New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1919-03-23

be hoped it may some day be, but at
all events it is wider than a formula.
One of the best things she shows is
the "Quiet Mood which is a portrait,
the profile of pretty head posed near
a mirror. 1t emphasizes this artists
chief merit, vigorous breadth of
style, proving her ability to make an
impression regardless of her theme.
Yet we would not underestimate the
place which a graceful theme has in
aer equipment.
Her nudes may not always disclose
strong grasp upon form-some of
them, in fact, like the Morning." are
decidedly wanting in structural in
terest-but almost invariably they
have the virtues Of supple line, of
warm tone and Of that piQuancy which
is gained by sunny light sifted through
LEAKAGE Miss Genth does not need
any great imaginative purpose to
When she would import symbolcal
meaning into her designs, as in "The
Goal" or the Beyond Life's Vale Of
} Tears wherein nominally tragic types
are portrayed amid gloomy rocks, she
does not quite carry conviction. In
purely sensuous harmonies ofform and
color she is far more successful. Be-
fore The Orole," the "Children Of
Nature" the "Relections" and divers
other examples of the kind of compost
J. L. Il.
we think only of the beauty of; light
glancing against rosy forms, Of the
freshness in shimmering trees and
swirling waters, of the charm lying in
romantic sylvan episodes interpreted
with some emotion but at bottom with
nothing more nor less than an ac-
complished brush. Which is one way
Of saying that quite apart from her
ideas, which are often entertaining
Miss Genth is capable workman.
The collection of small sculptures at
the Arden gallery presents the work of
two uncommonly good artists, Miss
Frances Grimes and Mrs. Laura Gar
din-Fraser. Miss Grimes is type of
exquisite, concentrated feeling. She
and busts, and of the latter there is
one No. 100 which makes it suf-
ticiently plain that she has mastered
construction as we'll as tn e mystery Of
delicate line and the still more deli
cate surface. Nevertheless, it is in her
reliefs that we would identify her most
characteristic traits, her delicacy Of
line, again, and with that technical
merit a quality intensely personal.
Her profiles are modelled with positive
tenderness in definitions; she has the
eloquence of subtle craftsman, one
for whom line is an idiom having in it
something like aspiration. One par
ticularly fine specimen may. be cited,
the portrait of Mrs. Clinton H.
Crane" but all her reliefs have this
distinction of linear refinement and
suppleness. Miss Grimes has fairly
wide range. She can model in the CAR
thur Whiting" relief full Of char
acter, forcibly and even crisply ex-
PlSSSCu3 SHc CdlI Oc llSUtly decorative,
as in her fountain panels of Girls
Singing" and from her studies of men
and women whose physiognomies touch
her imagination she can pass to the
pure sweetness of childish faces. where
her task is in sense easier and vet
perhaps more difficult. Whatever she
does has a certain white, fower-like
quality. Not in long time have we
met work so appealing.
Mrs. Gardin-Fraser makes a sympa-
thetic colleague. She, too, is delight
full in portraiture. Consider her two
busts, the Susan" and the Eugene"
They match the portraits Of childhood
by Miss Grimes in their sensitive feel
ing, their equally firm and suave mod
cling. In the main, however, we seem
to be aware in this sculptor Of more
mundane spirit, 1ivelier realism, a