Evening star., 1913-11-29

neHE first of the series of one-man
exhibitions to be held during
the present season in the hemi-
cycle hall of the Corcoran Cal
Iery of Art opened today. IL
consists of thirty-one paintings by waiter
I,aunt Palmer. twenty-five OF which are
xater colors and the remainder oils.
Mr. Palmer was born in 1854, in Albany
n v where he still resides. He is a
son Of the sculptor, Erastus Dow Palmer
and he studied first under Frederick f.
Church. painter of the well known Nj
ae.ra" in the Corcoran Gallery. and
later under Carolus-Duran in Paris. He
has made a speciality of winter landscapes
and has received many awards for his
snow pictures. Mr.. Palmer's technique Is
studied and unobtrusive; his pictures are
essentially finished works, and the method
of production does not impress or con-
cern the observer. This is In strong con-
trast to much of the painting of today,
the present tendency being toward broad
brush work, which carries with it the sug-
gestion of nervous haste and impulse.
There is no doubt of the danger on the
other side-that technique over-retned
may, like the letter of the law, Kill the
spirit of inspiration. 1t is here that We
may turn with the utmost humility and
respect to the old Dutch masters who sue
ceeded so admirably in carrying their
paintings to the fullest completion through
endless toll without losing the spontaneity
OF the original creative impulse. This is
not to say, however. that in this matter
of the handling of medium there is just
one right way, for there are many. The
great artist rule unto himself and
may to a great extent disregard prece-
dent. 1t is the result that signifies.
1t is because today We are dealing
largely with painters who are not great
artists that these minor matters thrust
themselves 10 the front, and to a large
extent absorb our consideration. After
one has become accustomed to the whirl-
, wind technique of a majority of our
younger painters the more tranquil style
OF such a painter as Mr.. Palmer is apt
To fall little fiat by sheer contrast.
Mr. Palmer also gives more attention
TO composition than many. keeping al
ways. one may believe. the pictorial
| standpoint in view. When he errs at all
ii is on the side of er-prettiness-and
that is not usual One of the reasons
that many pictures do not find purchas-
ers today is because they have no sub
| jective interest. This the public always
has and always will demand.
! Perhaps there Is no subject more diff
cult 10 render than snow. Its extreme
whiteness. which nevertheless is never
! just white. and its texture. which is
neither hard nor soft. constitute in con-
| junction vexing problem for the paint
! er. 1t must not, to be true, suggest
either icing on a cake or cotton WOOL or
| just plain powdered sugar. 1t must be
| just cold snow and nothing else.
In most instances Mr.. Palmer has sue
ceeded in thus representing snow. One
| could walk through the drifts he has pic
tured and kick up the soft untrodden
| masses-it is cold and evidently newly
fallen. Moreover. the light and atmos-
phere his pictures suggest are in accord
| with the time of season. Finally his
work is individual His snow pictures
are not reminiscent of those of other
painters. His treatment is not that OF
the Japanese. nor is it that of his Ameri-
can confreres, Redfield. Schofield. Gard
ner, Symons or Birge Harrison. One is al
liberty to like the works OF other paint