New-York tribune., 1919-02-23
Random Impressions
of Current Exhibitions

monotonous in color, of "Amadeo Her
rarra" and "The Artist Lundberg." "
John Sloan is represented by five can
vases. His Nude" is we'll drawn.
and the flesh tones are charmingly ex-
pressed. In THE Red Jacket" how
ever, he is surprisingly crude in color.
Bernhard Gussow is still intrigued
with the cubistic movement and shows
SIX Of these rather puzzling canvases.
Two characteristic paintings by Rob-
ert Henri are shown Hawaii and
Navahoe" and "Juniata in Blue" In
the first he paints superbly the rather
startling color combination of dusky
yellow flesh tones against a rich red
blanket. In "Waiting" Reynolds Beal
achieves charming effect of vivid
color scintillating in brilliant sun
SHINE. Other artists exhibiting are
Mary l.. Alexander, Clifford Beal.
Clarence Chatterton, Florence Mix,
Rex Slinkard and Chalia Millett.
1he contents of the residence of Sir
Walter Palmer, Bart, at Ascot, Berk-
shire, England, have recently been
brought to this country and are now
on exhibition at Clarkes Art Rooms.
West Forty-fourth Street, prior to
their sale by auction on the afternoons
OF Thursday, Friday and Saturday of
this week. The collection is rich in
Chlppendale, Sheraton and Hepple-
white period furniture, Dutch mar
quetry and other pieces. Some fine
old Worcester china, Waterford glass
and English crystal glass are shown,
together with a collection of over
seventy snuffboxes A special feat
ure of the sale will be collection
oil old colored engravings and sport
ing prints, the gem of which is per-
haps "The Sportsman's Return" en-
graved in color by w. Ward. Other
prints include examples by Morland,
Aiken, Kaufman, Holbein and Bar
tolozzi.
AT the Enrich gallery there is a group
Of ten or twelve Colonial portraits.
paintings by fathers of the Ameri
can school. Copleys polish and his
firm linear habit are well shown in
his Baron Newhaven Of Carrick." The
even more solid traits that belonged
to him come out in the handsome
John Wentworth" and there are two
smaller uncatalogued heads by him
which give solidity to the show. The
portrait of Lady," by Ralph Earl.
IS stiff but still attractive canvas in
conception as amusing as Gova.
There are examples, variously quaint
and sleek, of John Woolaston, Joseph
Badger, Jeremiah Theuss and Jere-
mlah Paul. The Colonel William Per-
kins" of Edward Savage is the most
modern canvas in the group. In suavitv
OF style it might have been modelled
upon Gainsborough. These portraits
nave an artistic as we'll as an historY-
cal interest, but they have a serious
rival IN the show upstairs, in the print
gallery, of the etchings and litho-
graphs of Odilon Redon.
There has long been cult for this
mystical Frenchman, some specimens
OF whose work in colors may be re-
called from our celebrated Armorv
show. AS his presence there might
indicate, he was always affiliated with
the independents. He occupied, in
deed, place apart, and aloof. He was
a man of imagination, not very steadily
controlled. There was in him some
thing of the decadent. 1t only needed
slightly NOR macabre turn to his
art to have made him another Felcien
Rops. AS a matter of fact, he dreamed
nobler dreams than any the Belgian
dlabolist ever knew. The trouble was
that he kept them too much dreams
too lnchoate, nebulous and impene-
trable to the observer. Just before the
war M. Andre Mellerio made a monn-
mental illustrated catalogue of his
prints for the Societe pour l'Etude de
la Gravure Francaise. 1t is fascinat
ing book, over which we have often
pored IN sympathy, but it leaves the
secret of Redon's genius battling, which
is just what the Enrich exhibition does.
1t is plain enough that he was moved
to composition by the writings of Poe,
Flaubert and others. 1t is plain that
he made strange flights of his own.
But his designs remain mysterious, un-
lllumined by the legends they bear,
significant only of a rather gloomy
mind moving with a sense of beauty
amid fantastic thoughts. II is the
sense of beauty that explains the cult
aforesaid He had an enchanting con-
ception of form, and as a craftsman
weird kind of intermittent power.
His line, often erratic, is sometimes
powerful, sometimes exquisite, espe-
cially in his portraits. From the black
magic, if we may so describe it, in
which he chiefly dabbled he occasion
ally passed to moods of poignant sweet
ness. His "Brunhilde," for example.
is a wonderfully romantic head. The
exhibition to which we refer will exert
an authentic spell upon every con-
noisseur of the bizarre, incomplete but
rnmistakably original spirits in art.