New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1920-04-11


Of really elevated ambition in the
portrayal OF the figure. A heartening
episode is supplied by Mr. Philip Hale
in his Cain" Though there Is moth
ing Rrandiose about his composition,
though he attacks his Scriptural mo-
tive in the most realistic and even pro-
saic terms, he reveals n clear interest
in that matter Of knowledge to which
we have just alluded. He gives US q
vigorous and able study Of male form.
He may not be imaginative, but he Is
serious and sincere. We recall some
merely pretty pictures Of his, and re-
fleet With pleasure on the progress he
has made. He has few rivals in his
meter on this occasion. The waxy
nudes by Mr.. Sidney f. Dickinson,
Dawn" and "The Easement" are sad
~ disappointing. 1t Is hard to SEQ why
an artist SO obviously concerned over
his craftsmanship should be so blind
to the deadly artifciality Of his flesh
paintings. We stand a trifle more
hopefully before Mr.. Woolf's "The
Colonial Sofa" but he, too, in lower
key, fails as conspicuously to draw the
nude convincingly and especially TO ar
rive az persuasive tonality. They
might take a leaf from the book Of
their senior, Mr.. Edward Simmons. He
does not achieve beauty in either the
Morning" or "The Dangerous Age"
but at least he registers visible fact
with workmanlike accuracy and thor
oughness. There is too little figure
painting here that points to q grasp
upon construction. Current technique
in our time ia aboundingly clever. and
like so many clever things it touches
pleasantly upon the surface. Here and
there some artist attempts q thought
full fight, but it does not quite come
of. Witness Mr.. Arthur P. Spesr's
The Mists Of the Morning." 1t is q
charming fancy gracefully composed,
but in its workmanship deplorably
thin. The figure painters who justify
themselves are those who keep to a
mildly engaging, not at all >weighty,
routine
They oscillate between rnatter-o Of
TACT conception Of things seen and a
light decorative ideal. Mr. James Z.
Hopkins illustrates the former mode
we'll enough in his "Mountain Court
ship and as competent transcript Of
simple American life it deserved the
I. 3. Clarke prize which it has re-
cetved. 1t has truth and good work
manshfp. We arc thankful for these
traits and otherwise remain totally un-
moved. Mr.. John L. Costigan, winner
Of the third Ha(lgarten prize, is bit
more ingratisting. He handles his
thick inpasto with a brisk touch, and
there is welcome light in his picture
Gossip" as It is called is also Of in
terest as souvenir of our country life
One contributor, Mr. Louis D. valiant
leaves sn agreeable impression through
the grace OF his Companions" and "a
Minstrel In Arcadia" Though his
work IS conventional, it has a GER
tain accomplished quality The ro-
mantle note is struck in a very diff
ierent manner by Mr.. Abraham Harrs-
ton, painter Of the "Riders in the
Moonlight" For the rest We are
thrown back upon the decorative paint
ers aforesaid, and it must be confessed
they give q good account Of them
selves. AIR. Karl Anderson is delight
full in the warm coloration Of "The
Venetian Candida bra and "Cornelia. y
There are numerous examples Of def
workmanship, such as We find IN Mr.
George Biddle's "Convalescent," Mr.
Richard E. Miller's "Jade Necklace" an d
Miss Helen Turner's Coral" This last
il particularly beguiling. 1t is not
often, however, that these immobile
unimaginative studies have the sym
pathetic personal quality which Miss
Turner achieves. Now and then an i'm
preston appears which captivates
through its vivacity and technical
dash. One such instance IS provided
by Mr.. Clifford Besl, and we owe an
other TO Mr.. r. Melville Du Mond, a
California artist, who makes effective
play With the old staxccoach. And
there Is, as usual, something from the
plangent Taos group. Mr.. Walter Ufcr
amuses even while he threatens to set
our teeth on edge by the excessive en-
phssis Of his "Don Pedro de Taos" Mr..
Julius Eolshoven belongs to the came
group, but he keeps to low tone in
his church interior and gives ua a
studio piece in his audacious, swiftly
brushed-in hend, "La Bella Bonda."