New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-04-07
Realism, New and Old

The len American PAINTERS are not,
as body, to make any public appear
auce this season, but more than one
member of the organization has come
forward with a group Of pictures, and
we are glad to note that Mr.. Willard
Metcalf has in this way signalized his
activity He has six canvases at the
Macbeth gallery, collaborating in a
small exhibition with Mr.. C. H. Davis
and Mr.. Ben Foster. It is pleasant to
encounter his sane, exhilarating art at
time when the so-called "modernist"
Is still having his little fling, and to
that extent is darkening counsel. Mr..
Metcalf is content with the old, we'll
worn paths Why should he not be
content, since they lead him to the
painting OF some very beautiful pict-
ures? Hanging in the centre of his
EIOup 10 q WHICH, ldlQSCdpS, 1udWlIlR
Brook" which embodies perhaps more
impressively than any of its compan-
ions a wholesome lesson for the latter
day dabsters who are moving about
with an unconsciously sad futility in
worlds unrealized The picture spells
conservatism" if you like. 1t dis
closes no new reconcile method. It
strikes no curiously invented note OF
color. 1t is faithful to an immemorial
tradition of design. But it happens to
interpret nature with freshness and
truth, it happens to be, as we have said,
very beautiful.
Amongst SIr. Metcalf's strongest
merits is one which lies below the
surface OF his work. 1t is knowledge
Of landscape form, and this is accom-
panied by a delightfully."- easy skill.
You feel the ground in this picture be-
meath its mantle of snow. and, what is
more, the snow itself has structure
and weight. There is, indeed, no ele-
ment in nature which has a greater
Variability in effect. Mr.. Metcalf shows
another winter scene which aptly illus
trates the point, The snow in this is
vague, powdery veil In the "Thaw-
ing Brook" it is heavy, damp, a stuff
Of solder texture. 1t draws something
OF its bleak quality from the icy, al
most black brook winding down
through the composition, but its ulti-
mate charm is dependent, Of course,
upon the cold, clear light which in
This instance the artist seems to have
mastered as never before. His oval
ues' are perfect. The white masses in
The bulk Of the scene, the greens OF the
distant trees, the browns of those
growths which fill the intervening
space, and the decisive dark tones Of
me shallow brook are all fused into
harmony ruled by the quiet illumina-
ton OF the hour chosen. Technically
me painting is an example of absolute
sashority-and suffusing the technique
mere is an equally sure instinct for
The spirit Of the subject. In the other
pictures there are similar traits. The
ancient powders and sunlit trees in
The Green Canopy" the flaming foli-
age In the November Sunshine" reveal
ne same sensitive understanding, the
same adroitness. But the "Thawing
BROOK nevertheless, stands by itself,
one Of those fortunate works in which
an artist rises 70 the top Of his powers.
Ar. Foster likewise practises we'll
'ested realism and brings TO mis- study
u The American countryside an ingra-
hating sincerity, an admirable fidelity
70 truth. His foible is certain
panty quality, suggesting that he
Aads his pigment a little stubborn. |
ais reacts upon mis- color, which tends
" De somewhat hard and opaque. His
'sst picture is the lyon Rising Moon"
interesting in its disclosure OF land |
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