New-York tribune., 1909-12-19
THE ACADEMY.
LANDSCAPES and other Works at the
Wmtcr Exhibition.


been judiciously filled by the National Academy
of Design the occasion of its annual winter
exhibition. fair average collection of about
three hundred pieces have been formed. and it
has been very well hung. The younger con-
tributors of current work have their chance
and usual, two or three paintings have been
borrowed from special sources The ensemble
Is pleasing enough and once more the landscape
painters greatly strengthen il. There is indeed,
a considerable quantity of open air work here
that is of high degree of excellence. Mr.
Charles Morris Young's two pictures. Late
Spring" and March Morning" which flank the
entrance to the show. both sincere and work
manlike performances, well set the key which is
to be noted throughout. These landscapes are
not, perhaps, rich in charm but they are truth
full and they are painted with ingratiating
energy.
The most interesting thing to observe among
the landscapes is just this strain of wholesome
vitality, the almost complete absence of a strain
ing after effect. There some pictures shown
which more of artifice than of direct con-
tact with nature. There is, for example. Mr..
BOgerts Turneresque Approach Of Evening,
Venice" but ingenious impressions of this sort
are the whole, rare, and, moreover in JUS
ticc to Mr.. Bogert, it should be remarked that
1e develops his rather Fictitious scheme very
aell. 1t is, to be sure, distinctly engaging If
IT does not gain unqualified acceptance it is we
luppose, because this artists harmony of color
Is little wanting in personal force; he does
bot persuade you, Mr.. Bunce does in his
Departing Day" or his Early Morning" that
} chrOmatic fantasia is the natural expression
bf his temperament. There is always a GER
tain peril in painting landscapes with too def
htely aesthetic poetic purpose. Poetry and
the beauty of sheer color must find their way
INTO q Ouite artlpSSlV and SpOnta-
aCouSly they are better abandoned altogether.
An apt illustration is provided fy Mr. +. b.
Williams in his Hills of Purple and Rose" 1t
Is a lovely picture in its way, but its way does
not to have much TO do with the faithful
observation of nature Mr.. Williams works out
his design rather though he were sitting
bensively in his studio and thinking in vague
fashion of the jewel-like paintings of Daz.
This does very well when he is making picture
like his Chant d'AmOur" deliberately roman
die figure piece. There vein of artifce is per-
nssible and even delightful. The poetic motive
Is welcome, too, when it connotes simply a re- |
iponse to the soft charm of twilight, in Mr..
Ben Fosters Evening Mists" Yet, when all is
said, the salient landscapes in this exhibition
are those denoting just frank and zestful in
terest in scenes out of doors, desire to render
tree and ground forms straghtforwardly and |
get as much as possible out of the play of |
light.
The painters not all excited about sun |
shine in its most obvious effects. The familiar |
exaggeratons in this regard which impression |
ism" has fostered in some quarters seem to be |
wearing themselves out. The prevailing tone |
IS quieter and more agreeable. Light and air
for their sake, and not elements to be |
artifcially exploited, fill the clever landscapes
OF Mr.. Potthast Mr.. NettletOn. Mr. Brinley, Mr.. |
Crane, Mr.. Groll, Mr.. Redfield and Mr. Symons. |
1t is in fact impossible to recite all the claims |
upon attention made by the open air paint |
ers, they numerous, and in many in |
stances is good technique cOlOred by individ- |
uality. There pictures everywhere like Mr.. |
Late Afternoon" like Mr.. Weirs charming |
New England scene in a lighter key, Pelham |
Lane" and besides these sensitive studies of |
field wood there admirable sea pieces by |
Mr Waugh, Mr.. REIN and Mr.. Dougherty. In |
q word the Academy has never brought for
ward a more robust array Of impressions of |
nature. IN taking leave of them, by the way
one notes the clever work of Mr. George Bel
lows, his Excavation at Night and his pict-
of The Palisades" both evidences of an
earnest endeavor to paint with strong realism
Fcenes that are particularly close at hand. The
observer is bound to wish him well, and to hope
that he may purify and illuminate his gamut of |
color. He has too amusing talent to go on