New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-03-26

effect. The nc, result il positively ex-
asperating. Here is a painter with
unmistakable gifts. but he cannot give
them their full value.
Mr.. Augustus John, long the object
of cult in England, is represented
by few sketches and drawings which
show his best qualities but give only
a limited view of his art. He has all
the technique that he needs. Line =
his natural idiom. lie uses II with
equal facility and power. and endues
il with style. The simple fiat tones
which mark his color have a winning
quality. II is a pity that nothing Is
presented TO illustrate his habit a.
maker. of pictures and decorations.
From what we know of his work m
those directions We should say that
he moved about. like Mr.. Orpen. 10
artistic worlds not realized, but some
documents in the case would have
been welcome. We wonder if Mr.. Francis
Dodd is a disciple Of Mr.. Johns. The
simplicity Of his "Angel-Greeted'
suggests an early Italian manner
that Of Fra Angelica, perhaps-iiltered
down through the manner or ms
friend. There are other echoes Of the
old masters. Mr.. W. T. Strang's "Danae
derives from Titan, but recaptures
nothing Of the glamour OF that stu
pendous artist. There is Northern
codbloodedness about the thing which
almost deprives the solid wor sman-
ship in IL Of It's due appreciation.
Never, we should say. has this ro-
mantle subject been treated with a
more complete lack of imagination.
The Titanesque inspiration appears
III al ia
Shannon's beautiful picture, Della IN
the House Of Tibullus." He has
glamour, the warmth of emotion and
the delicate charm OF taste. If any
contributor TO this exhibit has dis
tinction it is Mr.. Shannon.
His closest rivals are the two land
scape painters, Mr.. Cameron and Mr. I.
Wilson Steer. The "Painswlck Bea-
con" of the latter is as luscious and
as luminous "a Constable. Mr.:
Camerons "Airds" and his Rocks OF
Herrera" are painted with the monu-
mental simplicity betting their aus
tere themes. He has great breadth.
He knows what TO leave out. And
although in these pictures he eXcels IN
the powerful handling Of masses. he
finds a way, with his gift of the etcher'
10 secure a certain linear quality.
There are one or two painters IN
the group who strive after original e.
fects without disclosing any really con
vincing personal traits. They are Nr.
James Prydc. whose gloomy "Interior'
has oddly, but takes us nowhere, and
NrW. Dacres Adams, who promises well
in his early Victorian picture OF The
Round Pond" and then plays with a
rather Fictitious scheme Of light
and shade in THE Staircase Nr.
Rothenstein, on the other hand, wakes
unqualified sympathy with his study
of church porch with figures, "A
Little Boy Lost" In his unconven-
tional design and in his mellow tones
he gets the very character of the old
building portrayed. The picture is
full Of light and air. 10 Is one OF the
successful things in the show. with
it we bid farewell 10 the types who
for good or for i'll are putting their
own idosyncracies into their work:
The others are clever cultivators OF
Partisan adroitness. Among them
MIR. Charles Sims is perhaps the most
conspicuous, but his decorative nude,
"Anthea." though polished bit OF
work. is too pretty" by half. An
artist so deft ought 20 produce more
interesting things. The real leader Of
this wing of the exhibition is Mr.. J..
Connard. whose "Windy Day Is a
piece of genuine impressionism and
whose "Wo Rising from Bed" II
distinctly wanting in charm, IS never
theless energized by the painters