola in his Page dAmour'; the other
rather drab psychologizing, but it is truer
10 life How vivid is the child life in the
Walcott picturel How these youngsters
dance and how the air freely circulates about
their tender, selfish personsl There is
rhythmic ebb and cav in the arabesques Of
this picture. The dresses, far too elab-
crate for such youth, are caught in the
movement and maze; and in all this meas
ured whirl the painter has noted the vary
ing soul states Of the children. Two of them,
girls, are evidently rivals. Like tn cir
grown elders they measure each others
SOCIAL performance. lncIo ID uelAhuCc,
there is distrust abroad. The hero boy is
aself-conscious, good looking prig Of eight
or ten, one Of those lads that any honest
street ragamufin longs to punch and chase.
His snug face suggests that he is not alto
gether unconscious Of the girls admiration
and rivalry. His partner grips him as she
eyes the other girl, an audacious miss with
Up tilted nose and look Of determine ton.
She does not grasp her partner-he is a
blond boy in a sailor suit. Later in life you
feel that he will be too trusting, though you
| can but view the back Of his head. Pose.
however, may betray characte And there
Is a bullet headed chap with plump girl in
the centre He is the real thing. Worthy
Of the highest praise are the spacing
textures, the handling OF many difficult
problems of perspective, surfaces and
ioreshortening. Mr.. Walcott need not fear
comparison with Degas. His is one Of the
| few remarkab BILE canvases in the exhibition.
'Sbylla Europa" is the title of the
ambitious picture by Hugo Ballin, some-
time called the young old master" Yet,
4 one doubts if Mr. Church in his most trucu-
lent mood would attack this eminently
eclectic production. 1t is allegorical, or is
it symbolical? However it is decorative.
and its tones are rich, subdued and well
nodulated. 1t is a picture that might
stand in European gallery and not attract
particular attention, and because Of its
faded Old World key. Technically it is
not to be overlooked, for it is the work
Of young man of exceeding promise-if
be only forgets, if he but forgetsl Mr..
Ben Foster was awarded the Carnegie
prize for his Misty Night, No. s24. Again
the jury demonstrated its sense Of the
eternal fitness Of things mundane and
mediocre. No danger of its making the
award to Paul Dougherty, he is 30 young
that he might be spoiled at the outset of
brilliant career; or to John Sloan-ah!
there's picture for you, which the jury
wisely hung beside the celebrities. 1t is
called, Dust Storm on Fifth Avenue"
No. 2sl and is the most original picture
on view, both in idea and execution.
Fancy a sudden summer gust sweeping up
tfth avenue on a hot afternoon. The
FAtron Building, its prov cleaving the
dust that eddies about its top and side,
comes swimming toward you; its head is
threatened by stormy blackness; sharply
II. .Nws -