New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-11-28

levities. The strutting young dabster
who has never got back from Paris
is chock full Of temperament. Exit,
then. the hateful word. But tempera-
ment, Of course, remains, and there are
times when il affirms itself in such wise
that Il seems the most golden thing in
the world. II is never more engaging
than when it signifies certain ardor,
certain affectionately enthusiastic ap-
proaeh. When Hokusai was in his sew
sn,ies or Whereabouts he signed him
xh "The old man with a mania for
trssing." What kindling traits the
phrase suggestsl Every artist is com
iorzbly assumed 10 be in a passion
Of devotion over his work, but
only on rare occasions does the artist
make you feel it. The world is crowded
With pictures that may have been paint
ed with frenzy, but that seem the prod
uets Of coid-blooded routine. The real
thing, when it turns up, is unmistaka-
Die. Does il also invariably connote
great art? Not by any means. The
nan Of temperament has his good hours
and his bad ones. lie does not always
strike twelve. But at his worst he in
tsrests you. And at his best he gives
you one Of the purest, most exhllarat-
ihg sensations 10 be had In the sphere
Of artistic emotion. In illustration we
would cite Mr. Childe Hsssam, who IS
making two exhibitions just now, one OF
paintings al the Montross gallery, and,
a. the Keppel gallery, one Of etchings.
We will look first at the paintings
because they cover a wide range, ex-
posing the artists character at full
isngih, 50 20 say. There are more than
hundred Of them, oils, water colors
and pastels, landscapes and figure sub
!teis, coast scenes and urban sketches.
hey are Of all dates in a period OF
more than twenty years. They stand
,or different methods, too. The little
venetian water color, a careful study
u San Giorgio, which carries the rec
std as far back as 1888, is fairly OBJ
n<fsted b. the painters later work. lie
hAs always experimental. And he has
'tAaily kept on growing. With the in
Ieasing years there have come increas-
1g knowledge, a finer sense Of things,
aurer hand. But the true source Of
~ ms progress IL that mysterious
e-shiy 20 which we have referred
4ooTe' the artists temperament, his In
sAhaest0ie guEtO What a mania he
"a for painting, What love and en-
~ does he put into his work! That
!. ne KEY 20 the charm Of this exhibit
IN, the urgency Of Mr. Hassam's
motion. the Joy that he takes In his
'no' eolorful world. II IL always
.siof nat stir him. Form, we make
eSubt, has It's place in his cosmos.
Know that from countless nudes
.aSt ne has exhibited, first and last,
no mere are few souvenirs here Of
=. interest in the subject. But form,
ssssnce, - not his meter. Color H.,
9 ~ color we mean not 10 much a
"s@nt passage here or there, but
- cement IN which his best ideas live
nc breathe and have their being. The
'I important Of the few figure pieces
I. nh1~s nov, the interior with a
,"Sn a. her dressing table, Morn
Llx1t," offers the precise case in
~ The figure BY itgelf II Of no
s.ss,ing significance. This is but a
.[.1i Impression of distinctly casual
I've. But the picture is beautiful
gsesst the artist In his intense, zest-
way makes us see bis subject as he
80 y, ~ affair u lovely color, Of soft
~. ~ squsliI lovely light, Of life at an
ef gndfamatic yet somehow gra-
80 arc happy moment. The room Is
s.mminz IN summer air. IL delicate
~, ~, are yiyibed a. IL by magic. You
49,. 80 MAT an artist has passed that
~ an artist with a glad sense Of