New-York tribune., 1920-05-16


about 400 of the prints of Hroshigc. 1t
will be sold on Monday and Wcdnes-
day evenings this week. Mr.. Judson
d. Metzgar, we'll known connoisseur.
writes cordial preface to the cata-
logne. 1t is deserved. This is one of
the finest collections of its kind ever
shown here. Hiroshige is master
apart, an artist as personal in quality,
as distinguished, as is Hokusai He is
one of the great and fascinating eXem-
plars Of landscape in Oriental art, no.
table for his truth and especially for
the diverse nature of his compositions
he is ever various, ever new, preserv-
ing an extraordinary bloom while keep
ing we'll within the conventions of his
school,
The season at the Touchstone gallery
is concluded with show of twoscore
paintings by new, young painter, Mr..
jaime +. Carret. His few studies of
the figure are negligible. revealing no
more than ordinary proficiency. The
landscapes which largely cover the
walls hint at a temperament from which
better things may be expected. Even
as somewhat immature performances
these pictures excite certain SYM
pathy. Mr.. Carret has poetic feeling. a
drift toward the envelopment of his
scenes in an atmosphere of reverie, of
healthily romantic sentiment. There
is an agreeably quiet light in his pic
lures. He begins with a fund of emo
ton on which he will make more and
more effective drafts as his technique
develops. Another unfamiliar artist is
Mr.. l. Mortimer Block, who has a num-
Der of compositions at the Enrich gal
lery. In his religious and other de-
signs he shows a modernistic tendency,
with some curiously interesting echoes
of Puvis de Chavannes sounding in his
rather perpleXing world. In few pic
lures, like "The 'Cellist" and "The
Scholar of the Ghetto" he practices
with engaging skill the ordinary meth
cd of the schools. 1t should prove, pos
slbly, of greater service to him in the
long run than the forced, too violent
mode he generally affects. The Bertha
Kalich" is striking portrait 1t would
be an even better one if Mr.. Block
would throw to the winds any fear of
conventionality that he may possess
and concentrate upon it just the fac
ulty for straightforward Workmanship
which we believe underlies his arbi-
trary notions of design, form and color.
A we'll written pamphlet by Mr.. Sey-
mour de Ricci, who as the editor of
Cohen's Guide" has demonstrated his
authority on the subject of eighteenth
century illustrated books, gives US some
idea Of the treasures in the Robert
Schumann collection, just acquired by
the Rosenbach Company. They may be
seen at the new Madison Avenue gal
lery of that firm. They embrace, it is
asserted, "all the important French
eighteenth century books in the choicest
obtainable condition." This is tanta-
mount to saying that the Schumann col
lection is fairly perfect monument to
one of the most exquisite passages in
the history of French art, when illus
tration was raised to its highest power
and the collaboration of consummate
cngravers and printers made all its vir-
tuosity manifest.
The miscellaneous exhibition which
finishes the season at the Montross
gallery would be welcome if only for
one thing, the news 1t brings US that
Mr.. Hayes Miller has widened his
scope. His art has always had the
merit of denoting an interesting per
sonality. Over and over again it has
borne the handicap Of a hammered to-
nality. Now Mr.. Ml1ler has apparently
escaped from his preoccupaton with a
scale too reserved and has adopted q
color scheme full Of warm, ripe tints.
The result is inspiring: His "Interior,"
study Of the nude, marks a great
stride forward. Mr.. Arthur B. Davies,
on the other hand, causes US to wish
that he would put back the hands of
the clock. There are several of his
earlier works in the show, examples of
that half Italian, half individual ro-
manticism which he was once wont to
cultivate. 1t q infinitely more edify-
ing than the eubism into which he has
since dev:Ated.
There are some modernists here rep