New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-01-15
ART EXHIBITIONS
Mr., Emerson MCMiIIin'S Amer
lean and Foreign Pictures.


.- ,,e evenings Of January 20. q, p and
D., The walls are pretty generously COW
hero being 23s works catalogued.
-. - these are of the cider European
.re hut save for two or three deco
-. portraits Of women, such as the
..,.,,,,ees Of Carlisle" by Lely, and the
..,C,',,,ise du Chatelet," by Largilliere'
,ri, part Of the show has httIe 10 say
Among the modern works OF Tor
.,, origin there are some good Things
We. ~, the whole Mr.. McMillin appears 10
- bccn Iuckiest with his American
paintings. ,,,os 10 our
These include numerous examples u ou
80 school. some of them beautiful
.a practically all of them interesting
way or another. Certain OF 'he
'N are striknGly represented
io".- Martins In the Housatonic Val
,, q. q fine Illustration Of his iacuilE
CO., seeing nature in large lhpressl>e
,nsDncr. even before he had fully "orheu
a,,t his STYLE. There are two other PiC'
IS nv him, the Head Waters OF lne
hudson" panoramic in concepuoh' pu.
18th something of the very intimacy AZ
.,trr. I'm its severe beauty, and an carry
'.,,,,,,r,D in the Adirondacks." which Is
,.rfsct souvenir Of the Hudson RIVER
.cbool plus Martins personally VIM"
.II-,.i.+oe its drvness and robs It's rather
~. color Of all offence. Twelve lahu-
-, ;Ilrstrate the art Of Martin con-
,-,,,orer,. the late Alexander II. NNah|
- ,i,,etrsta If in almost as many mooos.
because they disclose the oroao 'ec"h'eno
~ his maturity, but because they are 'He
ricbest in feeling. Wyants quiet eihoOoN
&C. indeed. his surest source OF Ciiei ~
us was rarely II ever toucheu U! NV
s-.--e+,c motive 80 frequently encouh-
- IN the works Of the Barbizon schooi'
asne.allv those Of Rousseau lie op-
serv.d his sylvan themes IN puieiS
os,atiya spIrit. But reveIie never taoeu
- uncertainty or nothingness with hl'ii'
~ matter how he poetizes her. nature
-,-,a,.s has q rich vitality in his pictures
"a the latter are, moreover very
sn-ewdly composed We cannot ud'.i
,ba whole group Of them IN thls eo'e0
,i,n but TO at least one OF two We mus
ke special reference. the eAqulSi'o
1T. Morning" deserves its conspicuous
=. g., the entrance gallery. II is nara
=, say which is the more lnteIesu"e :"
It's the simple, beautiful design Oh '"o
-,h,letv with which the artist mas eA-
,ressed IN it a peculiarly tender sehu-
mt Another Wyant We must menuoh
. the carly Mountain Scene (No. I'D
y reminds us. as Homer Maruh Ia"O
nee have so often reminded us oil 'i'e
.a.e with which a grandiose lho'iNe mo-
,.lrardared sympathetic when the painter
~. IN hin, the stuff OF genius, OF style
>,.so,,bt the foliage in the foreground Is
wv. c,oselv analyzed, but il cannot dI-
Itch the fine effect Of the ensemole'
r, yyas with George lnness as II was
.t, want. an Unborn gift OF h'sh
..r,cr gave value TO pracucailS e'e''
Inc that he did. saving his hs'
80 from the merely mechanical hard
,.ss which prevailed among all save 'ie
radiuc landscape painters oil ms Hou''
'.F y,una manhood. Mr.. McMilhn got
..e.fhcr nineteen Of his paintings anu -
is a pity. by the way. that they were NOT
f..,,.r, In one room on this occasion lheS
..rge from the very early Afternoon
..stod 1876. which might almost nave oeeh
"a from, some old Dutch engraving
Inch tho broader but still restrained
manner of the "Perugia and the NahtS'
,,,,,.o,ir NJ 1874. to the glowing braNuid
NJ the Tenaiy-Autumn' and the 4hu-
Ian summer" which he painted in the
r.rc,ies As the years went on his color
GROW richer. his textures looseT' ana t''e
whole movement of his brush more ooId'
,r.r and personal. But il is interesting
Ga Geo through rough chronological
view Of these pictures. how the sumptu-
ogs noetry Of his golden age clearly had
IT'S Germ I'm the generous prose or MS
youth From the very beginning he saw
his subjects with the eye OF one making
friends with nature There was never any
bitterness i'm him, whether he was paint
ing with fun knowledge and an almost
reckless passion, or was judlciously reel
ing his way through uneXplored PROD
lens. This group Of his pictures, with the
works Of WANT and Martin, should
cause some excitement at the sale.
our old masters, IL We may so describe
them. are not unworthily supported by
their fellow countrymen. There are eight
CT ten good pictures here by the late
Robert G.. Minor who was, indeed, OF |
their generation and movement, and there |
are welcome pieces by Bruce Crane |
Charles H. Davis, Leonard Ochtman, j. |
FraLcis Murphy w. l.. Picknell and
others In this miscellaneous company |
there is a recent landscape, Winter. |
Deeraeld," by Spencer Fuller. which has
some uncommonly good passages and in
its broad atmosphere, if not in all its
workmanship, holds its own with almost
any Landscape I'm the exhibition.
The modern European paintings make
ono Of the oldest concentrations OF sub
iccts and styles We have seen in a long
time. Pictures of every conceivable type
seem TO have been drawn blithely into
Mr.. NcMilln's net lie would buy "A
PAINTERS bit Of painting like Fortunys
unfinished "Environs de Tanger" or
representative example Of a sound aca-
dcmician like Geromes nude. In the
Usrcm." a strong animal subject like |
John NJ Swans Evening in the Des- |
ert." or a clever impressionistic note such !
as Montenards road scene Near Tou- !
superhCialities like the STANDARD Bear
err Of Roybet There are, in fact. too |
many commonplace pictures in this show. |
Hut MI. McMillin atones for their pres |
encc through his paintings OF the French |
romantic school He has one very i'm |
portant and very beautiful Corot, the |
famous "Orpheus and Eurydce." and |
no