New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-03-09

is the newest of recent regulations hav-
ing serious basis. In London he is
already a legend. The more esOteric
reviewers of artistic affairs have there
been wont to deal cavalierly enough
with the average exhibition. until they
have come upon this master of lately
formed school or group. Then they
saw that the show contains IAN Angus
tus john" as who should say, ut con-
tains one of the rarest Of the old mas
ters." A few OF his drawings have
strayed over to the United States and
left a fine impression, but we have not
before had the chance to see here what
the mans art is really like.
1t is distinguished art. You feel at
once that Mr.. John has an Unborn gift
and an individual habit of using III.
AT the same time he is momentarily
puzzIing, for it is not clear at any rate
upon this occasion, that he is getting
all that might be got out of his natural
resources, and presently you begin 10
by instinct and is mistakingly trying
to be something else. The picture
which we reproduce, 1.-THE Way Down
TO the Sea-" which is. by the way, the
largest, most important work he shows,
aptly illustrates the point. In attltlie
and gesture, as well as in the broad
| lines of the composition, he unmistd.-
ably endeavors to invest his subject
with some peculiar meaning, as tnpuSh
he would imaginatively enhance the
| significance Of quite ordinary act. III
the faces. too, he would appear TO ne
expressing some reconcile mood. but
| in the upshot all this remains dark
To the observer, who wonders why a
eroup of peasants descending To thc
shore should proceed as upon some H.
ualistic business. The specious, mixed
purpose of the design reacts upon thc
artists technique. He is nara ANA
stilted where one surmises a healthier,
more direct conception of the whole
subject would have encouraged him 10
paint better. Now if only this picture
had been brought over we fear that the
fervors of Mr.. Johns London critics
would have remained more mysterious
than ever. But these are at least par
TALLY explained by his other works.
The drawings are very beautiful, ana
in them there is none of the STIFFNESS
which is so distressing in the painting
lust traversed. Mr.. Johns line Is deli
cate and free In some of his heads ne
seems a Burne-Jones raised 10 higher
power: in others just clever disciple
of Leonardo with shrcwd aputud"
for that witchery Of waving hair when
so often beguiled the great Florentine.
But in the main this English drafts
man has a style of his own and ela-
plOys il with equal strength ana charm.
Decidedly his drawings prove that he
is worth knowing. and our apprecia-
ton grows when we examine LIS
smaller works in color studies of peas
ants. British and Continental, wnich
are fun Of character and movement,
full of subtle expression. and have mo
tie bargain technical originality ana
power Almost any Of them would
serve our purpose. bit We are inclined
to cite more particularly the little Pro-
Vcncal study. Woman Seated in
Garden" (No. Sd. which strikes Us rs
! perfectly concentrating all of the ar
lists merits. Here is his good draw
ing. here is his pure color laid on with
a delightful. swift directness; here are
his light and air: and here, above d..
is the hint Of style. of genuine inspird-
ton waiting upon the portrayal OF
genuine human creature. There are
other British painters reprcscnted-the
graceful. amusing Gender. and Mr.. Ma
thanicl Hone. whose two coast scenes
are ingratiating in their robust yet fine
grays. But in this section II is really
a case Of Augustus John first and IT,"
rest nowhere. Next year. II the assp-
citation repeats, as il ought To repeat
its splendid enterprise. point should
be made of getting together a fairy
| exhaustive collection of his works.