New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1914-03-21
..r;can Pictures of Inter-
A ". for Clever and Con-
90 ''.,vative Workmanship.
,,NDSCAPES WELL
TO THE FORE
,.w Salient Things Among the
Figure Subjects and
Portraits.
70, ROYAL CORTIssOz.


s~'s .rair Then there is the Academy
py "s reflects a mild credit upon every
81" ,cerned, but discloses hardly a
as ~ extraordinary import. such IS
deny which opens to-day at the
us Building. 4 survey Oh the
:. bund- pictures it contains though
~. .rrssable enough task in general
Or later resolves itself into search
' something different from the average
io' ..oee is good. no doubt. but 1t is
~ noIqnantly interesting Where II does
90 impress the commentator Is III
~ Illustration Of q certain thoroughgoih5
- lightly touched sort of workman
S"' How facile II all is and how conf
,.n,,v effective! 1t is our good fortune
w., % he far from the hollow sophist'ca-
-, If the Salon. but in our own more
~, ,.,osone way we are approximating to
standard OF fundamental efficiency
hen, :" long familiar Yes, this is decidedly
.ood academy. il the only test is that
st,ob can be met by good taste ana an
sdrOit brush.
18th are precious resources, Yet II is
io,s 70 observe how in that craving
.,icb will not down for somethins o. 4
.,,s personal significance one pauses
INCEST before few pictures which are
-, precisely brilliant. They have. at all
..,,s the note of individuality, The sug-
..,,ion that here and there an original
,iosyncracy is getting itself expressed.
rssse brief but piquant moments occur
d. they are generally apt TO occur in an
american exhibition-in the field of land
..ape. The first of them we owe 10
Marion Billiards. white Day" small
Infer scene soon encountered in the
.outh gallery. il has no great weight,
g., IL sure. but it is amusing. the artists
.uift staccato touch seeming very fresh
nd charming in the midst of work show
ag deeper study but not such instructive
feeling. Welcome. too. for the same
.reshness of attack, the same SAVIOR OF
an independent point OF view, is Van Per-
ines wind In the Boughs.' This
ralnter used TO deal in strange. ia. k
epacites He saw nature as though in
solid masses Now. we take II, his vision
hss broadened. and. incidentally his art
las become little more subjective. TINS
pcture makes one OF the spots in the ex-
t!tition where emotion is stirred. 1t is
touched. again, by Walter Nettleton in
The Evening Star" a lovely picture. al
san romance, filled with a ghostly Yet
perfectly natural illumination. There are
O,hs landscapes which make this fine ap-
psa. the Winter Morning" OF George j..
ysyss, the open Brook" by Ann Crane
and Rolston keeler's Haunt of the
Crow" None of them detaches itself In
any assertive way from its surroundings.
hat is the virtue OF them all. What
iasss artists have to say is merely per
sOnal. delicate and charming.
Romantic sentiment and the glamour 10
10 be got out Of rich effects of light and
color may be observed here in many ex-
cslent pictures. There are deep har-
monies Of tone. developed in a solid. hand
some fashion. by George II. Bogert N
Inc Moonlit Stream" by Edward Gay
IN his picturesque and strongly painted
Early Morning, Pelham Marshes, by
Robert Ii. Nisbet IN his decorative
Emerald Robe and by Bruce Crane,
7. Van Laer and others. The beauty
to be extorted just from warm diffused
lsnt is admirably put before us, too. IN
certain quarters. We may cite the de-
Agnlful sunny Glades" of John +. Call-
son and the Early Moon" of Arthur
hoeber. IL making his work more lumi-
n'us IT. Hoeber has taken a decisive
Hsp forward, painting a better picture
H~h ne has ever painted before. We
'sh ne had equalled the light and color
u his canvas with a surer, more accu-
dely expressive treatment of ground
@Hs. lie is typical, we may remark in
'e'sng' as are the others just mentioned,
Inc large number of landscape men in
We snow still faithful TO that suave ira
s'"Vh which may be traced back through
'-Ness and Wyant 10 the Barbizon school,
VIZ lmpressionist influences occasionally
~0aiying H. But If there is one move
@'F" which more than any other is rep
'sen'ed on this occasion it is the same
''n was so much in evidence st the
"H'e' Academy, the movement which is
s'"hs II not brutal The epithet is
~'sn and eonnotes, perhaps. an innate
.'e'sehess Of grain which is not. in Jus
w. 70 De attributed 10 the painters in
s-''Noh. Nevertheless, it not unfairly
'''oes artists who have not the small
sympathy for refinement OF painted
.''@ce' but seem bent upon throwing off
pictures with d direct and even
sn gesture, avid Of the bald truth but
-''sSs OF everything else. Here aud
type In this category will yield
'sHe latent sense Of what is simply
-uirl in tone and will grant US a lit
marin along with his force. Witness
Day in June" by George Bellows.
suffering Mayfair" Of Clifford Beal
~ we White Tenement of Robert
80 The raw statement OF facts in
petures Is oyerlaid, 10 some extent
\. " the DtBulllng qudNtleS OK what
~. .@a only designate as temperament.
- az this stage OF our survey We
., |" be content with the fact Paint
Z ~ ". Elmer schoheld. Jonas Lie.
a. heoheld, Charles Rosen and Hay
l,,,'e' haven't tho patience blandly 10
es,.'-s their IDEAS into tho observer
10. ',sshess. They strike out at him
}. - no shoulder. The results. It must
ana issed, have something interesting
VIC. zen ihvigorating about them. Pet
.v.., ms sort excite good deal OF re-
.sr'a ZONE admiration. Whether one
.s,.s care 70 live with them or not is
'ls'Asr story.
,. 10 not that point. after all. a certain
NIT The clever workmanship 10
,sIt, nave referred az happily pre-
a -.