New-York tribune., 1911-11-21

into the bargain. But we would dwell even
more on Mr.. Rothenstein's excellence in
composition. on the integrity of his work
manship generally. on the originality and
charm OF his color, and. above ALL on his
ability in sheer painting. There is nothing
lightly beguiling about his work; he has
strength. rather than tenderness and deli
cacy. But a certain fneness goes with his
strength. He produces the kind Of picture
or portrait that one could live with for
long time
A new work OF art must be appraised for
IT'S own sake. vet there are occasions on
which il is difficult to detach IL from what
has gone before. The painter. after all, Is
a personality. A picture of his that is con-
sIdered in the dry light Of criticism also
makes its appeal as link in the develop
ment OF his career. Some such reflections
as these are provoked by the exhibition
which Mr.. Jonas Lie is holding at the
Folsom Gallery. When he first attracted
attention. a few years ago, it was manifest
that he had talent, but this gave every in
dication OF an early disappearance beneath
the weight OF an unfortunate mannerism
There was more paint than art about his
dunn as to be developing warped concep-
ton of nature, and # did not make matters
any the better to observe that there was
nothing very promising about his ideas of
piTment. Now, TO those who have had no
prIvate acquaintance with his doings, the
paintings he brings forward arc astonishing
In the transformation for which they stand
His art has come TO maturity.
t.Yf frnrffh
His surfaces to-day may be hard and with
out the sensuous bloom when marks the
rsirter enamored Of the stuff in which he
works But the hardness no longer con-
notes thin and brittle tones. HIS tones
g NAV not be subtly transparent but neither
are they opaque. and even when they are
most brutal they have something OF what'
In the jargon Of the studios Is caIeu
quality" Mr.. Lie has awakened 10 the
cnarm OF color as color and though as YET
# means nothing TO him of exquisite nu-
spce. IL means farTnore than II old' le"
short years ago. of beauty and or truth IL
. hardly matters that the nasturuums anu
other flowers In one or two Of his can
vases are bold to the point of crudity. Inc
main point is that the cracking tnts are
held together and that the touch through
out is genuinely painterlke. so IN MS VIZ
orous river scenes, with their heavy waters
and great bridges, the note struck Is a
shade too emphatic, but IT rings true. BEST
Of all Mr.. Lie is no longer the muscle
hound painter that he was when we nisl
became acquainted with his work lie uses
his brush with greater freedom and rlcher
personal force. In short he conveys the
Z impression Of a temperament mace over %
AZ least freed from self-cOnscious formula
and carried 10 a stage of larger vision ana
finer technical habit Not in long uine
has one Of our younger painters so hspphS
asserted himself or commanded such warn
" concentrations as are due in this instance
- Mr. lie has a neighbor on this occasion
at the Folsom Gallery in MISS VII s'ih'
Hargraves Wood. She exhibits a nunioei
Of portraits. drawn in red chalk or In pas
tel Her work is competent ana graceful
The portraits Of women and chlidreh are
particularly successful.
Mr. Robert Henri, in his exhibition OF
3 Lpdscapes. marines and wood interiors al
the Macbeth Gallery, also gives us NUS
surprise. He has been known as POi
trait and figure painter whose canVases'
usually generous in scale, have snla0heu
entirely Of the studio In fact, he mas
ranked as essentially a type OF arIih'o'
Untouched by the broadening hOerd'ih7
influences Of mere nature. Otter we nav
wondered why he has not carried his 'dieh'
out Of doors Now that he has done so II
IS 10 &c hoped that he will continue in a
beneficial practice. His twoscore notes
ccne in the Maine woods and along the
shore are bits Of promise rather than Iul-
hlment His light is not yet quite the
Eight Of nature, and hence his color Is still
wanting in freshness and lovelness. hls
ground and tree forms are similarly dis
Appointing. But he is, as always. I'M
Nensely clever. and there is not only con-
Sderable reality about these impressions
VI his but the SAVIOR Of interest and au-
@orty which only really able man can
communicate TO his work. His subjects
are well seen, and they are handled with a
HFaelty and a technical address which
'Oohterbslance the artists tendency 10
'N'her dry, unillumined. tones.
ihe exhibition Of prints at The KENNEDY
'sNery has a somewhat exceptional in
Niest inasmuch al it is composed Of part
'hs collection brought together by the
seymour Haden. Himself great mas
ol etching. he knew profoundly what
was about in filling his portfolios and
Deseaiy procured the print whose quail
g., "oulo appeal TO the initiated There are
Pessions here which might be described
a. souvenirs, in very peculiar sense. Of
Erusts taste. impressions Illustrating
> o. r@'e II It's different states, or admirable
ooine special technical reason. There
IN impressive group Of the eichings OF
sns oF'cquemond man Of wide range
,.r, "' needle and IN an his moods a
" brilliant workmanship. 1t is in