New-York tribune., 1919-03-23

room more than a rival of the room
given to performances in color. Their
wing of the exhibition is, indeed, al
most richer than the other in sheer
pleasure.
The paintings, taken all together,
create an atmosphere which is, in the
circumstances, natural enough 1t is
the atmosphere Of the salon, where
technical adroitness and certain nun
dane gayety take the place of more
subtle qualities. Witness the figure
subjects of Mr.. Frieseke and Mr. Rich
ard Miller, things clever but Of no
great depth. This sufficiently gracious
and yet rather superficial appeal is
made by more than one contributor. by
Mr.. Myron Barlow in his "Winding
+ Wool,' by Mr.. Martin Borgord in his
mellow but not very weighty "Revery,"
by Mr.. George Oberteuffer in his
sparkling street scene, The Made
leine,' and by several other painters
of out Of door themes, Mr.. w. H.
Singer, Mr.. John Noble and Mr.. Charles
Thorndike. deeper impression is
left by the Maine landscape sent by
Mr.. Walter Griffin, alluring i'm color
and with a beguiling hint Of originality
in its thick impasto it's solid but never
heavy handed method. Mr. Tanners
Christ Walking on the Waters" fails
of its effect as a Scriptural illustration.
What it lacks in imaginative force it
makes up in its rich texture of blues.
There are two or three portraits Mr..
/ Hamilton sends his "Mr. Gladstone"
the study of the statesman at work in
his library at Hawarden. 1t is anus
ing in its play of light and in its
treatment of the accessories. The still
life is charmngly done. In the midst
of it the head of Gladstone appears in
/ remarkable salience, a vivid nugget of
aracterization. Mr.. Max Bohm's
MARY Baker Eddy" is picturesque
full length of the leading parsonage
among Christian Scientists, her mod
ern garb being more or less poetized
through the manipulation of color and
through the presentation of the figure
in spacious landscape OF kindred
character, through its fusion of real
ism with kind of meditatve fancy, is
Mr.. c. w. Hawthorne's picture, "The
Wife, Mr. Sargent's single picture is
a landscape, "The Waterfall' 1t takes
a place by itself, thanks to the vrtu-
osity it affirms. 1t lacks, however, the
beauty which this painter has some
times captured in the course of his ad-
ventures in the open air.
There are two other shows at the
I Knoedler gallery. Upstairs there are
dozen scenes painted in the south of
France by Mr. Jerome Blum, somewhat
monotonous in their exploitation of
rather hot schemes Of yellow and green
and somewhat repellent in their sim
cere but stiff modernist style. In a
nelghborng room Mr.. f.. E. Thiefane
in glass by that brilliant Partisan,
Rene Lalique. This is utilitarian work
made artistic, the work Of a craftsman
under whose skilful hands and sophis-
tlcated taste practical objects take on
certain beauty 1t is beauty of an
uneven character. sometimes, eSpe-
clally in his vases, M. Lalique has the
dignity Of an old master In other
pieces he seems to be producing only
the light, flashing article de Paris
fabric of elegance having nevertheless
no lasting charm. He is, in short, an
artist and a fashionable decorator in
turn AS an artist he is an ingratiat-
ing visitor.
There are groups and groups We
like the designation adopted by the