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

by NOydl NOI tlSSOZ
Il Is characteristic academy show
.,at was opened yesterday at the Fine
Arts Building. There is nothing sem
sa.ional on the walls, good or bad, but
an encouraging average of competent
,rork is maintained, the general effect
is agreeable, and, as the collection is
,rsversed in detail it yields some in
.srestinr moments. The jury of adj
r,;xs;on has labored to such good pur-
nose that the galleries are not over
crowded. On the contrary, in the main
rooms the pictures are hung in sim
Gle row. A note prefXed to the cata-
lorue informs US that LII of the ex-
h;bits, or more than half, are by nom
members. This testifes to a liberal
nolicy, which has given every possible
chance to the younger artists and, at
the same time, has not let down the
bars against the pretensions of the
Bolsheviki. On the other hand, there
are. as usual, numerous absentees
whose contributions might have
strengthened the exhibition The
spring academy has ceased to be the
rallying point that it once was, years
ago. Wise observers, accepting this as
perhaps inevitable, will not ask too
much of the show, but will take it on
its merits and make the best of them.
The chief lack, as on so many previ-
GUS occasions, is the lack of magma
tive painting outside that landscape
field in which imagination plays its
part There is an amusing little
"Fairy Tale" by Mr.. F. V. Du Mond,
Mr.. Eliot Daingerfield piquantly illus
trates the pagan ideal of the Joy of life
in his Dance of the Cup" and there is
graceful Charity" by Mr.. Louis Vail
liant, in which that artist deity echoes
the formal tradition of Bellini. But
these supply only a sparse allowance
Of the mood significant of some desire
to escape from the prevailing cult for
realistic motives. If the exhibition, as
. whole, stands for anything it stands
for the spirited technical exploitation
Of things seen, the way of the crafts
man rather than of the creative artist.
Fancy comes in but as faint tincture
A good illustration is provided in Mrs.
Clara Weaver Parrish's Old-Fashioned
Flowers" The romantic atmosphere in
this figure piece seems rather the cas-
ual overflow of temperament than
the outcome Of definite purpose. So,
too, the handsome Memory" by Mr..
Will Il. Low, canvas in which Column
bia mourns at fag-draped altar for
Theodore Roosevelt, as tribute whose
poignancy is less moving than its aca-
demic rectitude is calmly impressive.
But, as we have said, instead of look
thing to do is to relish what accom-
plished hands have done. There is
genuine stimulus to be got out of some
Of these admirable technical exercises.
They are sometimes merely blithe,
as in the light, sparkling canvases of
Mr.. Adolphe Borie, Mr.. Irving r. Wiles,
Dir. Louis Kronberg, Mr.. Ivan Olinsky,
Miss Gertrude Fiske, Mr.. E. Caser and
Miss Camelia Whitehurst. These
artists use color with vivacity, and
they have a swift, clever touch. They
aim gayly TO beguile the moment and
they succeed. Here and there a more
e~f1l
Knoll, for example, in his Nude"
handles form with satisfying sim
plicity and force. Mr.. Couse, in his
Indian subject, 1.-THE Katchina Paint
er' rests the obvious picturesqueness
OF his model on a searching analysis
Of structure. "The Well" by Carl
schmitt, is neither clever nor forcible,
tut it has faint quality making an
authentic appeal. 1t is the quality
q an artist who has, perhaps, been
interested in the tradition of Puvis.
In "a Child" Mr.. Sergeant Kendall
paints with such aplomb that we wish
he painted a little better, with not so
waxy treatment of flesh. Mr.. Jerome
Myers, whose characteristics we have
lately discussed at some length. has
won prize with his Evening" one
OF his familiar East Side subjects. He
deserves the honor. 1t is good to see
work so sincere fittingly recognized.
Portraiture has a status in the
Academy somewhat changed from that
OF former days, and ON the whole
changed for the better. Pot boilers
used to abound. Some are present
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