New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-06-30

There are portraits by him in which
his bravura is not unworthy OF the
bravura of Halls. He is of the tribe OF
that master in his bold, dashing brush
work. Whole seas have gone under
the bridge since the period OF TINS
group of portraits and venetian
studies. The scales have fallen from
the eyes of most artists of the present
generation. They take account OF the
sun. out of doors. and even in their
studios they prefer cooler. more dif-
fused light than the rather arbitrary
illumination Characteristic Of Duye-
neck. Yet they would give year out
of life, believe, for little Of his
mastery.
In the remaining rooms through
which we are now moving the questions
that present themselves may be briefly
stated and answered. Is given artist
well represented? The work of Whist
Ter might have been more yoluminously
illustrated but some If not all of the
things by him at the fair do him album
dant Justice. The Falling Rocket is
one of the most famous of his noe
/ turnes and one of the most character
! istic. Amongst all his full length por-
traits there is none finer than the
"Mrs. Huth," a study in blacks. by
itself this masterpiece would have
! filed the room. Things like the Note
: Blanche: Study of Jo," and the several
sketchy figure subjects of decorative
character lent by Mr. Freer, are inter
esting, though not important. A deeper
significance attaches to the few little
river and sea notes. There is, OF
course, in the print department, a gen
erous selection from the etchlngs. In
/ a nutshell, the Whistler exhibit could
/ have been improved, but it will do.
, Sargent is in the same case. A dozen
! portraits, pictures and sketches, not
! all of them of the first water, would
hardly afford defnitive measure OF
/ his prodigous talent. But we get
fairly Illuminating glimpses of that in
/ the spanish Courtyard" one of those
! brilliant notes of travel which Sargent
alone can throw off, and in the cele-
/ brated Madame Gautreau," the por-
trait marking his dramatic leap from
the studio Of Carolus Duran into the
world, which he has since made his
| own peculiar domain. This is mar
vellous relic of a painters early man
! hood, original in composition, beautl-
/ full in linear quality, and enriched in
ITS very fibre with the magic OF style.
Just as the "Mrs. Huth" would have
spoken alone for Whistler the Madame
Gautreau" would have been a sufficient
warrant for Sargent's having sepa..
rate room. The small collection. Of
works by Edwin A. Abbey is good Sc,
| Eleanor" stands high amongst his his
! torical paintings. In the lovely "Pa-
vane" he painted subject out OF the
Renaissance with all the charm Of
| that epoch he seems in this golden
scene a kind of Venetian Ghirlandajo.
! There are a few other pictures on a
smaller scale, and, for the rest, he is
represented by sheaf of his inimitable
drawings. | can imagine fuller, more
/ comprehensive show Of Abbey's, but
this gives his essential spirit, his grace.
his poetic quality, and his elegance IN
| technique.
The twenty-five or thirty landscapes
/ by the late William Keith, Californla's
most celebrated painter, well disclose
/ his romantic traits. He was an emo
tional type, sn artist of the line Of
Diaz and Rousseau. The manner Of
! the former supplied him with basis
for his own broad style. He studied
! the glorious oaks Of the Coast with a
! fine feeling for their weighty pict-
I bHc ihi6t uNNP
character of his sylvan scenes is hardly
so characteristic as is the lyrical glow
which he impaired 10 his work. He
/ loved the mystery Of the woods, the
/ enchantment of sunshine playing
/ through thick screens of LEAKAGE.
/ Though the low resonant key Of an
/ cient tree trunks and heavy, bosky
! greens predomnates in his pictures, he
seems often TO have fingered with an
/ affectionate dclicacy over tender notes
/ of gray End rose. There is much beau
/ tiful color in these landscapes, there is
the veritable atmosphere of nature,
and there ia, finally, the appeal Of a
fervid. intensely artistic nature. He
stands well the test of isolation.
That is the point which is constant
ly revived by the different "one-man"
exhibitions at the Fair. Chase meets
it without any difficulty. His room,
hung with paintings early and late,
with portraits, Venetian Impressions
and, Inevitably, powerful studios in
still life, is notable for its air Of ami
nation and versatility. He is the
adroit craftsman triumphant, with
some OF his portraits, more particu-
larly, recalling the graver, steadier
elements in his work. Tarbell, re-