New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-07-07


at large | have observed one or two
striking developments. The statuette
has come into its own. The art build
ing is full of little bronZes, many Of
them nudes, but not few studies
from the ordinary types of modern
life, and, though such piquancy or
style as is illustrated by MIR. Paul Man
ship is uncommon. the workmanship
generally is adequate and often clever:
Another pleasant point to be noted
is the increasing vogue OF the ioun-
tain figure. Evidently the popularity
of the formal garden in this country
has fostered q new movement among
the sculptors. There seems also TO be
more scope here than ever before for
what the French so neatly cali the
GRimdIiCr. The school in which the
late Edward Kemeys was pioneer and
in which Mr.. A. p. Proctor mas so long
and so fruitfully labored to-day counts
among It's members remarkable num-
Der of admirable artists. | may men
tion in passing Frederick q. Roth, r:
W. Deming, Anna Vaughn Hyatt, Ell
Harvey, Albert Laessle, Lila A. VII e.
lock, c. c. Rumsey, c. Z. Knight ana
Grace NJ. Johnson. They count heavily
in the interest of the exhibition. AS
for the ultimate object of an exactlng
scrutiny of all the sculpture on view,
the rich personal touch in modelling,
the sign manual of the new and IN
spired artist-that is still elusive. The
characteristic modelling of our school
is, as | have said, adequate and clever
With that we must be content, con-
soling ourselves with the reflection
that a Saint Gaudens or a Warner Is
not vouchsafed every day to any peo-
pie. And | find further comfort at
this stage Of my journey. CHANGING at
the sculpture exhibit in its entirety
an exhibit more comprehensive than
any framed in the last few years, |
Judge that fatuous imitation OF RodIn
is diving out. Here and there 1t per
sists, Of course, but American sculp-
ture in its essence is all for course
more wholesome and sincere. IL es-
chews the facile, tricky effect so fever
ishly sought by those who think that
they share Robins taste but lack his
knowledge, and il bases itself more and
more upon honest study.
The hunt for really interesting ar
fists. generously enough rewarded
amongst the painters and sculptOrs.
grows little more arduous amongs,
those who employ other forms OF eN-
preston. There is only one brilliant
draughtsman to be hailed at this time
Boardman Robinson, whose cartoons
in The Tribune transformed an old
art. His work recalls in its linear
distinction, in its vivid cxDressiveneSs
and in its mastery placing Of the
blacks the supreme figure in this held.
the Frenchman who has been to some
extent his inspiration. Forain. OF the
Figaro" In his large sense OF form
there are splendid traces of the inhu-
ence Of Michael Angelo. He is an ar
fist who knows how to give the lasting
value of composition and style TO an
ephemeral drawing. Though he has
raised up a large following. his pc
culiar touch remains unique. The
black and whites at the fair show too
clearly the encroachments Of that
Standardization. due largely 10 the
magazines. which il is the mission OF
draughtsmen like Robinson 10 destroy.
The best work in this category Is old
work. the drawings Of men like Abbey
and Pyle. The latter has two rooms,
one containing his illustrations in
color, the other filled with pen draw
ings and monotones. They give an eX-
hilarating impression of his skill and
picturesaueness. He. too. has his fol-
lowers. but he. too. maintains his pre-
Cminence. There are drawings by
Everett Shinn. Mcclure Hamilton. Nav
Wilson Preston and John Sloan. which
detach themselves from their sur
roundings in pleasing fashion, but
otherwise there are no temptations for
US to linger.
II there are several such temptations
in the department of prints, it is never
theless true that the particular artist
is here of less importance than is the
matter of the average. | would not
ignore the urgent claims of certain
personalities. To see again the etch-
ings Of the late Otto Bacher and the
late Robert Blum is TO rejoice anew
over their sterling gifts. Bacher
etched a Venice as alluring in its way
as the Venice of Whistler, and that the
greater artist influenced him only
strengthened his work. Blum's witch"
also has its derivative significance-it
could not have been drawn in just that
way if he had not sat at the feet OF
Fortuny. But what an enkindling bit
Of technique it is! | must remark also
the consummate polish. the austere
eleganee-if | may risk the phrase
in Ernest Hsskell's landscapes and
portraits. and the deftness, the grace,
the charm, in Mathilde de Cordobss
studies Of children. There is still an
other artist Of original character to be
recorded, Allen Lewis, whose urban
scenes are superbly drawn. Most as
suredly there are reasons for going in
leisurely fashion through the prints.