New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-01-14
AnExhibitiOn Showing That
Nobody Has a Grievance
Against Anybody.
WHISTLER'S ART
IN TYPOGRAPHY
Paintings by the Late Charles K.
BacOn-The John h. Web
ster Collection.
ia EON Al InRIlN>O/.

failfu OF rep esentatlOu there because ul'
wall space fel! short are having an cNh-
bitiOn a their own. As announced iu
The Tribune last SUNDAY. this exhibition
has been arranged at the Schne.der-An-
derson BUILDING. i'm West 10th street,
where q large ard we'll lighted loft. just
Under the roof has been put in shape for
the purpose with astonishing celebrity.
Neady % hundred paintings are shown
md there are perhaps a dozen pieces OF
sculpture. To broad impression received
confirms the }. mark made I'm a preface 20
:he catalogue to the effect that the eXhi-
iit.Cn Ambodics 30 protest against the
action Of the Academy. Nobody has any
grievance against anybody. The men ana
,vcn'on associated iu the enterprise have
80 oi,vicus affiliations with tho so-called
Independents" Of car Ca. They belong.
indeed. in the academy fol-, and Their
sLou amcru;e 20 nothing more nor To-.
thar an extension OF the one now open at
the iinr Arts Building.
a contains few good portraits and
figure subjects. Mr. Arthur Crisp's study
Of q girl in green, ''The Dreamcr,' is
sprightly. decorative piece Of work. ana
, M G. c. CJrran has revcr used his
polished art more charmingly than in -
Girl OF 1S4O."'in which his graceful model
is posed against a capital background,
aptly furnished by an old Colonial door
way Mr. Eiendon Campbers Child
Drawing" is not only winning in senti-
ment btit is attractive in execution. one
responds sympathotically to the brisk APP
Zeal Of Martha Walter in her picture
From the Beach" picture painted with
a good dea Of nervous force. In the field
Of Iortraiture Antonio BarOne. Harry
Mailman Orlando Rouland and Louis
MAYER all figure creditabiy enough. Mr..
, Mayer's "Prcfile Of Lady Is decidedly
promising performance. The BRITTANY
Boy" of salvatore Lascari. is also warm
T. to 5e welcomed. This artist has q
touch. firm but not hard. which suggests
that he ought 20 DO some fine things. lie
has in him the unkngs of a good linear
style. The landscapes inevitably include
some admirable things. paintings by Jonas
Lie. j. Joseph. Rudolph Dirls T. u. Ben
rimo. w. +. Taylor, Clara Davidson and
Jane Peterson disclosing the same clever
ness in the treatment of light and air that
u q Z -
Of course. amongst any artists Of any
ability at all working out OF doors. one
or two exhibitors try for a more indlvid-
ual note rs witness tho opalescent "IWl-
light" Of Mr.. Ernest Albert or Mr.. Roul-
and : rather theatrical PLAZA Reflections.
/ Central Park" But in the main the bet
! ter pictures here follow well-worn paths
! Apropos Of the Enthusiastically modest
average established in the exhibition, IL
must be confessed that the organizers do
not lend any very solid significance TO
! their purpose. This, ii appears, is TO
call public attention 10 the fact that eX-
listing conditions for exhibiting pictures in
New York City are atrocious. and that
! the 35l works Of art on the Academy
/ walls fail 10 give an adequate idea OF the
serious work which is being done by the
/ artists Of New York city alone, TO say
nothing Of the National aspect Of the
matter" II is not pleasant 70 have 10
say so. but the truth is that il we are 10
Judge from this exhibition, with all It's
merits. the Academy has given an en-
| tirely adequate idea Of the kind OF work
submitted to IT, There is, after all. noth-
| ing here which makes us feel that the
Academy show is incomplete. Suppose all
these pictures had been hung at the Fine
Arts Building. Would they have seriously
strengthened things there, making not
| only larger but a more representative
! exhibition? Not a bit of II. On the con-
trarv. with the best will in the world TO
| aopreciate the energy and the good feel
| ing of those accepted but not hung.
we arc convinced that II they had had
| their chance further uptown they would
| have left matters exactly where we ma
tbem Conclusively 70 show 'the crying
need of a Salon something more VIII
/ have TO be done than has been done upon
! this occasion
! An interesting essay might be written
! on the question OF Whistler's ultimate re
/ lation to each Of the mediums OF artistic
expression that he employed Before
! some of his paintings, say the portrait oil
/ his mother. or certain of his Noe
turnes." YOU would say that he was born
/ TO work in oils: yet there are pictures OF
/ his in which his brush seems to go sadly
/ astray In water color and In pastel
he had his ups and downs, too. ups anu
downs in strong contrast TO the superb
mastery characterizns him as an etcher
! His use of photography was. for NM
curiously authoritative. There as In etch-
! ing, he seems to have Mad a sure instinct
! suffering none Of the lapses which marx
! his history as a painter. There IS an
! exhibition at the Keppcl gallery when
J well illustrates this point II is made up
of litnographs from the collection OF
Thomas r. Way. many of them presented
i'm exquisitely fine impressions. The snow
might bc described as one OF genius al
plav. Of brilliant artist moving army
about amid enchanting problems anu
practically never making misstcp
Whistler at his best. I'm any medium ~
master Of grace, OF fine distVloh'
I'm his Autographs ne is persistently the
F Butterfly" touching the stone with MS
wings. brushing 1t so daintily that ltho-
graphs more fragile in their beauty than
his are merely unthinkable. II scarcely
matters what the theme may be. with
architecture he is perhaps. peculiarly
successful. giving to a subject Ike The
Priests House. Rouen." an extraordinary
pictorial value. but just as you are max
ing NJ your mind that he ought always
- have drawn buildings YOU come upon a
figure piece like The Toilet" or upon
some of his nude and seml-nude figurines,
and then YOU rejoice at his range. In
fact. there was nothing that he could not
do well In this medium. Ills great lltho-