New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-12-10

ramic picture, but without regrs'
KrolPs blue ocean Compliments the
ihousandth golden autumn from tne
brush Of Bruce Crane. Mr.. Potthsst
evidently has taken the hint from
Crane, Ballard Williams, enner, THAI
low, hint which may point too in
sistently at the value OF repetition.
His first view Of bathers IN the sea-
lending the shock Of newness. seemed
great deal finer than the links that
have followed 10 in so endless chain'
Mr. Hamilton Easter Field explains
in the catalogue Of his December eNni-
bition, given at his recently inaugV-
rated gallery, 10 Columbia helghts,
In BROOKLYN. that "a certain dehnte
trend i. shown in the work exhibited
this month. IL is difficult 10 dehne
this trend except by indicating rs ante
cedents. To find them one must go
back 10 the art OF Manet. Renoir ana
Cezanne. This trend is away from pure
realism and toward classicism or 70.
manticism, or toward both All OF
which is, probably. very true. Except
for the line relating 10 antecedents
which confines the possible amount Of
these 10 Manet, Renoir and Cezanne.
These. like all men, must have had
fathers. grandfathers, and even TINS -
not beyond credulty- great-grandiath-
ers. The scope Of the show H.. indeed,
quite as broad az the scope OF DIR.
Fields statement. We 20 on here
from A. Walkowitz 20 Agnes l.. Pelton,
who sometimes resembles Arthur Is.
Davies TOO closely. and Robert Henri,
the Henri Of the Luxembourg galleries,
street scene under snow. This Is not
an over-wide span. even though we can
add at the end or AZ the beginning or y
Mr.. J. Alden Weir's view of New YORK
AZ night, that subtle management or
blue and orange that has been SHOWN
once or twice before. others that cor
tribute 20 the interest OF TINS lNely
collection are John Marin. Marguerite
and william Zorach, decorative roman
ticists; Maurice Sterne, Man Ray the
always happy Maurice Prendergast'
whose pagan and painter JOY quite ar
bitrarily deletes the bsnaiities comet
dent with facts by deleting the facts
themselves; Alfred Maurer, Bernard
Karfoi. a new name and too new
painter: Leon Dabo, Leon Knoll, Sam
uel Holpert-"3S' and "39." The pict-
ures. without titles, bear instead num-
bers as simple as those given to IN
mates of Sing Sing. This IS well,
however, for the title Of the modern
picture. suggested after the birth OF
the picture, as often as not, matters
very little.
Twenty-seven pictures gathered by
Mrs. Albert Steiner are in the little
gallery which the Knoedlers have
turned over 70 her, for better or worse.
The selecting OF this collection seems
at once to have been directed by
certain very definite appreciation OF
quality in texture and color; an appre-
citation, then, of the richness which
was the second nature Of the old mas
ters and which the self-named mas
ters of the day are wont TO deride
with the designation-fat. Indeed the
contrast between this color and the
newer color demands the symbolical
use of the words-whlch serve the pur-
pose very we'll while eXaggerating the
fact-liquid and dry. IL Is to the
older color, the color 70 be seen most
frequently in the museums, that liquid
is applied. But we need not 20 into
that Mrs. Sterner's little group OF
pictures is composed OF units consis-
te,.ly full and rounded in color de
spite the fact that the range extends
from the high soprano" OF an I'm.
pressionist like William Glackens or OF
a premedtated post-impresslonist Ike
Pierre Bonnard. 20 the bass of tonal-
ist like Eugene Carriere, true enough
dealer in liquids, or the gloom OF the
painter of fisherfolk. Cottet. Such
mingling Of extremes may result either
from carelessness or design. The Met
ropoitan Museum once felt the need OF
facing bogus works-the instance or
the Tanagra figurines-with authentic
ones The design here was cduca-
tional. Perhaps Mrs. Steiner has
aimed at Il similar end
The Albert Besnard-"The Black
Ribbon"-presents this French vhtu-
oso in his most unfortunate mood. lie
is of those painters who execute good
end bad pictures with equal rapldity
and ease. Facility may be his buga'
boo. He has dawn a figure. IN this
instance. lazily. in the receptive vein
of the too docie Beaux Arts pupil,
and has lighted il Electrically. Ca.
mile Pissaro's LA Cote des Boeufs
shames it. with simple reality. hahlil
Gibran. whose decadence beside that or
a Baudelaire would seem initiative or
merely fashionable, is represented by 4
homeless group Of nudes on hillside,
which he is pleased 20 name The rs
cape" The Paul Cezanne only hints at
his turbulent force. Nannette Callers
Nude" and +. c. Cadets interior"
and Juliette Thompson's Head of
Young Woman" might appeal 70 the
artists who care not what has been
said so long as the painter has val
lowed sufficiently in his pigment. Dag
nan Brittany Mans an
Academician with a conscience. His
head here, painted in the efficient and
businesslike manner of Holbein. with
the more joyous spirit of later day.
Is admirable. With Mr.. Henri's
"Chow Choy." it is Of those pictures
that give satisfaction through their
air Of being, once for all, finished. Mr..
Alden Weir's Harmony in Yellow and
Pink" combines refinement and luxuri-