The sun., 1908-03-25
AROUND THE GALLERIES.


brilliant all around as last years, is in
teresting.
II should not be forgotten that one man
shows Of five or sir Of these artists may
have dulled the appetite OF public curiosity
Their pictures are now, Of course, but
man cant shed his artistic skin every six
months. Two painters have sent only a
picture apiece Willard L, Metcalf and j..
Alden Weir, William NJ Chase is 70 the
front with two portraits. both Of which
do not call for comment; several sketches
Of Florence, the Punte Vecchio and bit
OF tho Arno, and a superb lenten Offering,
Fish that literally make the mouth water
1t Ia a mastery still life; the smothered
fanfare of copper is a harmonic background
for the fish. Metcalf's Trembling Leaves
is better hung than in Philadelphia. It's
I murmuring greens are beautifully eK-
| pressed, and still proiounder note sounds -
the loyeliness and mystery Of the forest
Weirs portrait 10 not on the surface as
winning as many Of his canvases; II is
brushed without JUNCTION. The peacock
feather-from which 1t derives its title
! Imply depends from the hat Of the girl.
/ II is 90 real that Il seems TO sway in the
air; its tintings, need one add, are a JOY to
| the eye. We were slightly disappointed
at first in the two Tarbels That portrait
Of President Seelye at the Academy will
prove a difficult masterpiece to forget.
You remember the rage which the good old
[ Gustave Flaubert worked himself into when
! he was saluted as the author Of Madame
Bovary' Monsieur he would boom IN
| his big voice. Il also wrote Salammb6.
We can imagine the genial Tarbell at his
! club when De Camp OF Benson or Hale
asks him why he doesn't paint another
Seelye. We sha'nt soon forget those edges
with their modulations in the atmosphere
Of the worthy presidents gownl
! He has sent a Girl Cutting Patterns.
She squats on the floor and snirs The
subject doesn't enthrall, as the treatment
is absolutely sincere and there are bids for
sentiment. She doesn't look maternal, there
are no sweet infants cooing In corners, II
is all severely realistic and there are lessons
in brush reserve to he learned by the fam
boyant slashers in Tarhell's handling Of
unobtrusive, gray, fiat tones, Above all
there is his enveioping atmosphere, which
always compels. The other contribution is
sPreraring for the Matinee, in which the
painter has caught and fixed daily gesture
a young woman putting on a black hat
She is in profile. Sracing is finely suR-
gested by the air that circuates between
the neutral toned wall and the figure
Again observation and moderation in in
terpretation,
Robert Reid has brought over from hlS
Thirty-third street arena three pictures
from his recent show The Brown Veil,
The Butterfly and -On the River Edward
Simmons has two to his credit landscaves
7 W DeWing rings another variation on
his life theme, one Of which, The Neck
lace, is Of an exceeding charm. Certainly
his green, rose, blue, gray and other hues
were never seen on another mans palette
Where the others end his subtle color scale
begins, and it is gratifying to see that lie
is not all nervousness, His touch is solid
His highbre1 women are not dream wraiths,
though they don't drink ale and do read
Henry James. No other rainter to-day has
portrayed The Woman Who Reads Henry
James--to capitalize the phrase into
solemn importance. These lean, aristo-
cratic ladies may peep once in a while into
Mrs. Ward, but she is so obvious that they
always return TO The Sacred Fount or
The Golden Bowl They know what Maisie
knew, aud it is testimony to the art Of Dew
ing that he indicates this within such
narrow compass.
We wonder II ever We shall tire Of Chllde
HaSsam. You can get enough Of a good
thing, says the Koran, but Of Hassam- well,
not yet. baker; call tomorrow with a
crusty cottage Cas they say in dear old
LunnonI. Broad and Wall Streets" is a
consoliug title in these doubtful days.
Fancy waking up some crustaccan dawn
and hearing that Wall street was no longer,
The consequences would be incalculable.
But, sir or madam, as the case may be, Ii
you had hung upon your wall this Hassam
epitome OF the Street you would be con.
vinced that the rumor WAS but a rumor,
nothing more. The painter has given an
impression oi the asphaltc Eldorado 4
slight mist obscures the features Of the
amateur golden fleece hunters. We cannot
recognize any magnates o! our acquaint-
ance, but we do feel the soul Of the quar-
ter-ss seen from the top Of the Singer
Building A skilful picture, The moon
light and that nymph Of Hassams, the latter
in a hover and oh, the bower and the
hour somewhere sings Rossetti are not
100 convincing. Newport under an Octo-
Der sundown is the true Childe Hassam,
whose brush deals with the glorious sur
faces with color that is lyric and form
that eyokes the magic Of appearances,
Benson's portrait Of his daughter-fr from
the Worcester Art Museum-is the most
attractive of his four pictures, His Girl
With a Veil" was praised by us when ex-
hibited recently in Philadelphia, but II
lacks the quivering actually Of these chill
dren viewed in the open and lovingly re-
corded in the choicest terms Of Benson's
art. Compared 10 them his Girl Is still
Ife-as rich and as accurately painted as
are the accessories OF the table and its con-
tents, the veil and the face behind it, Jo.
seph De Camp has Brown Veil, pretty
dashing woman, brilliantly executed, and
with an honest exactitude that holds your
glance as it strays from the veil 10 the arm,
TO the carelessly worn glove, to the brown
furs. The hat and It's tonal contrast TO the
veil is genuine De Camp, What painter
he is! Look at THE Celst,' young
woman-really, side saddles for female
Holonoello players should have been in
vented long aRo-and its quality. Or the