The sun. [volume] (New York [N.Y.]) 1833-1916, 1907-12-22

until january II next. with the WORKS
offered by the ACademicians are OOntri-
buttons by members o. the Society OF Amer
loan Artists. IL nay bs recalled that the
merging Of the two organizations occurred
April :. 1909. Until this present exhibition
that act of pronunciation Cor business policy
bore no artistic RruitS the last three public
functions Of the united societies proved
unOommonly dull. There were squab-
blings and dissensiOns. Threats OF with
travail were made by several OF the younger
members. Happily peace was proclaimed.
and men who paint with The tints Of stale
tobacco and rusty ink meet division OF
tones mon without ensuing granddaughter.
Old sheep and new lions lie down together.
All 10 we'll. But the contemporary jury
Of selection must W. had some lively ses-
sions. Nearly 100 canvases were offered.
only SSS accepted. The rejected are proba-
bly, as good az those that nave been hung.
IL was necessity. stern and ineluctable.
that forced Messrs. Hugo Ballin. +. II.
Blashfield. Emil Carlson, Carlton T. Chap
man. Walter Clark. +. Irving COuse. G. G.
Curran. Francis Day. II. q. Dearth. Fred
erick Dielman. Frank V. Dumond. G.. War
rem Eaton. Ben Foster. August Franxen.
Albert l.. Groll. Childe Hassam. W. H..
Howe. G. II. Maynard. r.. n. Pottbast.
II. l.. Preilwitz, Robert Reid. Walter Shir-
law, G.. Y. Turner. X. W. Van BOsksrck.
A. T. Van Laer. r. W. VoDuOh and II. D.
Walker 90 turn away so many excellent
pictures. More space!-that is the cry.
and It may be that an adequate home for
these exhibitions will be built one Of these
days. The 5000. 900 talk is. of course.
ridiculous. As long as quantity not
quality il the chief consideration--in a
word. a suitable market place-then he
present quarters Of the Academy are wo-
fully cramped. TIC orr taste this exhi-
bition il too large by half; but that Is voic-
ing the ignorance Of the layman who does
not realize that these pictures are hung
to be sold AZ we'll as seen. The members OF
the hanging committee are II. Bolton Jones.
Henry B. Smell and Karl Bitter. They
may be freely congratulated On having
accomplished a difficult task satisfactorily.
IL Ia the wall of the rejected ones that
Ia bitter. Let them console themselves.
Many distinguished artists. old and young,
did not respond to the call Of the Academy.
Among the elder memberA most misses
William NJ. Chase; among the youthful
rebels the name Of George b. Luks does
not appear.
The three galleries. among others. show
pictures by Crane. the two Beals. the COxes.
Coffin, Drake. Ochtmann. SchoAeld. Groll.
Moran, Redfeld, REIN. Ben Foster, Henri.
BALM, Volk. Potthast. Chapman. Ballard
Williams. Henry Ferguson. W. II. Lippin-
oott. F. s. Church. PAIL Cornoyer. F. ID.
Millet. Eaton. Shirlaw, Virgins. Wiles.
Franzen. WalcOtt. Hassam. Bryson Bur-
roughs, Ernest Lawson. Rosen. Bellows.
Maynard. Barse. Gay. Drake. Turner.
Norton. Poore. Waugh, Couse, Newell.
Wilhelm Funk and John W. Alexander.
The initial impression on surveying the
galleries is one OF surprise. Light painting
prevails. There is a Joyous sense Of color
rather han tho accustomed respectable.
depressing erect Of the regular academies.
Criticism has accomplished something at
lsst. The younger generation has entered
after repeated knockings mt the door. and
il this Ia a more agreeable exhibition than
previous ones il may be set down to the
number of youthful contributions. There
is some crude. misdirected painting. much
Of the dyed in the wool conventional treat
ment Of figures md landscape. and naturally
the usual representation of ~mediOcrity.
v NTH several exceptions there are no big,
StlETlnR euuNhHfS, tlsu tue rNCtBbIJttN you
may count on the fingers Of one hand.
As IL always the case. landscape and
seascape are superior 10 figure work. The
former is our one claim for a hearing in
foreign exhibitions. II il u solitary in
dividual note. and this despite the noble
portraiture Of John Sargent. the nobility
Of John La Farge's art. the ~virtuosity OF
John W. Alexander and the two or three
portraits of Whistler which are surely
destined to eternal fame (as eternity goes
in paints). The same is the case in our
native drama: genre pieces excel; local
color and the exploitation OF some parochial
idiosyncrasies. Withal. let us thank Apollo
that the old historical and the Hudson
River schools have vanished. Benjamin
West nowadays would be painting still life
in composition with Chase and Carlson.
Mural painting Of an evated character
is the one CLEAN of hope FOR the building
M of a strong school OF American figure
painters. Until this school crystaliizes-
and there are many men in America gifted
enough landscape and pretty easel pic
lures will be in the majority.
The South Gallery begins with the Beals.
Clifford and Reynolds. A blue curling
wave il the formers. a wood interior the
l~atter's. Il was marked sold" the second
day. Starkweather mas been poaching
on Monet's cliffs at Belle Isle. but in his
own violent manner Curran's children In
a summer breeze are enjoying themselves
| on an airy perch. Henry Raleigh shows
an Oriental bath interior. with the dusky
creatures rooted in by a metallic blue sky.
II is vivid. william A. Coffin's Early Morn
ing in May" is veracious and solidly painted
Kenyon Cox has here his -Book OF Verses.
already commented upon in these columns
Walter Palmer snow and n Turneresque
Venice by the veteran Thomas Moran are
ON the same wall. SO is The Silver Dress
Of Howard G.. Cushing. Redmond's moon
light on the glacier is a CHASTITY green
very theatric. doubtless exact in obseT-
walton aud notation. SchuIman knows his
HarpiEnies. His summer evening with its
spectral trees is effective. Washington
Square by Charles H.. White ia an attractive
color note. Pretty is "The Little Mother
by Dora Wheeler Keith The Nun by
II. W. Carlisle Ia a black n white affair
Chapman has a sea piece, and Ochtman'I
" -1. - .uaH