The Richmond palladium and sun-telegram., 1912-10-12
BY ESTHER GRIFFIN WHITE.


pressed through the landscape.
And this is the day of the landscape
picture.
1t is merely one of the signs which
point the way.
To the final human realization that
we are merely part of the whole and
when this is translated through the
medium of the painting art that the
apogee of all things has been express
ed
This is occultly felt in the canvases
of Leon Dabo, one Of which hangs in
the current exhibition in the public
art galleries.
DabO is a seer and a poet.
He sees with the clairvoyant eye.
He discerns the life within life.
His pictures of moonlighted and sun
set and mist enveloped landscape have
an eyrie quality.
You know them to be not only the
haunts of the human but of the "Other
people" those others invisible and
yet ever with us.
Some of his canvases are apt to be
bit bizarre in consequence. But at
fascination.
Certainly Max Nordau's pronounce
ment that Alexander-now that he had
achieved a reputation through ser
| les of pictures of women in distorted
attitudes-was a perfectly safe paint
er Of the bourgeoisie is illustrated by
the figure seen here, called Sylvia y
! While the face, itself, has a certain
sweetness, the pose is awkward and
| the whole picture commonplace. The
wonderful sinuosity of many of Alex
ander's figures of women is totally
lacking. And the absence of his allur-
ing line is noticeable.
In "The Promenade" large exhibi-
tion canvas by Max Bohm, on the 9th
er hand is seen much beautiful line
! Figures in a landscape, this, the whole
vibrant with pulsating light, the fig,
ures of the women and child alert and
intent, the whole picture admirably
composed.
| And with peculiar clarity of pigment
It's human note, too, is appealing.
For these are not merely lay fig
AASoA'
and blood presentments.
Ordinarily pictures of this character
are chiefly spectacular in interest
And this element is dominant here
But it has, in addition, genuine hui
manity.
Landscape is best interpreted, how
ever, through itself. Rarely do figures
combine and complement. This is
felt in Evening in Georgia" by F. c
Peyraud, which is we'll painted with
an odd tapestry like effect, with ex
cellent tonal quality and fine balances
in composition.
AS noticeable in tone as in this pic
ture it is not the tonal study that is
expressed in Cherry Blossoms" BY
Edward Redfield or venetian La
goons" by Johansen.
Cherry Blossoms" is especially ex
quisite in it's tender, delicate, subtle
other as elusively as the shadow of {
dream.
Redfield is the possessor of dis
tinguished technique.
But of more than that. Of the abso
lutism of the artist.
AS simple and direct as are hi
methods they are dominated by tn
surety of genius.
This is an interesting study in man
ner, also, since the paint is laid OF
with palette knife and with a broad
| free stroke.
There is, after fashion, no pictur
in the exhibition to compare with 1t il
, all the qualities that go to the maxim
of a picture-save Bundy's.
And the latter for different reasons
Nearby hangs picture, the direo
antithesis in manner to that Of tn
4 Redfield.
THE Bayou" by Daniel CARRIER,
painter who shows considerable origin
ality in subject and treatment bu
l whose effects are achieved through il
direction rather than through the sin
plicity of the former artists artist
procedure. Garber's technique adapt
itself to effects of solidity. His trees
J grass and vegetation have sort c
: juiciness, the natural resultant of hi
: methods of painting, united with hi
: peculiar individualisms, and his colo
is clear and cool. The sky in this pi,