New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-02-10

Homer. i've. including water colorsi ana
70 represen: Henry ". Ranger, an even
dozen. These iast vary greatly in quail
ity. They show the painters moods
and his manners. Sometimes Re IS
very close 20 the Barbizon men; az
others not so close. His tendency vies
toward the picturesque. His color
alone. or almost alone. denotes his in
dlviduality He is best represented.
perhaps. IN pictures like Clearing
Fires" "Cloud and Sunshine, Near an
old Quarry, New England" Becky
Coles Hill ard "A Classic-Mason's
Island"
Another Of the comparatively mooern
painters is J. Francis Murphy, who
depends more upsn the color of his
landscapes than upon their character.
We see him in nine examples, of which
the most entertaining is "Afterglow-'
October wherein the color combines
clarity and warmth. Childe Hassam
is az the other end OF art-the art rep
resented here-where such old master
virtues as tonslity and quality are not
considered. His ION the Avenue
dated 1905. represented q period when
he aimed 20 report the street and added
20 the rend ton Of the character OF its
atmosphere n note or two. doubling
tho grace Of the real. of the character
OF people that are incidents in IT. In
George Do Forest Brush-"Boy with q
Green Cap and Girls Head
have a man Of another conviction and
pictures that are a practical anomaly
10 the remainder Of those IN this col
lection. This IS learned painting,
almost religious in its strict adherence
20 is num5erless principles and, per-
haps. puritanicsl in its desire to deny
warmth to the color. In Hassam and
Theodore Rohinson-represented by
The Thatched Cottage" "Twachtman
House" and Gathering Plums and IN
the two Twachtmans clarity OF Color
adds gayety 10 color's message.
Albert Pinkham Ryder is the most
corpuiert colorist Of those in the col
lection, not excepting Blakelock. In
deed. Blakelock is but poorly repre-
sented. with pictures that want breadth
in idea as we'll az in inches. Ryder
canvas il tiny. but tiny only by tne
evidence Of the foot rule.
Paul Dougherty contributes nine can
vases that add girth to the COLLECTION
and note that helps little 70 multi
pIv ia variety. That would mean tnst
his pictures are very much needed mere
Trio @Gold and Gloom" and "An Isle
of the Sea" are most ably painted. ne
SOC here his gradual attainance o.
dexteritv. In AN Isle Of the sea
tbere is something OF reason to regret
this dexterity. though the atmosphere
in il is realized remarkably wei.
Mr. Henry Golden Dearth's ne
Three Master" seen and painted WIN
unite sincere and unaffected realism, IS
the most interesting of eleven canvases
that represent him. In most OF the
others we find him striving 70 realize
quality and careless OF the expense 70
which IL puts other parts Of his PIC
lures. 49,.
Vr Arthur B. Davies. when we have
s.id All that car be said for the poetry
of other men here, is the poet OF the
colIaction. His "A Lake IN the
.Sierrasn painted before the recent at
tack OF Cubism), hidden away IN
aide room. has wealth in color, IN llne'
IN nersonal expression. large feeling
nat his contemporaries lack, and
c,vs,ic intuitive quality that most
A1olo-Saxons. snubbing men VINO
.wear their hearts on their sleeves,
,rouId not dare 10 make known, even
= thew possessed the wherewithai'
Tho difficulty. in any case, IS &c be
able TO separate sentiment from senti-
mentality. Mr.. Davies knows how TO-
while most men. grown sentimental
give us empty romances borrowed from
tradition. =. .Lo
collection are Reynolds Beal, Buncee,
chase. Church. Crane, Daingerteld,
Charles Il. Davis, Eakins, Ben Foster
with two canvasea fat in color; Fuller
P Swain Clifford, W. NJ. Hunt La Fargo
Loeo. Julian Rix, Tryon and Horatio
Walker.