New-York tribune., 1919-04-27
By Royal Cortissoz

Annually the National Association of
Portrait Painters makes an exhibition
in New York. This season it occurs at
the Reinhardt galleries, in the new
rooms which that establishment for the
first time throws open for an occasion
Of the sort. A long lobby that is itself
T. gallery leads TO the main apartment,
one Of spacious, we'll proportioned
dimensions. uncommonly we'll lighted
Indeed, this group of portrait painters
has never appeared in more favorable
environment. 1t leaves there a favor
able impression. About twoscore can
vases are shown. They represent most
OF the current movements, and some of
the contributions are excellent paint
ings, deserving Of a friendly welcome
The interesting questions raised by
the show are those which relate to the
characteristic tendencies in American
portraiture. What is the status of the
school? How are some of the leading
figures in it attempting to solve one
Of the most difficult problems in art
What We may call the pictorial motive
is conspicuous here, though it is not
necessarily to be taken as the one gen
orally accepted. Mr. Robert Henri
brings it into the foreground in his
Ruth ST Denis in the Peacock Dance"
a tall full-length occupying the centre
of one Of the walls He makes some
thing of his sItters personality, but
more OF the dance, more that is of the
highly picturesque costume and the
sinuous movement which emphasizes
its rather bizarre character. AS bit
of technical virtuosity the thing IS not
unattractive. The picture, as picture,
does not quite justify itself. There is
q certain piquancy about it, but there
is no atmosphere. One Graves hint
of mystery, an envelope more subtle, TO
match the spirit of the theme. An
other work with SAVIOR of adventure
in il Is Mr.. De Witt Lockman's "Por-
trait of Woman IN Blue" He gets
his picture Out CT his bold slashing
treatment of the subject, more sug-
gestive of the palette knife than of the
brush, there emerges an audacious.
very smart effect. On the other
hand in this case the portrait is lit
tie lost in the picture. The sitter is
rather overwhelmed by the jugglery Of
workmanship bestowed upon her dress.
II is diyerting performance, never
theiess.
g. There are one or two other pieces in
tue collection IN which all that is pos
sble is eNtorted from costume. Mr.
Randall Davey, in his Girl With White
Mantilla.' -, 9sthetically speaking,
kin 70 Mr.. Henri. and in his crisp,
,accato method, with the simple
scheme Ct tonality that it involves, is
even more obviously suggestive of the
influence Of Manet. to which we fancy
they have both been subject His pic
torial impulse is awake, but does not
altogether prevail. The portrait has
the charm of a sketch on large scale.
1t is adroit. We recall no other can
vas by Mr.. Davey so successful as
this one, with so winning an air of
cleverness. Beside it the smaller por-
Irait he sends is equally adequate,
technically, perhaps, but rot half so
'nspiriting. In sedater vein Mr.
Robert W. Nonnoh makes his "Medi-
tation' one of the most beguiling Of
those portraits in the show which RELY
upon arrangement of dress. The
cioaked, hooded figure of old age is
shrewdly placed upon the canvas. A
pleasing composition is built up, and
this portrait has, into the bargain,
touching trace of sentiment. Again
Ike Mr. Davey, Mr.. Vonnoh has better
luck IN one painting than he has in an
other. His Fantasy" in blue and yell
low has some prettiness, but of genu-
ine fantasy there is no sign. The ar
rangement is inert where it should be
gay. The light, gay note, indeed, is not
struck with marked ability in this ex-
hibition. MIR. Louis Belts is all for
irou-frou in his Portrait of Lady"
which is also study Of pink ball