The sun. [volume] (New York [N.Y.]) 1833-1916, 1907-12-23

VI Suo AcnueMnys Aot4-Aof1p ~ q 1tnRko oiC-
ting. IthanGsinthe centre gallery mo. 400
and 10 easily the most vital bit Of p~ortraiture
In the exhibition. How allthe Economically
concsived medieval bric-A-brac portraits
pale when compared to his strong, sinewy
honest notation OF a white bearded old
artist, pausing In front Of his anvas
which In not E~hOwn-skull cap on head,
bespectacled, palette and brush in hands.
the pose q critical one-the paintsr 10 evil
IDENTITY considering his work, CAT least all
this 10 suggestsd.) There is lot Of study
here for the young men. A Iot OF study il
took before Mr.. Alexander could place such
an economy Of strokesb before us and achieve
such a victory. 1t does not suggest the
facile; it has all the brio, the hotRoOt swift
ness Of a sketch. Perhaps TO hnish IL might
rob IL Of It's primal freshness.
WemOst hasten. Paul COrnoyer's ~Moon-
Hight at MOret" has been praised by us be-
fore. The view recalls q certain Whistler
etching. This CornOyer is full OF charm.
+. ID. Millet 10 to tho fore in one Of his
dramatic anecdotes. W. verplanck Birney
gives us specimens Of the same genre. Law
ton Parker's English Girl" IL alluring in her
shimmering fabrics. The Kenyon Cox Dor
trait--In Msmoriam"-oH Augustus Saint
80 - ohA0 uuY "AkAhur
presents n morning sunlight and e. L. Henry
a real old fashioned subject, Waiting for
the Ferryman." IL and several other Diot-
ures Of the sort in this exhibition recall
Mount and his Goose Rafie,' now at the
Metropolitan Museum. Hord. fat, almost
miniature in finiGh. these pictures are pure
anecdOtage. yet bring back to US a Whit Of
. past mid-century's days and ways. vhens
IRlatIra mamnQr Uaa NovalIaral An1H Awaal
ing and people slept comfortably Of nights.
Louis Loeb holds tho principal position on
n wall with his allegory Twilight (calm
refuge Of Day.. It is very LOsbian, with
its familiar golden model and grouping; also
very decorative. In Henry A. Ferguson's
City OF Orizaba, Mexico" you feol at onco
the painters intention. which is not merely
to present tho physical sensations Of the
soene-the heat. or the glaring sunlight or
the sharp dissonances OF sandy soil and
blue sky; it 10 rather a generalization OF the
landscape set forth in the reserved terms oS
Mr.. F~erguson's art. Clear, serene, with
delicate definitions, the city. ito back
ground bounded by mountains, gently I'M
rOhs itself before one. There is fine detail,
but harmonious In its synthetic p~resoutA-
tiOn. In a word, the reverse Of all that wa
admire In landscape to-day: the tOnalities
are not emotional, the aspect is linear. but
not lacking in poetic e~vocation. Karl Ander-
son shows woman with a fan, rich In tax
lures. Katwyk turns up, 90 does Moret.
Why Is IL that the moonlight at Moret is
always ghostly green? August Franzen's
portrait-owned by the Hon. William q.
Choate-is digniied. Van Boskerck has a
wood. Cornoyer's Madison Square after a
rainstOrm Is ound impressionism. We do
not care very much for Childe Hassam's
Evening Bells, though the canvas does not
lack light and air. The theme has become
bansl. The best Of Hassam Just now is to
be found at tho Montross Galleries.
There Is much to ponder in the Wander
biit Gallery. Your eycballs are blistered
by the chromatic fantasia called Encore
the work OF Marion Powers. q title not in
appropriate to the gesture OF the subject,
though II there were many encores of this
variegated kind blindness might be a re-
sultant. A screaming scheme. yet a jolly
piCturc-a dark skinned young lady holds
n mandolin and is smiling her thanks.
Orange. black. n green fan-stiIl life all,
but amusing. Chromatic. too. il Lillian
Genth's Pool" There IL a portrait by
Juliet Thompson OF Judge Morgan J.
O'Brien. A big. elemental picture, the
strongest one in the exhibition. is THE
Surf King" by that surprising young ath-
lete in paint, Paul Dou gherty. Rocks,
naked. And the wild sea, swirl, foam, fOun-
dational power-you feel the weight and
wet Of the waters. Since the veteran
Winslow Homer has privately, it is said,
declared his intention Of leaviug the fed
free for the young fellows, the lame of
Dougherty is the one which comes to the
tip Of your tongue as an artist who has a
similar feeling for the rugged. stormy
aspects OF sea and shore.
There is An interesting portrait OF Tim
Othy Cole by W. Cole. n one Of James c.
Knox by sergeant Kendall. Mr.. Kendall's
Reflection" a nud child sitting before a
mirror and gazing into &c, is sure to become
popular. We much admired W. l.. Lath-
rop's Road by a Canal" mo. 272) for its
sweet sobriety and undertone OF wistful
melancholy. An artist with a rare touch
is Lathrop. Albert Herter might have
painted his young lady Gle Moyen-Age"O
in brave old Venetia. Hugo BALM will
have to look to his laurels. Here is a dan
gerous rival in the fair field of the decora-
tive. Deming. Waugh. Ben Ali Haggin.
Beckwith. Miss Content johnson and Barse,
Jr.. are hanging on this wall. Among the
Dunes" by Charles Warren Eaton, and The
Evening Meal" by Freeman Clark. are at
traCtive out of doors pictures. Bryson
Burroughs shows two nude youths pulling
up sail--The Start Before Sunrise" it is
entitled-and a third lazily yawning. IL is
strongly modelled, vital in movement.
The oontiguity Of the Lawson snow
scape and F. s. Churoh's 'Mists Of Stone
henge.' the latter probably painted while
the artist was in England a year 70. sug-
gests comparisons between the old and
the new in both composition and handling.
Mr.. Church is an idealist. No fault can be-
found In his treatment OF his theme; even
its immaterialty, It's apparent lack Of
substance. is forestalled by The title. All
is poetic. dreamy. The lawson. vivid,
sparkling with life, seems at first to be the
product Of unreasoned selection; that is,
the artist painted the first thing he saw
on his days tramp. But study tho n
-Snowbound Boats" mo. SOIL. In his