New-York tribune., 1908-03-04
ART EXHIBITIONS.
Some Nee and Old Pictures By Ur.
Robert Reid

the manner in which he has used his gifts diff
ferei;t times and under different conditions 1t
was therefore good idea for Mr. Robert Reid to
divide the exhibition which he has opened al the
Studio Building in East SD street between num-
Der of paintings executed only last summer and
3 another group made zip OF works dating from the
! earlier wears of mis- career He shows one picture
The First Born" sent to the Salon full twenty
years ago: the kind of work that he did on ms
return from Europe is also represented and there
are souvenirs of the plunge into open-air paintins
which resulted in his well remembered exhibition
at the Durand RueI gallery. Then come divers
! studies made for his large panel in the Boston
State House, and two three similar reminders c.
his work in stained glass for the Rogers Memorial
7 church at Fairhaven Mass. which for a CONSIDER
/ able period interrupted hs activity painter
pure and simple. II is, of course, the same style
that runs through the entire collection. but there
are differences be noted the chronology Of the
SLOW is followed, and what makes It worth while
TO traverse the series of paintings is the fact that
. these differences stand for progress.
The Salon piece mentioned above suggests a tai
ent somewhat uncertain of itself. but vaguely feel
Ing its way toward the right path. the tone has 10
/ some extent the coIdness which the light in Pa
/ r1sian studios has part Of the French tradi-
non as that tradition ia officially fostered but
While the artist yields TO his surrol lndings he
, seems also the help that lies in the open
/ air and he gives his painting hint Of atnos
pherfc quality. This instinct the effects only
70 be gained out OF doors appears TO have speedily
gained headWay in Mr.. Reid's artistic develop
ment For UliIe was subordina ted If II did
nor actually conflict with. strong decorative in
pulse, and while he forming his style he
landed in certain ambiguity The paintings of
TINS time are interesting in pattern and have
! measure OF Vitality studies from life. neither
in the one direction the other Is the touch
absolutely sure With his cefnite and enthusiastic
emeTgence from the studio into the open air, how
ever, he improved all along the line and only
streng thened his resources but organized and
] balanced them that they worked together
/ he JI7t I'd viii iCh he
had been striving. This culminaton is best Illus
trated in the large picture called Autumn Trio
which has appeared than once in public and
each occasion has left better impression. II
is precious merit in painting wear we'll
10 grow finer in tone with the passage OF time and
TO prove that the artist chose. after all. just the
right arrangement OF forms just the right flicker
OF light and shade his subject
The theme In this instance was conceived art
lessly enough in The three girls stand
ing in an orchard. With vine leaves flung about
their garments. might have paused thus quite h.
accident Their demeano- that figures
deliberately posed. But II composition last
there he artistic purpose underlying it The
figures in it may be never naturally grouped,
/ yet their grouping must be really governed by
some Law of harmony. The pattern OF form and
color that they make be a feiCitous pattern.
It must have unity within variety: while it sInlu-
lates life II have tho charm only to be. COM
nuntcated by art. and ny indviduaized that.
Mr. Reds Autumn Trio" full of life it Is,
suiling because his original qualities
stamped upon ii. The full easy stroke of the ac-
conlplished craftsman. the rich glow the
hold ooorist. the grace of the decorative designer
who knows hoV to fill given space the best
/ purpose-these qualities all gathered I'd into
chord Of effect expressive of an interesting tenn
pereu1ent Compare this picture and others Of the
same period with their earliest predecessors and
II Is obvious that the artist had his goal
ideal Of oruleut beauty. Of vivid. eager types 10
Z hr uT.tor u
pouring floods or light There was danger hero
Of falling crrIditv. Of violence for
vigor. hut with developments Of technique came
refining Of taste end the Autumn Trio for ex-
ample, gorgeous as II r. contains not 4 single dis
cordsnt passage The artist had become moro ro-
without losing poise.
His new pictures illustrate change of KEY. and
- some extent change Of method. II Is curious
70 reflect on the fashion IN which an artists ne
dunn 1tl sometimes react his He is
/ always subdued 70 the stuff in which he works
Mr.. Reds long course of labor in stained glass
. should, any conventional hypothesis. have a~-
customed him more than over to brilliant schemes
Of color II would not have been surprising il,
taking up the brush again. - had used deeper
tones and handled them in broader masses. Eren
/ before he began TO make windows he had been
tending. a has been shown. in that direction But
matter of tact tho transition from glass to
paint would 10 have been like release. like
| an escape from artificial atmospherc back
! the open air On returning that element he
: redlScOVered II.
found in il new stimulus. In the process some
( thing lost and something gained Abau-
. doninG, holding in abeyance. the energetic note
OF the Autumn Trio" and seeking instead an es-
sentalIy delicate quality. Mr.. Reid exchanged d.
I rectncsS for subtIety and sacrificed thereby
! clement OF charm. The gIsto which he
70 show had always attractiveness OF its o7n.
But the quality now substituted for IT, Il not 80
Immediately arresting. is in its way Of equal
merit and indeed points TO an enrichment OF the
artists character With its aid he comes nearer to
the expression Of things felt if he does
it 70 give the same Old force to his impression
Of things seen
The fact is not 50 powerfully stated, but the
poetr, lying II the fact IS iuIninously and
teudery interpreted. This point is especially ap
plicable where the landscapes are concerned. Nj.
Reid has painted outdoor scenes in the past in
larger. more masculine fashion but never before
has ho painted them with much sympathy fov
natures loveliness. with - much poetic emotion.
Take for example the Earliest Spring" or the
Autumn on Stop River particularly tn" latter.
The subject is beautifully with t~5@ sens
or composition. Of tbe Just pictorial motive" ana
then it is euveoped ta fragrant atmosphere tree
forms and ground forms ere generaltzed with the
susveet touch. and You Ct not only representa-
tion of nature but tTa a1slation or her mood
There is a picture here. The Willow Road. which
adnira bv sums up nj that Nj Reid has gained
The road travelling away from the spectator, pres
eu,l-- turns and disappears under deep arch or
( ,,aIni+arin- IeafaEe. something paint
This scene with technical skill. with thoroughly
synlpathetc handling Of the trees. II was more To-
carry one by subtIer indefinabe quality, into
r7e z-c- intimacy Of quiet landscape episode. In
r. v-7,5ies Of meadows broken by little
stream of trees and pastures, the artist has
brought out the pastoral charm OF his material
with q new senSitlvenesS-
II ,,ie 4el,re pieces he discloses similar refine
mont of temper and Ightness OF touch. Painting
he same girish figure against luminous back
grounds he gives TO it always something OF the