New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1916-11-10
Exhibitions That Illustrate
American and Brit
iSh Ideas
THE PICTURE
AND THE "BIT"
A Group of Portrait Painters
and Some Other Cur.
rent Topics
BY ROYAL CORTISSOZ

~ is eNacting in proportion 70 the ar
lists ambition. In other words, there
is nothing in the world Of art harder
to make than really brilliant water
color. But far more than oil paint il
permits and even invites certain
casual playfulness. There is no other
medium so favorable to the lucky mo-
ment. the happy accident There are
two exhibitions AT present in the city
which promote reflection or this dual
potentiality Of the little tin box with
its so easily liquefed tints, The one
presented by the New York Water
Color Club at the Fine Arts Building
has, 70 begin with. the advantage of a
delightful ensemble. The two gal
lerles, Judiciously hung and skilfully
ing impression. That, in the matter of
water color, is already half the rattle,
II means that there is plenty of
clever technique about, a very import
ant point There are times when tech
nique seems peculiarly satisfying and
this Is one of them. IL fills the place
with brightness, with light, enter
tanning quality. Fairly representative
of the whole display is the little sketch
of "Cab Horses in the Snow" by Miss
Anne Goldthwaite, which figures early
in the list, the most feeting of trivial
impressions, but so deft, so vivid, thst
one thoroughly enjoys it without for a
moment taking 1t at all seriously. Al
most is ons inclined to say that here
the function of water color Is perfectly
illustrated. But it is susceptible of
further development in much the same
vein. Witness the three landscapes By
Mr. Thomas Hunt, which for a Certain
fulness of achievement might fairly
be cited as the best things in the shcw.
He gets all the elements of pictorial
unity, interesting design and color,
truth to nature, and family romantic
sentiment 70 round out the effect with
something Of his own. But best Of all
he contrives TO put all these factors
together with the touch of the true
water colorist, with that same spon-
taneity, that same feeling for the
genius of the medium, which we have
noted in Miss Goldthwaite's charming
sketch.
Without spontaneity the water color
list may go far and yet fail of his right
reward. Take, for example, Miss Van
dc Veer's lovely "Petunias." 1t is
lovely in its delicate color, lovely in its
expression of floral character, but
technically it lags. so to say, pausing
too long over details. The flower piece,
to carry conviction, must glow after the
fashion. of Mrs. La Farge's RED
Camelia" or of Miss Anna Fishers my
Window Garden" Only in the hands
OF some such master as Fantin Latour
may it successfully risk a subtle
appeal. Turning TO the figure subjects
this view of the matter is soon con-
frmed. Artists like Miss Hilda Bel
cher, in her portrait of a child, Com
fort" or Mr. Arthur Crisp, in his
theatrical subjects, or Miss Jane Peter
son in her palm Beach," are in no
wise important" but then they do not
pretend to be. All that they are driv-
ing at is to be swift, facile, amusing,
and they reach their end. Looking at
Mr.. Thornton Oakley's Indian studies
we appreciate their picturesqueness,
their good drawing, their gay hues. but
we deprecate their rigidity, their ex-
cess of finish" II is TO be explained,
we suppose. By their having been pro-
ouced as magazine illustrations, but
that does not console Us for the
absence of the virtue TO which We have
been referring.
n is odd. the force of the virtue in
question, the power with which it viii
invest a nominally superficial thing:
Mr.. Luks, in his three or four notes OF
travel in France, exactly enforces the
point. Their sparkling freshness cap
tjyates. though in them he has next TO
nothing to saw. There question is
raised on which it is interesting to
consult another exhibition. The Amerl-
can tendency, as the Water Color CLUB
6iscloses it, is toward the bit rather
than toward the picture. The few con.
tributions we have cited amply support
this generalization. Looking pack at
the show. as a whole, we recall only
here and there what might De aeser, re
as composition with a purpose. Inc
broad effect is of skilful, attractive
sketches. II is good effect and H. 10
tell the truth, it has not moved US 10
narticularize many examples OF talent
We nevertheless leave the galleries
moderately refreshed. For good or Tor
IN too. il is an effect which somehow
seems representative OF our American
habit of mind. where water color is con-
cerned Technical adroitness and
vivacitv we must have. We use the
medium lightly, in an experimental
mood. For graver matters we turn 10
heavier instruments. Is II a necessary,
not IN saw a wise, choice? Let us see
what the British artist has to say ABOUT
He ha. a good opportunity at the
American Art Galleries, where apun-
dant space has been given TO collec,,
lion sent over by members OF the Royai
Society of Painters IN water Coiofs'
More than two hundred paintings are
shown. and they give fuIi enough
sccount Of the English idea. Every one
Lnows the old foundations OF mat ldea'
the tradition that came down from the
late eighteenth century and SUFFERED
some curious developments IN the nine
teenth. Turner could De Nir'uoso =
..hnr he chose. but the prevailing note
~ Ms time was hardly yirtuosity; and,
- the Victorian era, what had once
hsen an intensely deliberate mode OF
Detnt;ne became a good deal more de-
i;hsrate-with the earlier fashes oil IN
sn,rstion left out. Let the visitor TAKE
bfs frst view of this exhibition on
r.nid walk. glancing at the pictures en-
nssse as il were, and he Will conelude
that The nigcled, woolly water color
st;li Aourishes in Great Britain. put
lei him then begin all over again, gong
sIowlv through the collection, and ne
will ne,ceive that the British water
colorist's clock has neither stopped nor
heen nut back. On the contrary, ne
will see that this artist has been max
inc the best Of what we may cali the
quality Of his defect. AL,
His defect was for years, and still
is. the sacrifice Of spontaneity 70 mn.
ish. But the quality that goes WIN ~
Is a certain fine seriousness ceItsIn
f0E