New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-02-11


/ retaining its original fairness. The
/ third dimension of which we hear so
much now intrigues him only little;
/ reality less. There are certain cabal-
istic signs which must be adhered 10.
They descend from the ages. They re-
ouire an aloofness which will remain
aloofness until busybody with a nose
far too long and certainly overcurlous
discovers that il is barrenness. IN the
Robert Treat Purchasing Site OF
Newark" he gives us more of those dis
NAL uniformed figures, so historically
( correct, that alread are looking down
on US from the walls of great many
of our public buildings.
But neither Blashheld nor Cox nor
| C. Y. Turner nor Smedley IS repre-
sented in this show, so that there can
be hope that the old guard will Offset
anv attacks that this spirit may have
/ the tenrerity to direct at them. Here,
/ indeed. this time, are present but few
/ Of the regulars. There are more Pho
tographs of buildings than learned and
serious and conscientious studies OF
/ conventional heads and hands and feet.
/ And the galleries have been turned into
| formal gardens, gay with flowers and
! hedges and pergolas and fountains and
futed columns. One walks among them
: and one forgets that there is an exhi-
/ bition on the surrounding walls and
winter outside. They are the master
niece of the collection. Mr.. Warren
/ Dahler can paste "0rpheus" on gold
background leading two Munich tigers,
we need not even trouble to look at
| him or at them.
Robert Athens "Peace," a detail of
a monument, Is encountered on the
! street as one enters the exhibition, and
serves very well as an introduction TO
the shirt of the show. Mr.. MacNeils
two large groups, intellectual Devel,
opment" and physical Development,
! for the gymnasium and assembly nall
of Northwestern University, and the
bass-reliefs facing these, done by Al
bert Jaegers for the Germantown Mon
ument, are quite little more formal
/ than the Aiken shaft. MIR. Ven
mans two Sphinxes for the lempie
/ of the Scottish Rite at Washington
/ stand as conventional decorative themes
/ carried out with business-ilKe pro
! fciency. Other men with more 70
sav san IL less concisely. II is posi-
bTo that IDEAS interfere with continuity
~ LANGUAGE. Mr.. Leo Friedlander
SCULPTURES done at the American Acau-
emv at Rome make another exhibit IN
Droof of this Are we to have in him
another Manship? He does not want
technical ability. The heart may grow
larger later unless it has been dwarted
nv the strictness of the rules imposed
mon it. Ezra a. Winter is another
student from the Academy at Rome
student of painting, whose color sug-
costs Puvis, and whose forms Suggest
that they have been made ready for
treatment that shall lend them greater
soIiditv. Other men here are armed
with less ability, but seem to have
learned TO think as artists think ana
rive 10 their pictures that note OF IN
ventiveness or of individuality and OF
temperament which is so important a
component of art. But there arc none
able to sing quite freely, for always
there is fear, born of reverence for eti-
auette and precedent, TO initiate
against freedom. Hugo Balm IS pres
emit with a number of works, and Ches-
ter Beach. Milton Bancroft, Emilia VI.
and w. r. Benda. Barry Faulkner
graduated from the American Academy
AZ Rome: Daniel c. French. j. Monroe
Hewitt. Charles Keck, II. W. Rublns,
Robert X. Ryland, H. c. Schnakenberg,
Duncan Smith and Virginia II. Wood
The members of the National Asso-
citation Of Women Painters and Sculp-
tors have become ambitious. Iheir
twenty-sixth annual exhibition at
Transit Building is given room TO
spread. to contain at least one iull
length and larger pictures and sculp-
lures generally than has been the rule
of their preceding exhibitions. ms
one is colorful and, as collections OF
contemporary work of the othcial or
der 90, quite brave. II may be fact
that women are more open to convlc-
ton than are men. mat IS theme
that can wait. There are few works
here, like Cecilia Beaux's heroic Deco
rative Picture" awarded John A;
Apar's National Arts Club Prize"
which repeat the constructive vlrlllty
Of mans work, but these are not too
frequent. Woman is beginning to find
her way in art. She gives US pretty
nic.ures in which the color taste is ra-
Their good than profound, and literary
IDEAS taken out of the English book.
She likes white houses with green
blinds. Colonial pillars, poke bonnets,
sunlight and moonlight, romance more
or less innocuous. But there are excep-
tions. Miss Gertrude A. Lambert's
"Black and Green" is one of them. II
is the only full length we remember,
and also it rings the only note Of trag-
edy that we remember. II shows a tall,
lean woman, she might be Nihilist out
of Turgenev, looking from a tidy
kitchen to which, apparently, she IS
the slave, into the world. This world,
with It's gayety and iy glamour, is
barred to her. Only woman suffrage
will save her. But perhaps we are I'M
fair. The picture is ably contaminated,
in a black and white way colorful, and
its title would show that the painter
had no idea of making it the tool of
propaganda. Miss Beaux's canvas is,
though academically, big and massive
in form. We turn to il when we feel
like lamenting the dearth of solidity in
its neighbors. Alice Shille Is another
painter armed with long experience.
Her porto Ricsn Child" is colorful.
Gertrude Fisk's "Job's Tears" is to be
viewed from a decorative angle, and
Ruth Pratt Bobbs's Portrait Of Miss
Gail Garner as a sensitive apprtcia-
ton of the meaning of the sitter paint
ed in with fluid color and easy, though
transformations, brush marks. This lat
ter applies to some extent to Virginia
II. Woods "Garrard Glenn. ESQ.," in
which the portraiture is conscientious
and the art by no means miserable.
Theresa +. Bernstein's "The Election
Parade" is the latest thing in color Of
the collection. Miss Susan NJ. Ketch-
ans "a Quiet Cove, ogunquiet, Me-"
NAV be, in the story book manner, the
most romantic. But we are not sure,