The sun. [volume] (New York [N.Y.]) 1833-1916, 1914-04-12

SAID that II was while citing for a por-
trait to Pablo Picasso that the scales
fell from his eyes and he received GU
bistic sight forthwith and has had the
power to feel and project in four d.
mansions ever since.
The history stops there. Whether
Pablo Picasso counselled him to study
with a plumb line in the Academic
julien or gave him OF his own knowl-
edge Ia not said. Certainly long before
the four years were UP this one" TO
quote Miss Gertrude Stein, ''knew that
what ne was doing would do for others"
New York connoisseur bought Mr..
Burty's ''Fortincations" Mr.. S,ieglitz
saw II and knew instantly that an ex-
hibition Of such work would do for him.
Now that all the pictures are hung he
10 as pleased as Punch with It, Mr..
Walkowitz also likes II. Mr.. Marin.
Paul Haviland. Mr.. Hapgood. Mr. de
Zayas. Mrs. Mabel Dodge. all approve
Of II. The chance to be number nine
upon this list is yours. dear reader. Tho
rush has not yet begun.
THE Qualifications" VIVA painted
in 1911. one year after Mr..
Burty pronounced "beer -tea')
had begun the study OF painting. This
picture must have amazed and cha
grined his preceptor. IT falls to the
lot Of every instructor to have his
pupils chance upon tho most heaven
sent subjects. The fortincations Of
Paris constitute a perfect theme for .
new artist. Mr.. Burty only cubed tho
soft gray sky. The rest Of the picture
cubed itself. It's realism IL undeniable.
Such cubism Is easy to understand. All
Of Mr.. Burty's work will he sufficiently
understood by every one, for that
matter. Apparently his chief desire IL
to be frank. not to he mysterious. and
he Is q cublst only in the sense that
Cezanne in style.
His nudes and other figure pieces.
his still lfes and landscapes are we'll
drawn. in the disturbing modern
fashion. Tho proportions are we'll
enough: the solidity Of ladies' chests
and arms IL indicated as firmly as in
the best German work. but arrived at
with greater economy Of means: the
characterization Ia excellent; the line
and color both have the peculiar
searching. nervously sensitive and in
cessantly truthful air that battles de-
scription. but IL ever present in good
modern art" The realism that IL
attained by this nervous line and
nervous color ofYends the philistines
because II In realism. The phillstines
never begin TO hearken to truth until
the speaker has reiterated It so often
that his voice takes on the mechanical
tones Of habit. The individual Of taste,
however, gets from Mr.. Burty, NJ. Bon
nard. Vallotton. WILLARD and the others
the pleasurable sense OF participating
in a voyage Of discovery. lust how far
II will be continued does not worry
these sensible voyaRcurs. II II not.
thank heaven. n Cooks tour. We can
jump on when we wish.
Mr.. Burty Ia at the beginning OF what
may be a career. He Ia not master,
not a leader, as yet. But ne does more
than merely rattle Plcasso's dice from
the box. lie has taken principles. not
formulas. from his modern friends
Consequently. the peculiar shadow upon
the red tiles under the homcly young
lady who sits by the window is Dor
rowed not from Matisse. hut from
nature. The iron grill has qualities We
have seen ourselves In iron grllls, hut
never before Just like that In paint,
The iron grill is by no means wonderful,
hut II In az seen by Mr.. Burty. The
high heels Of the homely Young lady
might have been done by Toulouse
Lautrec, but you see ut least We noticed
them. Not even Sargent can interest
us In high heels any more. He has done
them 40 often he probably has lost
interest IN them himself. That MIR.
Burty can compel ia to examine care
fully a still life OF lamp upon the wall,
several plain kitchen tables ana various
arrangements in which lemons have
been placed at unexpected parts of the
picture leads us to the belief that he
Is a real artist. In spite of all the
Academy may say. II IL easier for some
people To be artists than II IL for others.
The Interesting ones interest because
they themselves are Interested. The
popular word for II Is magnetism.
TfTE Macbeth Galleries have a new
collection Of nifty works by Amcri.
can artists, most Of whom fire.
Quently exhibit In these rooms and are
now more or less identified with this
house. They embrace two or three
imaginative works, "A few figure peceh
and many landscapes.
Among the imaginative pieces the
Albert p. Ryder stands first. II is n
little picture. brown as a fiddle" and
as mellow. showing "A horse in a stable.
We are compelled TO class 1t under the
heading imaginative" as this artist