New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-03-21
Art Exhibitions
New Paintings by Hayley Lever AMI
Others

Fifteen landscapes and one flower piee, \,
Mr.. Hayley Lever are shown at the n,.,',
gallery. Mr.. Lever, as we see him her.
as we have seen him from the time tina, !.
came from Saint Ives TO paint les, 49,.
uresque American landscape, appesr,.ot.-
progressed toward greater stylis,ic &C.,
ance. Subjects seem to interest him L.,
he becomes more and more engrossed /, a.,
manipulation, sometimes quite abstr,,, :,
his medium. The majority of these
vases were painted last summer IN a.,
about Gloucester. which in a few
years, If the vogue continues. will hsv.
as thoroughly done as Barbizon
Lever has found few new subjects a..
but goes over the old ground, the doe., a.
harbor, the blue water, the masts Of 49,
slender silhouettes against a sky as 49,
as the painter wishes, but always app,,....
dry and clear. He gives US the rufied x.,.'
which finds a repetition of itself in an 49,
SKY and in the spotted and various la,
scape. His pictures, especially the aRk..
Exc -Devonshire,' recent work, retelI IA,
facts restlessly. They give few momen. !,
repose. They jump and jump and jumo. u.
branches OF trees twisting and turning IN.
cells the ground moving along in seops,,.
of scallops from bump TO bump, the elon;,
cut out as if with scroll saw. with scar.
n contrast of texture or of line. with "a
changes in the length of the throbs. The.
canvases of his later manner, as symbol, !,
the effect of American life upon a good.D,,.
ured man, should be of interest 20 a n,r.
specialist But Mr.. Lever has moment. !,
quiet, which give him such pictures as "ROcI.
port Pier" with its bold silhouette agAinr
the mirage of a fading distance, and n,
Inner Harbor- Rockport.' which outlines
boats against hill, pale and radiant and
"The Bathers." where the painters sube,
tive curls before the interest Of the scene
An exhibition Of Oscar Lycke's paintirr
from the North OF Sweden is held at the el
leres Of Waldemar J. Adams Co. Thty
are of that cold Northern painting which A.
tacks nature through the head, rather THAI
through the heart, and sometimes, as in this
mans Midsummer Night from GlimmorSs.
man," speaks in Grandiloquent phrases,
arousing a suspicion of afectation. In other
instances. when Mr.. Lycke reviews land.
scape with no thought Of grandeur or Q,
romance, he leaves so little to our magma.
ton that in a very short time We are oui,
through with it, having gathered and cor.
sumed the obvious In most Of these car.
vases the landscape is under snow, the trees
themselves heavily laden with IT,
/ Oil paintings, water coors and drawings
Of Palestine, by Isaac Lichensten and pastel
drawings of New York, by Frederick C
Mories, are at the gallery of the Berlin Pho.
tographic Company. Mr.. Nories is SeOteh
painter, whose manner is cosmopolitan. COS
mopolitan or American, for IL comes 10 u
with no hint of that element OF skod
or strangeness which usually attends II,
display of a foreign work. These pas.
tells are rather nice than important They
employ the facts Of nature obiectyey, bg
with a decorative twist. This sometimes IS
sedate. as in the Palsade motives, or idylie
as in the playground Of Central Park" The
color problems change from the gray Of the
"Skyscrapers," seen from ferryboat on ih,
bay, to the puppies of the idealized Landscape
entitled Romance" but remain always sehe.
matte. And the schemes are applied 70 rsi-
ure. rather than derived from IT, They lave
us almost without variation quite cold i',
having no particular relation to truth, neg
contain but little weight with which TO carr
conviction along. In the portrait Of himSi,
in oil, Mr.. Mories becomes more interests
in truth, although here We may find that m
is looking upon it through the eyes Of ~
Will Rothenstein. As a piece Of painllai
however, this holds much Of interest, mu'i
more than will be found in the portraits o.
/ his wife. of which there are two here.
Mr.. Lichenstein is the prey Of modem
whim. His contorted landscapes, which a.
tain harmony of line in mountainous couh'p
through determined negation OF the ise"
seem rather the product Of A fad than OF snY
sincere communion with his subject ms
modern site subjective attack which here
carried into the burlesque, quite obylste' NE
necessity for such communion Mr. Lleheh'
stein, anyway, looks backward rather ms.
forward He borrows the mannerlsm: o.
Persian manuscripts. lie plays the ena
And only in 1.-THE Holy Land is there sem
blance of charm or of reality IN the game
3 His figure studies are Of the new aeadenh
which demands accentuation OF grotesque'''
and ends usually in harmless banali'y'
The prints of American naval subjects
the Kennedy gallery, prints mostly IN cow
end done, with but three or four exeep''as
: in England, come in this day OF U-oos's W.
an added interest. Since they were eKe'sl
where they were. and since the majority S
with the War of 1912, il is but natural y"
q the engagement most dwelt upon snoui' !"
the one between the Shannon and me Vno
pcake. Patriotism in the choice Of niso'N.'
subjects has always been dominant is'...
The English navy had one dominant sS'e'
/ in the War Of 1912. and the BRUSH p'|
makers hsye made the most Of 1t. mere ~
a set of four prints, in an unususlg
state of preservation, representing
quence the battle between tire shannon
the Chesapeake, the beginning OF we
gagement, the boarding OF the Ahs. ,.s
frigate after a cannonade Of FIVE mlhO.5
which previously had been "erppea
thrown into disorder by the first TWO Ols'
sides" and then, finally after the e&p'.
the British leading the American irgs'
the harbor of Halifax, June ], lelo' -.