New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-03-28
Art Exhibitions
Paintings by M. Cachoud,
Sisley, Miss Thayer
and Others

a collection OF nearly hundred
! paintings by NJ. Francois Charles Ca
choud has been placed on view at the
Anderson Galleries, where it will re-
main for two weeks. The exhibition
is for the benefit OF Les Ams des
Artistes Association. It makes pc
culiarly winning appeal. The cause Is
a good one, and ". Cachoud's pictures
arc charming. His subjects, bathed
in kind of romantic serenity, have
certain dramatic interest, due to the
! association OF ideas. Al a moment
when the world is thinking OF France
in the terms Of the gigantic battle now
raging, seeing her villages and farms
turned into chaos, NJ. Cachoud shows
us the countryside in time of peace
ineffsbly still and safe. The contrast
is moving.
This artist evidently has not vent
| ured beyond a rather narrow field for
his motives. lie paints the same typi-
cal house and road. the same trees,
and over again. varying the design to
some extent, of course, but abiding by
one sentiment. The night scenes IN
which he delights naturally restrict
his range, both as TO color and lllu-
mination, and for the purposes OF an
exhibition this is a little unfortunate.
SO many pictures in the same key pro-
duce, inevitably, somewhat monoto-
nous ensemble. And yet he is beguil-
ing. In style suggesting that he
might have sat at the feet of Cazln,
taking an occasional leaf from the
book Of Corot. he sets forth his gra-
cious, even tender, Impressions, and
always secures the due pictorial cf-
feet. He is an accomplished. II pos
sibly too smooth. craftsman. His WORK
would be the better for more freedom,
more vigor. But il is very agreeable
as il stands, and especially lngratlatlng
in the sense of local color IT conveys.
Here is a corner of France at her love-
liest, portrayed with sympathy and
skill. It is a vision worth having.
The twenty-five paintings by Alfred
Sisley, at the Durand-Ruel gallery
make a welcome addition to the sea.
sons shows. In the original sense OF
Z
sweetest OF the veteran lmpressionists.
He is to be seen Complementary IN
the present display, as a painter quite
equal to Pissarro in intimacy OF rela-
tion TO his subject, and perhaps, as
Camille Mauclair has suggested. SUI
perior to him in originality OF vision.
Sisley was purer painter of the open
air. who owed less to external IN
Auences. or possibly was more faithful
to a single one. His temperament led
him away from the robust. the primi-
tive. the dramatic. He painted quiet
scenes. enveloped in a balmy arr, when,
whether gray OF sunlit, never lost clar'
ity. -,
Impressionists. we view these iand-
scapes with surprise to-day. lhey are
the souvenirs of a man endowed with
unusual tenderness, restrained perhaps
by timidity, putting down truths glori-
fed bv a lovers sensibility. Thirty
wears ago or less he was of a coterie
of painters considered blindly radlcai,
who threw colors haphazard upon their
canvases and then stubbornly called
the result a picture. WORK OF ART
He with the rest of his group, was
simnlv telling a truth too new TO be
Immediately recognized. His paintings
NAV want something of constructive
foretbought. lie sat down before
nature to copy her whims with little
or no thought of design, content II
the record gave something of the color
and air of the place. Modesty IS
salient Characteristic OF his realism.
Ii was a purely objective kind OF pant
ing that he produced. And 1t mas
beguiling vitality.
Miss Gladys Thayer, who is showing
six of her paintings at the knoedler
gallery, has put to her credit notaDIe
achievement. She is the daughter OF
Abbott Thayer, and shows in her WORK
signs of his teaching-bu she does not
show in it any signs Of having mi
tated his style. That is Feat by
itself. for an artist subjected to the
influence of so powerful master.
II does not matter that I'm the hner
of her two portraits of children she
Sas taken hint from Abbott Thayer
in the introduction Of LEAKAGE into her
BACKGROUND. She has used the hint IN
her own way. and with an ability that
MAINLY is instructive. Her landscapes
and sea pieces vary in quality. The
moonlit marine is curiously weak. But
tine big mountain study-oig m the
sense Of space and dignity that IL con
veys2is altogether admirable. Inc
composition is interesting and the
Great mass of the mountain is denned
botb with a feeling for mass and with
a notable delicacy and precision whefe
lie linear elimination IS concerned
This picture is in oils. The sparkling
beach scene. in which tawny dunes are
psinted against a vivid blue, is IN
nastel. Both mediums are handed
with workmanlike authority. FurtheF
performances by this artist VIII De
awaited with interest.
By Miss Alice Worthngton Ball oil
baltimore. al the Folsom gallery, are
shown eleven canvases, when lhciude
exsmples of her painting OF figures,
Iandscape and still life. Her Quarter
After Ten" which has been seen once
or twice before IN public exhibitions, IS
the most significant picture M the col
lection, for there rests IN IL the KEY 10
The remainder of the contributions.
This shows. at the FAR end OF big
room a woman in yellow, sewing, and
anotber in red having her hair dressed
INV an attentive maid. The first figure
sits in the light of an open window.
Leading to her are a mirror and four
noster on which is laid white spread.
it is a quite accurate reproduction Of
an everyday scene, recorded with rea-
sonable dexterity, letter for letter color
for color, with no opinion about It and
with no more than casual liking for IT.
II used TO be said in earlier days that
the camera might eliminate the art oil
painting. This sort of mechanical &C
cnracY could have lent ground upon