New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-12-17

proximity Of neighbors. There would
be harmony here, it is true, under any
condition. The painters in the matter
of fame are all Of nearly equal magni-
tude and closely allied in the matter
of style; style technically and fashion
ably.
Men OF fashion in art must, willy
nilly. recall men of fashion in life; men
who paint paper flowers because or Mr.:
Nollard or VI. Cezanne remind US OF
men who dress after Beau drummer
or A modern matinee idol. The rela-
tions of art and life again make this
inevitable. It is certain that 10 know
a man is TO know his picture or wee
versa. Painting is a handwriting, as
suredly. These men have changed
theirs from the Spencerlan, as a siml1e:
10 the backhaud style, matter TINS OF
fashionable decree or modern etiquette
of avoidance Of judgment as passe or
as bourgeois. The paper flowers, how,
ever, appear in but one picture (and
here is room for reasonable doubt
even here), the Still Life by Eugene
Speicher. Lucky for Chase that ne
never required paper or wooden hsh!
But this is idle space nlling. Paper
and permanent or not, these movers
have helped Mr.. Speicher 70 the sober
est canvas in color and line that mas
come from mis- brush since the ola
Academy days. II is neither reason
able nor fair 20 question Its sincerity
on the record OF past performance.
Sincerity. like a sense Of color, Is pc
vond the reach of a number OF US. ar
Speichcr seems 70 have caught up WIN
H. here, not that he has not always
been craftsman Of real integrity.
Enough of him.
Mr.. II. Paul Burin. or Harry Berlin
or II. Paul Belen which would prove
him Young as 1t proves him pro-All ~
shows "Furrowed Field" and a "Por-
trait of George de Curtis" respectively
reminiscent Of Van Gogh and Cezanne.
He Is perhaps the most capable OF TINS
group. capable technically, although II
includes yirtuosi like Narian Cockcra't
Freedom OF the Woods; d. Putnam
Brinlev Connecticut village and
"Farmyard": Charles Reifle and Samuel
Halpert. Henry L. McRea adds 10 the
child Of his adoption a classic gravity
that may more truly reflect himseH.
II is enough to say that Ernest Law
son-"Huts on the Harlem and Mid
day'-prefers 20 use nature as a source
for motifs 20 the dictionary Of modern
ones which exist in paint. hr. Allen
Tucker in Portrait Cameila'
"The Red Hill" and some drawings,
marking his lines with less assurance
and perhaps more feeling, as IN Law
son. sccords an impression OF sincerity
greater than in other canvases mere
On exhibition az the galleries OF
/ Emile Tabbagh are Persian miniature:
Of the Mongol, Timurid. Safayid and
Hindo-Pe-sian schools, along with q
/ collection OF Greek, Roman and Pho
uician mosaic and Arabian glass. The
miniatures are of special interest 20
/ day. an interest apart from their true
| art value. due 20 the influence which
they, with so many other Easter
/ arts, have had upon the modern paint
er. The return of this art is intel
I lectual-the art itself, truly Eastern
I is emotional Color. We have beer
/ told by Mr.. l.. March Phillips, is emo
/ tional and form Intellectual Colo
| comes out Of the East. form out o
/ the West And the sense Of form thu
| insisting upon logic may very we'll b.
, the death Of color OF course thi
works the other way around Form j.
these miniatures is very evidently y
the greater glory OF colors its hand
maiden. These Persian artists wer