New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-03-04

wears ago was OF che KIND that MAKES
the enduring foundations Of school
The best proof OF this lies IN the tact
,nat mis- etchiugs are IS Inspiring now
as they were then. At the Braun gal
iery he is making an exhibition OF ne"
paintings and old prints. The former
we suppose. should be the first 20 IN
wife comment. but. despite their merits
they must yield 20 the etchings. Parity
this is q matter Of sentiment. me
etchings revive irresistible memories
But sentiment is not needed for APP
probation OF this artists skliiul, eA-
pressive and very personal line, ms
complete mastery OF the needle and ms
exploitation of il in interesting de-
signs. A lot Of clever work has been
done by many hands since he showed
the way, but very little Of IL equals
his in pictorial felicity. He shared
Whistler's abhorrence Of the etching
that initiated snecdotic painting, ne
knew as Whistler knew that the Big
plate IS an offence but en- the ctner
hand he was never inclined 20 sacunce
subject to the linear arabesque. HIS
etchings are also studies OF nature,
delightful impressions Of pastoral
themes, OF shipping, Of coast scenes
generally. In other words, there Is
emotion in them "a well "a technique
the feeling for beauty which distin-
guishes the artist from the conJuror.
And the lovely quality in these prints
is the artists own. Just once. ~ the
"Squall. Bay Of Fundy.' you wonder
II he was. perhaps, a little influenced
bv-the famous Calais Pier" But even
here the touch of style is individual
original. and all through the series OF
some twoscore plates the free impulse
that produced them Is still affirmed
with extraordinary freshness. 1t Is a
JOY 70 see them again.
The paintings have a kindred vital
ity. though, as we have noted Detote
in discussing Mr.. Parrlsh's recent
work. he has remained virtually un-
touched by the more modern, impress
sionistic movements. Some OF our
Young lions must doubtless ma ms
mode old-fashioned Nevertheless, IL
ia sound mode that can produce
paintings of the serene charm OF tne
"Old Saw Mill" or the Vermont Val
lev" both of which. by the way, are
especially good in composition, and II
these are little commonplace IN tone
IL is plain elsewhere that Mr. Parrish
can use color 20 some effect when ne
chooses. Witness the sparkling noles.
in the dainty Path 10 the Woods'
the brilliant flashes in the Autumn,
and the luminous grays IN the MlSly
Morning. Gloucester har0or' mere
is variety in the collection, 20 lend an
insniriting accent 10 the perNadlhs
honest workmanship. One surveys inc
show al a whole with both respect ana
admiration.
Fifteen pictures-five each by Charles
II. Davis. Richard Z. Miller and Chaun-
cev + Rvder-are at the Macbeth gal
lerv. in a harmony that now and then
il wrecked bv a note too fine or note
too moan. These men are all optimistic
roalis+s who can invariably ind some
thing in nature 20 respond 20 the man.
nor Of their hearts They are men OF
few pictures. perhaps because they are
armed against haphazard whlms OF nat
ure bv misconceptions Of her. We are
assured Of the truth Of this as we 90
around the walls Of the gallery and
catch the personal imprint again and
AGAIN. repetitions Of style IN paint
marks. color. and furthey still and
moro irrevocably in type or suolec'
matter But this may be inevitable
Mr.. Davis's Early Autumn" - struct-
urallv the most pleasing canvas OF the
collection. Here the painter has de-
waited from a beaten track and SAID MS
saw with greater spontaneity or en-,
.busiasm than Is common 20 him. and
these are not uncommon 70 him. Pasi
0~f of fences anu
shadows we see a csw casually broWs-
ing. little white farmhouse IN the lee
of a great tree. a sluggish blue stream
and an opposing shore that Is, IN lne
as much a part Of the constructional
scheme. a peace-giving part, as 10 is
essential to IL. Another and more CHAR
ac+e-istic Davis is the over the Hill
wherein the great expanse Of blue sky
+brouOh which white clouds race nap
piIv. is cut of very near 70 the bottom
of The canvas By miniature stretch OF
rolling green hills doubled in solldlty
nv comparison 20 the ieecy clouds. The
afrosphere of these and Of the delight
fuI "The Creeping Shadow" from the
same brush. Is dry. clear and real.
Mr. RYDER contributes The Pasture
Road" Golden Afternoon, The Old
Road" Greek Through the Meadows
and The Old Wall" and must lose
something in the face Of the gay
painter-like impulses of Davis, whose
color is plrer. who catches the sparkle
of a nature exhilarated by clear and
crisp air. These may not be repre-
sentative Ryders. His Golden After
noon" stretch of field Leading
through naystacks 10 a nay rick being
loaded. is made Of a gold in which
there Is too much alloy; and there IS
too much alloy in the rest Of the can
vases. Though the pate is fat enough
the color is thin, emaciated, anemic
and the air and the ground. almost
without variation are sodden with
damDness. We turn from them TO Mr.
Miller's low-necked ladies'. IN their con-
fetti landscapes and dainty, latticed
porches and fashionaoly exquisite bou-
DORIS. forever looking in mirrors or IN