New-York tribune., 1908-01-03
ART EXHIBITIONS.
Nezc Landscapes By Mr. Willard
L. Metcdlf.

There opened yesterday at the Montross gal
Iery exhibition OF landscapes painted In New
England by Mr. Willard L Metcaf II has IN
usual character This artist has been occupied for
the last few years in beating out practically new
path for himself applying his technical resources
to problems which were not at all unfamiliar 20
him. but which he had never previously nandieo
with quite the same insight or vigor. A new note
came into his work, one of energy directed oy
sympathetic feeling and the successive exntoitions
in which he brought forward the fruits OF MS
labors conveyed a vivid sense OF progress On the
present occasion he has outstripped himself The
point is interesting. II is easy for even some
of the cleverest of painters to marx tirne or AT
the most. 10 exhaust their vitality in experiments
which lead nowhere. The important thing about
Mr.. Metcalfs work Is that II reflects not only
slIrer manual facility but a broader grasp upon
the themes treated Technical growth has reacted
upon the very grain and substance OF his art
Personality in art expresses itself In many ways
and sometimes with the more eloquence IN propor-
ton as Il subordinates the truth Of nature TO the
poetry OF nature. The great gift or such rnen as
Corot and Rousseau was 20 heightsn the beauty
OF what they saw with the dramatic or lyric cnarn
OF what they felt We owe perhaps TO the I'M
pressionists more than to other group the de-
velopnent OF that natural magic in landscape
painting which puts the sheer truth above ali eise
and leaves the glamour OF a given scene 10 speaA
for itself Mr.. Metcah has adopted no irnpres-
sionistic foruule. he has none OF the rather trans
parent tricks Of the game which are cultivated so
assiduously by many OF the followers OF hone-
but he practises kind of impresslonisIn- H1lS
studies direct and luminous Making thehi IN
4 world full of light and air. you can see thar ne
has been stimulated by his surroundings. handing
his material with anectionate zest but never aoo-
ing to this material any comment any SUI
jective elements He leaves nature 10 SPEAK Ior
herself and as II happens. that Is ~here ms
sense Of beauty comes out Only kndling emo
ton could set the truth upon the canvas at once
with much accuracy and so much OF pure eN
duisiteness There is picture here. fne Pass
ing Glory" which is brilliantly symbclcai or an
the rest A tawny Connecticut road runs rum
left TO right across the foreground On the otner
side Of it struggling bushes form species oi
hedge between the spectator and a rising paStuie
I'D which on one side the woods are climbing
In these woods the artist has found the warm
hues which give his picture its title II Is as
picture curiousy well made. Without obviously
composing a pattern of design. MI Metcalr MAS
nevertheless contrived to give the whole scneme
certain rghtness of FORM The balance IS uue-
There is no surplusage, nor are tnere any oo'eule
nassages Then on the firm basis Of sound though
seemingly artless construction, the artist mas ou'
I'D his perfect portrait OF an American SOeHo'
transating its color, its atmosphere ana the very
feel OF the rocky soil. with SO sensitive tou
that one seems to breathe the familiar air OF tne
countryside. Only, with that sense OF beauty 10
which aIIusion has already been rnans. MI AA1e
calf has somehow fused his innumeraoe ilpaIPAOle
truths into the unit which means an fnoIVlouaA
t1,nresston Here is the New England pasture we
all know interpreted for with an eye ana
hand that give an extraordinary freshness
This is what Mr. MetcaIf does again and again.
in changing mood so that the collection OF nine
teen canvases has notable variety, our ALMOST al
vsvs with the same wellnigh uncanny mastery OF
his motive and OF his brush IL he stunlDies any
where it is. oddly. in those pictures WHICH sus
gest the deeper revery and the more patent ue
1,eloprnent OF q theme. Witness the large canvas
entitled NAV PastoraIe." This Is. IN respect TO
tenderness of landscape sentiment. the most am
bilious picture shown. There Is mucn IN sn9
scheme to call for subtle treatment. especially IN
the spring foliage and in the melting olsIane1 ~
This picture like the described above, IS wen
mt together a point by itself In its favor one
finds in this. moreover, great deal OF the uutll
which is always conspicuous In the painter 5 WolA.
What is IT. then. that is lacking? Inc note OK
sureness OF precision, particularly IN the sAooe'
a,-+s of tho composition, and you reflect upon
this Won perceive that in working with less tali
his accustomed authority the artist mas "eaheiieo
the keen fresh. autographs touch which IS Ills
hest quality The painting is beautiful SO Iar as
il goes but in the long run 1t does not caTIS SO
,-ictto, ss does every OF those pictures IN
which the key is brighter, sharper. more onecl.
There is it is true. another canvas IN Z hnuieN
,-oir the smaller Buds and Blossoms. and II
this the effect more persuasive Ihere L. too'
= -btr5 raint{nr The White Mantle" that superb
snow scene which Mr. Metcaf executed year
ago in which the last rehnements OF pecuii
,+;-,ata scene ara rendered with haTiess deLicacy
winter
~ wholly successful subtlety which IS missiles
from, the MAY Pastorale-" There IS something OF
almost nhysicaI chill in the Mtdwfnter' a STUDY
of snowy ground and gaunt. bare trees tnat IS as
1ova1r ss if is austere. But when he is palhIlns
e--,,r or summer or autumn Mr. Metcar triuInpns
according as he grasps his material Win e4phasi5
or clear light and close, swift nodeAlhs Oh
forms. . ,-.,,t,
IIa &c AT his best because he Is most hiInseil
in rho snarkiing vivacious mood OF "Ine Rehdez-
,-o,,s a study OF boats in harbor. In Vivld ma
lives like the ''EbbIng Tide" and the Calhueh
nm - or in studies of the WILDWOOD ike n
Family of Birches'' and THE Bower II - haiu
- sav which is the more impressive In thls IhaSS
4 ,vortx the fecitous expression OF surface Oeau-
ttos or the knowledge of nature and OF art Wnlch
cIoss scrutiny reveals The trees ana shruns IL
AZ aTatcaIfs pictures are not merely sIhouetteo
o,ainst the background. He knows the substance
I'D the contours OF twig and boush. he knows the
+rt,,-a of LEAKAGE. and beneath his generaLzed
efoctz h. makes you realize the character OF
.I-osa +btnrs In other words, the true SAVIOR OF
80 American landscape is in his work HIS exact
49,, ae~ibia craftsmanship, his instinct 1or
- and for light are the vehicles OF rerarA-
80 sincere and sympathetic conception OF the
New England scene