New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-01-07

II
Apollo and Daphne" Psyche at The
House OF Venus" "The Death OF
Adonis" and "The Temptation Of 81.
Anthony"
The Autographs by that imaginative
French recluse, Odilon Redon, while
exotic and even unhealthy, at times, in
subject, are a contribution % art or
real Significance. In these black and
white Autographs we feel the dominat-
ing impulse TO be a religious mysticism
which, doubtless, is the answer 20 their
truly remarkable sumptuousness Of
color We have seen comparatively
little Of Redon in this country. he
was introduced 20 US at the ArmOry
Show, and after that once or possibly
twice at dealers galleries. His por-
trait etchings, as we saw them az the
Armory, prove that he has had an aca-
demic training as craftsman, MS
paintings that his color IS on the order
Of Monticello and fuller than Month
cell. In the paintings, as in these
Autographs, he gives full play without
rhyme or reason-in the logic Of every
day, 70 a particularly rich and plant
imagination. It's impetus may be East
ern or IL may be Christian, Christian m
the Catholic sense. But that it Is
creature OF NlJ COlOT tf else dN AMNN o.
part of II, q significant part Of the
painter man, we can be quite sure. HIS
symbolism is too obtuse or vague 20
point, with discredit, at literary value
in IL, or 10 accuse the painter Of being
also a preacher Though his pictures
may begin with q literary notion, we
mean, they end by being valuable sim
ply as beautiful harmonies OF color.
This applies also 70 the Autographs, the
blacks Of which have never been sur
passed in this medium.
Around Monster Caillebotte, whose
legacy OF works by Impressionists TO
the Musee du Luxembourg was closeted
in one quite small gallery there, great
deal might be written. He was
painter-collector Of a foresight quite
! uncommon. He made the Luxembourg
collection al a time when a great many
I other painters, among them our own 7.
A. Bridgman, who was moved 20 write
a vituperative book entitled Anarchy
in Art" and great many other col
lectors, were laughing at the impress
sionists up their sleeves, or, and with
less wisdom, openly. Paris called the
| Caillebotte room at the Luxembourg
the chamber of horrors, and entered 70
in quite the spirit which perysded the
similarly named chamber at the Eden
Musee. Here were Manet's olympia"
moved TO the Louvre a few years ago,
other Manets, Robins "Veille Courte-
sane" things by Monet and Degas and
Sisley and Pisssro and Caillebotte him
self, among others. Renoir was admir-
ably represented with LA Bslancoire"
and the Moulin de la GAZETTE" Renoir,
who had borrowed from all these men,
building thus d store that was 20
broaden his scope, give fuency TO bis
brushes, and more than to his brushes,
to his color.
AT the Durand Ruel exhibition OF
works Of Renoir Is portrait Of Mon
sieur Csillebotte, OF his wife, his house,
OF the boats and stream that added
charm to the house. The picture is
entitled "Canotiers 4 Chatou." and
shows Monster and Madame Caillebotte
standing in tall grass at the streams
edge ready to board a canoe which shall
ferry them across the water and home.
Kenoir painted IL in 1879 Il is the
earliest Of the pictures shown here. II
IS full Of suggestiveness regarding
| portrait painting that could be of profit
TO many Of US who are even photo
| graphed In throne chairs. Il is more
IMAM portrait OF the admirable col
lector, for IL is spiritually a portrait Of
one Of the gayest and habpiest and
| soundeSt of painters
The spirits Of Renoir may indeed be-
| the apotheosis of the spirit Of a nation
Whlch turns every slope of grass and
] every stretch of water into picnic
/ ground and lives, even In its cities
/ out in the air. He was born in 1891
/ The latest Of his works here wa.
/ finished last year This is the "Jeun,
femme en- costume orientale." where va
| lind that, though his color has become
hot" and attention TO symmetry
casual, his form has gained in weight
and strength. The exhibition. while
it contains few works Of very great
Importance and is far from recording
the vast field of his endeayors. is.
nevertheless, comprehensive. There
are two "Baigneuse Assise"; one done
in fiat planes in 1881 and suggesting
the influence Of Manet, and the other.
from 1913, giving the hot color. a pict-
ure Of weighty flesh, and that rhythmic
employment of light and shade for
which he is to-day most TO be admired.
In this latter picture his resemblance
TO Rubens, so much aired by our mod
ern pamphleteers is % some extent
evident. But there will always be
separating these men the impossible
bridge Of national instinct. Renoir's
women, though they also tend toward
floridlty, are compacter and more pc
tite. Camille Manclair has said that
Renoir's nude woman is a purely ami
NAL creature, savage % whom clothes
are unknown; an animal drinking in
sun and air with a barbarous non
chalance-and is an idealization The
Renoir type is distinct. She is found
here in innumerable attitudes in the
guise Of Millet peasant, carrying
parasol there Is no rain M her
world; hidden beneath a Partisan hat
or in animated conversation with a
twin sister, as in "Deux femmes as
sises," before a gayly colored landscape
subdued for her special benefit
The much discussed Pieter Aertsen,
"The Obstacle Dance" the only one q
the twelve remaining csnvases by this
master not in the possession OF
museum, is on view az the Satinover
Galleries Pieter Aertsen, called the
"Lange Pier" was born in 1907 and
died In 1878. He is known In some
quarters as the founder OF the Dutch
school Of genre painters Most OF his
works were destroyed In 1866 by the
"iconoclasts" This one has warmth OF
color and a certain curious primitive
humor. Il is difficult in this day o.
suavely connected composition 20 be
come readily reconciled 20 the disas-
ISOLATION OF the figures that are placed
rather awkwardly here and there iu ibis
picture. The answer 20 this. this awk-
wardness Of placing and posing. may be
that Aertsen, following a precedent
that existed during his time, repeated
here figures that existed in other can