New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-01-21

which John Sargent has been an inspi-
ration. II is a happy combination, which
Miss Beckett manages as only a woman
can. We arc led sometimes here, how
ever, to resent largesse of design, for
IL seems TO be rather demanded by the
painter than by her subject. But tech
nical considerations are the rule and
not the exception among those who
have turned their eyes toward the new
idols and come away more or less blind
ed. II is needless to quarrel with her
for being fashionable. She has talent
and feeling. Her portrait of Mr.. Al
fred Stieglitz, which is the least man.
nered Of those in the collection. is
truly remarkable as a likeness, and as
such is quite a little more than merely
Photographic. OF the others the most
entertaining in Characterization is one
of a young lady. No. 4, from Greenwich
Village apparently, in which note OF
satire, though it be kindly in intention,
is not without a decided bite.
Paintings done during winter at
Norway by William II. Singer are
shown at the Folsom Gallery, along
with water colors by Miss Dorothy
Freeman and crayon studies done in
.
work is reminiscent of the painting of
Mr. Willard Metcalf in the accuracy Of
it's touch lie IS, however, we learn
from the introduction to the catalogue,
comparatively self-taught. having stud
led by himself at Pittsburgh, where
he was born in 1868, until 1900, and
then gone TO Julian's, In Paris, for
but a very limited period. Yet his
painting is correct almost to a fault.
But the really strange thing about IL
is not this-the really strange thing
is that he could have gone for more
than one season to Norway and re-
NAMED IN every palpable particular es-
sentially an American painter. And
given US thus big Norwegian land
scspe with its immensities of space
and great sweep of line in a language
of barely the required elasticity. The
accuracy of the superficial record, new
ertheless, we are certain, will with
stand any criticism. When Mr.. Singer
carries his paint ana his brushes and
his canvases with him, he carries, fc-
uratively, an infallible camera. Emo
tional ecstacy will not sway him one
way or another; he will exaggerate
nothing as a CULVER might do or a
Turner-he will give US the plain facts
IN language perhaps restricted. but
perfectly good, nevertheless, and ac-
ceptable. There are nineteen pictures
IN his collection. To describe one Of
them except for few Typographical
changes, Is to describe them all
At the City Club is collection of
twenty pictures Of Indians by +. Irving
Couse which should attract those of us
who prefer the Longfellow variety. and
that is undoubtedly most of us. to the
reality. Mr. Couse's Indians are in the
majority craftsmen who long ago laid
aside the war bonnet and the tomA-
hawk, and have left of fighting blood,
apparently, only the tradition. He
paints them with calm equalled only
by their own. He has painted them in
TINS way for good many years now,
with an Improvement gradually real
lied in the brushwork and a consist
ency that rs as admirable as one is
willing to believe II. Among the pict-
ures M this collection are THE CAY
use" THE Home of the Eagle" "Cool
Waters, Indian Camp on the Column
bia, THE Love Cal" "Thc Prehistoric
Image THE Drummer" and "The Pot
terry Decorator" The most interesting
of the canvases in the matter Of charm
IN the story told Is the wild Turkey
Hunter" which shows two young
braves, one armed with a bow. who
look down from a hill in the immediate
foreground. through white birches. at
two or three of their prey. The braves
wear deliberately decorated moccasins
possibly their own hsndiwork. for they
are OF the craftsmen race. and auite
unsoiled b. tramp through the woods.