The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-01-16

ture mean? The elevator man would
certainly like to know.
About John Marin's lovely water
colors and Samuel fialpert's powerful
snow scene there 10 not az much
question. These are works Of art that
any one who knows life outdoors can
appreciate. Andrew Dasburg nH ya.H
utes a drawing ~ IA nude figure that
has good lines and n study NJ archi-
lecture that has some Of Meryone IN
tensity. Abram Walkowitz. Alfred
Maurer and Lee Simonson are a.ksrs
who send moro or less strange cHc-
lures to this curious exhibition.
Tho George Luks exhibition in che
kraushaar Galleries will call atten-
ton anew TO his artist. 1t u Gle
largest show that Mr.. Luks has made
In some years. and In some aspects
the most interesting. For one thing
the artist Is relying more upon color.
The creator of the "Splelers," 'vrhe
Duchess THE Boxer" and The
P~awnbroker's Daughter" has not quite
yet done with that vein. and in the
galleries are to he seen powerfully
W . " NV v III liz
fantastic mummery OF New Years
Day. wilful angry babies who sit At
dinner tables in startling proximity to
their parents whiskey bottles, negro
banjo artists and other strange char
acters. The Houston street market
scene and the women and children
upon a park bench are large canva-cs
and hint at q departure In style for
Mr.. Luks.
All artists agree that utility = \
great prop for beauty and hat when
n vessel Is perfectly adapted for use
the chances are ten to one the vessel
IL a beautiful one. In CONSEQUENCE
artists nave often openly admired the
exquisite n%eatress. precision and sug-
gestion OF force found in tho dynamos
and other modern engines and ma
chimes. The artists admiration Of n
perfect machine IS u very different
thing, however. from a mechanical In
depreciation OF a living thing, n this
difference cannot be too strongly EN-
phas!zed.
picahia. whose exhibition In the
Modern Gallery IL disturbing tho
tim!d. compounds his pictures from
mechanical forms. They appear 10 be
drawings OF engines. or Illustration
TO patent office reports. except that
zach contains some %iron!csl title tina;
starts the spectator TO thinking Of the
drawing from the reverse Of the me
chan!cal point Of View.
The second glance d!scioses also that
these drawings all compose. and that
AS mere designs they nre unexcep-
;ional. \ child or an engineer or
soIns ~confidingly simple person who is
not afraid 20 go half way 70 meet All
artist. feeling the precision and the
persuasive sureness Of these lines and
colors, might consider them beautiful.
Certainly tho one that contains tho
four great black discs. with red cen
tres. connected with piston rods ~
silver and gold. has the downright In
cvitahlcness OF early Japanese art. or
OF the latest scientific war weapons.
The Goupil Galleries are showing
n full Of portraits by Miss Betty
Peters. who IL the daughter of Clinton
Peters, the portrait painter. and Adele
u. Peters. miniature painter. and was
born In Paris in 1923. With such q
birthplace and such n background IN
early life ~ IL no wonder that Miss
Peter. has become a professional SO
quickly. All of her portraits are good
likenesses. Among her sitters have
been Frederick H. Eaton. Kenneth e.
Stsley and Albert Il. Ashforth.
AZ the same time these galleries are
exhibiting landscapes by Richard
Montague. "A pupil Of Henry W. Ran
tsnr Ila tnip,G uaGf',- n,,l f,.,aa.,,.