New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-01-23

designs, the whole has been so well
arrsr ged and 80 skilfully handled that
there is not the least feeling OF con-
fusion or Of spottiness. OF Harriette
Bowdoin's work, perhaps the three We
nattsn scenes are the most attractive.
The sun-bathed stone walls and pave
ment are well interpreted.
The first exhibition Of the Contern-
porary Group at the Folsom Gallery
consists Of number Of oil painting,
a few bits Of sculpture and an entire
room full OF drawings. Everything
Is very modern and Of 1915 model"
ID. Putnam Brinley contributes an ef-
fective "Dahlias," a pleasing group OF
the blossoms arranged in copper bowl
against an embroidered hanging. Flow
ers. table, textile design, all are out
lined in dark blue, and the effect OF the
whole is Of low-keyed, non-luminous
mosaic. OF qoite a different sort Is
Karl Anderson's "Wistaria," In It's deli
cate handling Of dainty mauyes and
greens. II is delightful to the eye and
soothing 70 the mind. william Som
mer is Modern of the Moderns. HIS
Primitive Man" is surely awe-insplr-
ing. One can comprehend that the two
objects in the foreground are meant
70 represent man and woman. with
a good deal OF Imagination one can also
make out a tree. But what the rest OF
the conglomeration is IL Is quite I'M
possible to say. We suspect that it is
symbolic OF something. Boys Head,
by the same artist, Is the sort Of thing
which looks better in black and white
reproduction than in the original. Hay
ley Levers Fish Wharf" is good
~ Ia .rff
fused, but not more so than the sub
ject warrants. "Over the Bar" by Harry
Berlin. Is queer picture Of little
graveyard with fields and houses. 1t Is,
perhaps, bit extreme, but we rather
like Il for its general layout and vel
vety greens. Though We cannot say
that we like Mr. Berlin's "Pieta" az a
whole it is done in disagreeable
MODERNISM technique-the girls bent
head half-hidden by her raised arms Is
pleasing passage.
By comparison with many OF the
pictures in the room, Ernest Lawson's
two canvases seem almost old-fash-
toned. They are both Of them charm
ing. The one called Spring" is redo
lent with the atmosphere OF that sea.
son. The scene is yelled by a mist OF
Young leaves on tbs trees, which COM
pleteiy All the foreground. The same
painters "City Suburbs" Is also de-
lightful, though not altogether so sue
cessful. The color, pattern and atmoo-
phere are good. but the brush strokes
seem too small and the tones too finely
broken.
Edith Woodman Burroughs Figure
Of Youth" from the Fountain OF Youth
at the Panama Exposition, is already
we'll known. 1t is an exquisite concep-
ton, a lovely nude girl, standing on a
pedestal, whereon is carved in relief
the head Of half-imbecile Old Age, gaz-
ing UP at her. Through the recent
death Of Mrs. Burroughs American art
has lost one Of its most imaginative
and gracious opponents. Sara Morris
Greene exhibits q number OF interest
ing terra-cotta heads of Brittany peas
ant women. The drawings. OF which
there are many, number few OF inter
est, notably those of Hayley Lever. It
cannot be said. however. that many OF
them compel attention.
Three painters are showing together
at the Macbeth gallery. They are
Emil Carlson, Helen Nj. Turner and
Daniel CARRIER. AMI their work just
comfortably fills one of the rooms.
Miss Turner's canvases are noteworthy
for the skilful manner in which she
handles light Golden Hours" is per-
haps the most pleasing. II represents
a Young woman working at embroidery
in the broken sunlight Of a porch
whose bamboo roll-screens are lowered.