New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-03-27
ART EXHIBITIONS
The w. T. Evans Collection OF
American Pictures.

thing outside it. Many persons find IT OK
tremely difficult 70 look al a thing in and
for itself. They must be forever making
comparisons, highly invidious compari-
sons at that. and the result is often much
! unnecessary chagrin. Well II there are
any American artists who felt them
selves unjusty abused by the remarks
that were hurting about while the indie
pendents' were having their innings they
| have only 10 go to the America: Art Gal
leries and look AZ the collection of American
pictures formed 10y Mr. William T. Evans.
II is to be sold at the Plaza next Monday.
Tuesday and Wednesday evenings. which
is To say that it is To he sold about
week or fortnight too soon. An exhibit
ton like this is an object lesson. and A
rare one Not I'm a long time have We
had the American school put forward in
such splendid form. The disgruntled
artist mas. We repeat only to stroll
! through Nh Evans's collection in order To-
have his tone and his confidence restored.
Mr. Evans has long been known rs an
assiduous collector Of American paint
| ings. but only hts intimates could have
guessed just what the effect would he
| when ne brought his two hundred pict-
ures together in a public place II is an
effect so interesting. - fine. that one Is
tempted 10 ignore the particular claim OF
this OF that work of art and dwell upon
the subject at large. discussing the gen
eral characteristics of American painting
They are illustrated here almost entirely
in Landscapes. but there are some figure
/ fa,
/ pieces which recall Ms 20 the salient virtue
If our school it, delicacy. its taste. Per
haps the best proof Of all lies IN the finest
| Of Mr. Dewlngs three pictures. The
| Lutte" II is one Of those outdoor subjects
| that he was wont To paint some years ago
| a landscape with figures In which The
landscape makes no appeal for II. own
sake hut counts simply AS beautiful
! background one of the slender ladies In
/ the composition j. seated on the grass.
/ holding across her lap the prodigiously
/ long instrument which gives the picture its
] title She has three listeners. CARRIED Ike
/ herself IN evening dress The whole scene
/ is arbitrary and even little unreal hut
! IL happens to be- beautiful TO the point Of
euchantment Tina, H. where Nh. Dewing
/
Of our artistic Development the phase
which spells feeling Tor scnsuous charm.
profound refinement and delightful re-
! spect for tho substance that lies upon tn"
/ painters palette.
| There az. Others here who have muDn
I the same point Of view Nj Robert Reid -
one ~ them with four or five ~ his
gracious studies u the figure faStidious
/ in form and composition. dainty in color.
touched with light and air and alrat
decorative Nj Childe Hassam L. anothef
equally sympathetic figure. Tuning from
| Nj Reds picture 90 Mr.. Hasssm beau
/ tiful "Leda and tine swan or his ~ tn"
/ Piano" and then passing on 90 the land
scapes by the late + ~ TWachtman. Mr..
Alden Weir and Nj " T. Mc;calf. We feel
! FOR a moment that We have strayef into
one - the exhibitions ~ the Ton American
Painters u is tho flood Of light that in
part creates the Illusion The group ~
brilliant men who have done most 10 al
vance with us the impressionis'ic princl-
ules come well 20 the fore in MI Evans
collection But II is quite as rich and Is.
perhaps even richer BOO those landscape
painters 90 whom the iargou ~ the studio
affixes the designation ~ "tonalists.' II 10 /
an ugly word. bat worth using II only FOR
the eliminating manner in which -
throws u.s. back upou the true significance +
of American tone We speak. NJ ,oIf.e. /
Il those men VINO Rave pon their spurs ,
whose achievements bear the stamp NJ
ideas thought out organized and authori- /
tatiyeiy expressed. They IN our land /
scape school. have never been hetTa> ed
into pla,ine easy tricks with tone. They
give nature It's chance First and last I
the erea, triumph mad. manifest ~ this
exhibition is that ~ an ant sensitive
truthful. warmed by emotion and some I.
times transngurod hy imagination
We are reluctant 20 come To- the end ~
the lit e ngure subjects. II contains /,
further arresting things. the pure. dign!- /
Ned and vet romantic "Loda and the |
swan " by George De Forest Brush. that !
memorable nude 10y the late u X. RITZ I
"rbe Reflection" which reappears after /
wears and only deeprns our sorso Of iS
merit. the luminous lude called Spring I,
blossom by Miss Gcuth. the myS"rout ,
roignant Lady ~ Shalott' by the late /
John / a Fargo and tn" two nue examples ,
Of the suiritualized art Of Mr.. - - |
Walker his Boy and Dove" and a /,
Manning Vision" Nj WIZ II. Lows long /
serie, of studies for mural decorations a |
.ct nf viyacious and era eful panels |
sho,ild aisD be mentioned. But tie plea OF
tho land .caucs IS irresistible" II is pity |
that ,ve cannot describe them all II is I
M congregation to say that there arc not |
hove q dozen negligible pictures in the |
.olioctinu The sequence ranges from the !
nioncers down to men sun lVlis an" NJ
work There are seven paintings 10y |
G.orse Inness. including two or three I'M
,,,tar, canvascs The eight examples Of
1o,,o,. Martin show him IN his most SO
zion. monumental vein and. in two OF
,bro. instances. as he painted when ne /
,.,s in a more casual mood. bN Nyaht !
,bore are FULLY twenty canyases, lars" ana |
Ill elaborate studies done In his modest /
.,,to and uttle spontaneous sketches sat !
,,ra,od m his most intimate, personal /
,.,,.,i,tes La Farge's landscape work is !
=. ..rroeented IN the grand Mount !
Tobiyia", there are SIX OF NIhflo" no /
49, .un.rb water colors. swain Ginord I
or,,o,,s I'm two good landscapes. ana rom /
a,..,t., eminent man ~ that generation ,
,,a.,r,,n Johnson. there l. one OF MS |
,ruost hits of brushwork ana color niue |
s,,d, for the Corn Husking.
william Gedrey Bunce l. present III h'e
characteristic painting one oi them
oIor,ous Evening at Venice. ~ 'arSe
.cale dating from his prime. ana two OF !