Evening star. [volume] (Washington, D.C.) 1854-1972, 1909-01-02

NG AFTER SNOW" BY w. T.. SCI
very reason it's uncommon worth may not
be appreciated by all.
Herman Dudley Murphy's MT. Monad-
nock-the Ark is another excellent snow
picture, subtle, reserved and vet stgni1-
cant. Jonas Lie sends strong and i'm
pressive work. 1.-The Witches Pool. and
there is much to be said in praise OF
Clark G. Voorhees, December NOonrse"
and Walter Nettleton's Winter in the
Woods" Everett l.. Warmers Brooklyn
Bridge in a SHowstorm, which won the
Jennie Sesnan prize at the Pennsylvania
Academy last winter is also here, are
winter pictures by Leonard Ochiman.
Ernest Lawson and Charles Norris
Young. Mr.. Ochtman's work Is authori-
tative and accomplished. but not espe-
cially spontaneous or appealing. a pur-
pliSh gray domino ting all his recent can
vases. and a consciously studied man
ner of execution robbing them of some
Of their former charm. Mr.. Lawson, on
the other hand. gives no hostage to ira
ditions of the academy, but patches his
pictures together in a manner so I'M
speakably clever and novel that few per-
sons note anything but his technique in
''Morningside Heights, which has in
reality other merits to recommend II.
Nature in Another Phase.
But it is not perennially winter, and re-
turning to gallery one will find there
in, hanging next to Mr.. Schofeld's APP
proach OF Spring a Little June Idyl,'
by Chiide Hassam, who is, of course, the
leading exponent i'm America of the
French impressionists' school. This is
a particularly delightful little picture
and. strangely enough, not utterly dis
similar in effect from ''The Bower by
Willard Metcalf, who, in a previous para
graph. was cited as q specially conserva-
tive realistic painter. Herein, however,
lies the key to the mystery-realism is
whit less true an Interpretation than Is
THE Snow Bearers" but it presents of
nature another phase. 1t is we'll to note
in this canvas the variety of greens en-
ployed and the remarkably skillful way
in which they have been brought into
harmony. The paint, instead of being put
on In broad sweeps of the brush, is patted
on in little dabs representing almost In
dividual leaves, not in a haphaZard fash
ion. but with much exactitude: The sur
face of the canvas is not niggled. but air
pervades it, and. as in Mr.. Metcalf's
Trembling Leaves" the foliage fairly
seems to stir. Charles H. DAVIS also
knows better than the majority how to
interpret midsummers charm, and his
Clouds and Hills is an interesting con-
tribution though perhaps less mastery
than the painting Sunshine and Clouds"
by which he is represented In the Evans
National Gallery collection.
Murphy's Summer Time.
Mrs Comans picture Clearing Off"
showing a summer shower trailing it's
garments over green. rolling fields, dis
plays competent workmanship and SYM
pathetic feeling. which. after all. do not
invariably go together. And I'm the same
gallery in which this is hung gallery
CT. will be found J. Francis Murphy's
many considered the most mastery of all
the landscapes shown Such an asser-
ton would. however. be rather sweeping.
but 1t may safely be assumed that If it
is not the best there is certainly none
better. Essentially green picture, it is
neither monotonous not blatant In COM
position 1t is simple-;n treatment know
ing and tender. Mr.. Murphy is one of
the American landscapists who have re-
sorted to subtle forms of expression and
yet retained .forceful utterance. His pic
lures depend almost solely upon their
rendering for their interest and are reti-
cent to a degree, but never vague nor in
significant. AS will be seen both in
Summer Time and Upland Pastures
Morning. which Is hung in the atrium,
he does not confuse his planes nor create
a diversity of interests.
These same qualities are to be noted in
d. W. Tryon's painting October which
belongs to the Freer collection, and has
been loaned through the courtesy of the
Smithsonian Institution. and. though in a
less degree, in Autumn Uplands'' and
November Hills painted by Bruce
Crane.
Robinson's midsummer Night"
Beautiful, indeed, and mastery in
execution is William S. Robinson's Mid
summer Night which is hung on the east
wall in gallery A, and must, through its
charm and merit, attract much attention.
Primarily it is a lovely composition,
and next. it is delightfully."- set forth. The
whole landscape is bathed in moonlight.
but here and there in the sky peeps out
little twinkling star. And it is real moon
light and real darkness, not stage manu-
facture nor black paint
Atmosphere is obvious, and as one looks
into the picture more and more of the de
tails are discerned And Furthermore, the
painter is forgotten in the result: he has
concealed his art through artful manipu-
lation of his medium. which in itself is
no small achieveme But this is but
one of the several excellent nocturnes
| in this exhibition. Charles Warren Eaton
sends one, THE Night; Emil Carlson
another, 'Windham Hill-Moonlight."
big conception: Arthur Parton yet third,
"Moonrise," and Mr. E. III. Miller of this
city a fourth, Moonlight on the Beach -
Mr. Charles Melville Deweys excellent
picture. Twilight may also be reck-
oned with this category, as may likewise
| a small painting by Charles II. Davis enti-
tied Golden Moonlight"
Work Of the Tonalists.
The tonalists-William Sartain, Louis
Paul Dessar. f. Ballard Williams, Henry
Golden Dearth, George Inness, jr. and
William Keith, the California painter,
whose work is in a measure reminiscent
of the elder 1nness-are all admirably
represented by, in most instances. more
than one work apiece; and examples are
also given of the productions of Ralph
| Albert Blakelock and Albert Ryder, nei-
| theT of whom is longer producing.
| A decorative element enters. to a GER
| tain degree, into all of these mems paint
| ings, and likewise finds It's way into
| Henry w. Rangers pictures. which IN
| reality belong quite to another school
George H. Bogert's Approaching Storm
| and Frank Duveneck's Village Brook