New-York tribune., 1910-01-19

! does with the brush. With all rasnect for
the sincerity of Mr.. Steichen's n,,rnose I,
! the handling of color We are neyer,be,es.
constrained to remark that he does with
the brush precisely what he does with the
oaihera-saNe that he does not do II o,Iite
50 Wen. Granting the hypothesis on which
ne ouiios his photographs. the latter are
aoiS eHective Witness the three
plates ne has made of Robins "Ralzac "
reproducing the famous statue in the open
ar under melodramatic conditions of
hight The Enthusiastically of the niece is
superply emphasized. 1t may be noted in
passing that these photographs EXPOSE with
innocent malice the very quality which led
10 the rejection of the statue by the men
oi ietters VINO sought monument for the
great writer. Balzac had his histrionic side
but thus portrayed he would never have
recognized himself. But the kew to his
genius was none OF Mr.. Steichen's affair
All ne had to do was TO raise Robins
amazing figure to the nth power, and this
he mas unnistakably done. In the circum-
Stances ne deserves only praise. To paint
pictures from the same point of view. how
ever, is another thing Mr. Steichen ar
rafses his landscapes with something OF
the deft artfulness that he shows in his
Photographs. The composition in a picture
IKE MS Nocturne at Chateau du Doux"
suggests clever stage setting, and in this
the work mentioned is typical. Every
"here the painter wakes the same theatri-
'caI memories Some Of his carefully bal
anced harmonies raise surmise that he
mas sat at the feet of Whistler, and oc-
-caslonaIly he gives us a hint of the decora-
i've ingenuity of Japan. Not once does he
give US the SAVIOR of the SOIL the sense OF
wood and field interpreted with loving sim
nj
though immensely clever, seems done
wholly from the outside
1t Is interesting to turn from these mr.
tentously modern things to the land
scdpes painted by the late Alfred c. How
laho' which have been placed on exhibi-
non In the little gallery at the Century
Cluo- No doubt the young men of the
present day. trained in inpressionism and
the ike, would find them oId-fashioned.
MI. HoWland, an old and loyal member
OF the Academy, was a young man when
ne came under the influence Of Corot. and
IN lhe company of that master felt the
play Of ideas that went on among the
PAINTERS or Barbizon. He did not initiate
them. When he came home and spent
ms long career in the portrayal of the
american countryside he aimed merely
al painting with truth. If he remembered
Corot in his handling of LEAKAGE and kept
10 quiet tonality he was nevertheless
100 sincere and workmanlike an artist to
repeat stereotyped motives. He had a
genuine feeling for landscape sentiment
and a special appreciation of the pictu-
resqueneSS of our scenery. He had too
hrm grasp on the art of composition,
and among the many examples shown at
the Century Club there few that lack
aTsar0 -in1 fTy,s~,
the sweetness Of nature which made him
a lovable personality got into his work.
1t was true work, with an atmosphere of
beauty in it, and it is good that it should
be honored by this memorial exhibition
At the Madison Art Gallery there is a
double exhibition, Mr.. Edmund Greacen
and Mr.. Karl Anderson both showing a
number OF paintings. They are clever
men, who care for light and air and color
making pictures which. if not especially
memorable, have at least an exhilarating
vitality. Mr.. Greacen, an uneven painter,
is at his best full of promise. His winter
scenes particularly are delightful in tone
and show a positive gift for the denote
ment of atmospheric effects. The most
ingratiaIing element in the work OF Mr.
Anderson is certain easy Vigor, which
comes out in broad bruShwork and ex-
cellent though not at all distinguished
craftsmanship. His solid achievements
lie, We dare say, before him. Meanwhile
there is much to excite appreciation in
his fluent modelling of the figure, his
somewhat violent and yet not crude color,
and the vivid but quite unforced lumnos-
ity in which his subjects are bathed
These young painters on the right
track. They are studying nature face to
face, learning a large freedom In her
presence, and learning it the better be-
cause they are playing no tricks with
technique, but are proceeding in careful,
straightforward fashion.
Only one exhibition of old masters calls
for comment to-day. but that one, at the
Cottier Gallery, is of substantial value. 1t
is made up OF half a dozen Dutch por-
traits. good examples of Jan Rayesteyn,
Jan Verspronck, Nicolas Macs and An
thony Stevaerts, better known Paiame-
des large landscape by Van Goyen and
d bit of genre by Cornelius Dusart. The
portraits, especially those BY Verspronck
and Ravesteyn, admirably illustrate the
staid realism of the school, its rectitude in
matters of craftsmanship and model
ling and its skill in extorting a handsome
effect from d narrow scale of color. The
Van Goyen, a spacious composition and de-
finest of the masters studies of atmo-
sphere, and in the Dusart there are quiet
beauties Of light and color, as we'll as a
certain delicacy of touch, not often en-
countered in Dutch tavern subjects. At
the same gallery there may be seen a study
of swimmers by Millet, one of his early
nudes 1t is q little gem.
At the Clark Gallery there is an exhibi-
ton of water colors by Mr.. Charles =.
Forbes Few Of his figure pieces arc 80
good as the study of a girl (No 49,, but
! nearly all of his open air sketches have "A
winning sprightliress The Venetian scenes,
! especially, spontaneous and clever. make
| the exhibition worth visit. At the gal
| leries of the New York Cooperative So
! ciety, Mr.. 10 Davidson is showing mum
| Der of sculptures and drawings. Paintings
! by Mr.. Aloysius O'Kelly are on view at the
Snedecor Gallery. The katZ Gallery is
hung with paintings by Mr. Harry l. Hoff-
| man and etchings by Mr.. Albert Worcester.
| Engravings in color after the eighteenth
century English masters may be seen al
! the Tooth Gallery. and at the Kraushaar
! Gallery an exhibition of modern masters.
such as Jakob Mars, Monticello and Fantin
Latour. has for its central feature
| markable painting by Whistler, The Coast
OF Brittany a souvenir of his early period.