The San Francisco call., 1908-10-18

consciousness which are in themselves
distinction of style.
Any one viewing the 80 or 40 paint
ings which are placed in the gallery
in this collective form will subscribe
at once to the truth of the statement.
Yards work is temperamental in that
1t expresses the character of the artist
himself; the, clearness. beauty and ten
derness which appear in each of the
different landscapes having their root in
and finding their expression through the
man. The work appeals, for there is
sanity, wholesomeness and normal at
I titude toward aspects and things.
whether the painter depicts a scene in
summer, a lazy. drowsy afternoon, a
landscape bathed In the mellow light
of autumn, the lowering clouds of
storm, or the clearness after rain,
which tells the story plainly. yet with
reserve which leaves the imagination
ample play.
If a certain deep insight and GER
tain subtlety be&lacking, 1t does not
mar the pleasing effect produced on
those who welcome the obvious in a
picture. But the obvious in Yards
work is exquisitely limned-the scene
portrayed full of true emotion. One
not only sees but seems to feel the
gray mists rolling in from seaward. the
raindropS on the cheek the sting of the
brine. In other pictures the sunshine
of summer morning, the sweet warm
smell of the meadow grasses, the faint
chirp of the birds and the fine, clean
aspect of the world seem real. Not
paint and canvas, but Dame Nature
herself lives and breathes in these ex-
quisite landscapes. The cloud effects
in different types of sky are wonderful
in luminosity and drift of fleecy masses
across a background of color. There
are no fiat paint effects in these skies.
Yard has shown his perfect mastery
of light effects in nearly all his can
vases, notably in the one called EARLY
Morning In Spring" where the sun,
just rising. strikes the marsh and hills
with singular radiance In oils Yard
has been equally successful, the half
dozen of these canvases exhibited be-
ing landscapes showing the same del
icacy of conception and pleasing COM
position, added to well developed force
fulness and power. The exhibition has
excited much interest.
The second exhibition is that of
Cadenasso, who has a number of oils
and pastels at the Hahn gallery in
Oakland. The most important is a
large canvas, "The Heavens in Their
Glory" showing a marsh scene in tones
Of purplish green, and masses of clouds
as they lie thickly piled. A second
marsh picture is of the country near
San Clemente--a marsh in lighter tones
of green, purple and bronze, with a
clear blue sky overarching. "Nimbus,', >,
a third marsh picture, is of the same
order as the first, though on smaller
scale. Among the large canvases are:
''The Mist of the Morn" study of
eucalyptus trees in purplish tones,
serving as background to a pleasing
arrangement of foreground of short
grass growths, with earth assures
breaking the continuity of the level;
eucalyptus trees. pool and underbrush
in the most delicate tones. fairy fan
tasy where Puck or Ariel might hold
sway or Narcissus behold youthful
beauty in the shadowed pool; ''Trag-
edy." conceived in somber tones, weird,
mysterious, reminding one of the
witches trysting place in Macbeth;
Solitude another similar study; THE
Breaking of the Morn" a scene of
clouds breaking away over the marsh.
disclosing lovely tints contrasting well
with dark marsh green's and browns:
"a Pool in Golden Gate Park" with
much of the atmosphere of the real
scene, and ssHilarita," a stretch of
building half concealed by trees and
shrubbery in the hollow of the Marin
hills.
A number of small canvases depict
original bits of landscape, chief among