New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-10-22
ART EXHIBITIONS.
Modern Etchjngs and old Me1zo-
hntS.

Prints new and old conspicuous in the
hioitons which open the art season this year They
make pleasant Introduction to the of work
which VIII soon be filling all the galleries In the
case Of one young artist who early takes the field
there is certain fresh impression conveyed which
is especially stimulating and welcome at this time
ihls artist is Mr. D. Y. Cameron Scotchman,
whose etchings have been seen in America from
time to time for some years. but have not been
shown here in collection quite representative
as the one now on view at the Wunderlich Gallery.
1t gives, In admirable impressions. thoroughly
adequate selection from the work he has done in
Scotland, England Holland, Italy and France. If.
In his studies Of architectural subjects in these
countries Mr.. Cameron has profted by the example
Of more than one famous etcher he has also eXer-
cised gifts Of his own.
In the revival of etching in England the two
men of genius who led all the rest had necessarily
a profound influence upon technical methods
Whistler and Haden were two fertztng forces,
and indeed, to this day their ideas are potential
amongst all those who use the etching needle Mr..
Cameron, for example. sat at their feet when ne
began his in the COS and, in a sense, he has
been sitting there since. Yet this has not
kept him from developing measuree f ndividu'
atty. In the group of Scottish impressions, THE
Clyde Set there is a sea piece called "Arran
No merely initiative craftsman could have achieved
the movement that is expressed in this vivid study
This plate however, well illustrates limitations
which the etcher again and again reveals. even IN
some of his 4ater works. There are lines in IL
I
gov Harbor," The Clyde at GOvan" and the
Sound of Kilbrannan." In all of these the
faculty that you miss is tho faculty for leaving out
really irrelevant touches The etcher appears TO
take his material too much he finds II, to De
unskilful In generalization But he has matured
he has acquired more and more of the needed syn
thetlc quality. He has gained too. as he has had
the courage to shake off outside influences and be
himself.
There are many etchings in this collection which
are Individually charming but have scarcely an
original SAVIOR. THE Smithy" and the "Old
Houses Greenoci1' delightful-in a Wh!stlertan
fashion. The Amsterdam IS. again, a perfect
study In what may call the Venetian vein OF
the American master. The Tay at Kinfauns' IS
pure Seymour Haden, and both the Rembrandt
Farm and the 'IIaarlem' echoes. as re-
CARDS style of the great Dutchman himself. There
notes here. too suggestive OF Meryon or lie
gros. But through the bulk Of the work there
a kind OF. cold clear current Of feeling OF
feeling that at times seems almost hard. and this.
which IS evidently Mr.. Camerons peculiar attri-
butte. tells fine and often beautiful purpose. Tic
has instinct for the good architectural motive.
and when he both IT in his own way and
etches Il IN his style he Is as distinguished
as he Is picturesque. Take. for example, the
austere "Siena,' the romantic Five Sisters.
York Minister" and the bold studies of light and
shade called Porch. Harheur" and place Plume
reau Tours When he works out such compost
tons as these Mr.. Cameron Is strong and charm
ing: no gives you true painter-et'hing, beautuuI
and full of character. Unlike most eclectics his
work throughout has unmistakabe vitality.
Though one plate after another may have de-
riyative atmosphere none Of them seems merely
Fictitious experiment In this OF that manner. AMI
mating them all is the energy Of Il man IN love
with his art going to nature for much Of his In
spiraton, and striving always for improvement
1Ir, Cameron has the root of the matter In him