New-York tribune., 1920-02-15
Individuality
Gets Its Chance

Is
pleasant and stimulating to return to
the galleries The big shows arc in
abeyance, save FOR the display which
the American Water Color Society is
making at the National Arts Club, and
the town is full Of those independent
exhibitions in which an artist Is al
lowed to present his work at full
length. They have never been moro
numerous, or moro amusing. At the
Knoedler gallery, for example, four
artists thus have their chance. Ono
Of them. Miss Matilda Brownell, enjoys
an unusual distinction and is subjected
to an unusual test. Five new portraits
she has painted fill the end wall Of the
main gallery. All the rest Of tho space
Is occupied by brilliant impressionist
pictures, the great Renoir lately pur-
chased at the Emmons sale, several Of
the finest Monets secured on tho same
occasion, and notable examples Of
, Degas, Sisley, Pissarro and Manet. The
Manet Is brought, we believe, from a
collection in France, ono Of his CATS
concert studies, masterpiece of direct
and powerful painting. These things
fill the room with an atmosphere Of
triumphant virtuosity. In the midst of
it Miss Brownell's restrained method,
her tonal Quietude, necessarily plays a
subordinate role. It would take some
body with the sleight- of hand Of Sar-
gent say. to give back, stroke for
stroke, the pyrotechnics Of Manet.
But Miss Brownell's very different kind
of art holds it's own in this exacting
company by virtue Of It's soundness and
sincerity. Work we'll done always holds
Its own.
The fundamental merit Of Miss
Brownell's portraiture Is It's really
vitalized veracity. The catalogue, with
rather novel particularly, not only
gives the names Of her sitters, but in
dicates that she has painted the por-
trait of "a professor" "a lawyer" or "a
musician" as the case may be. The
different professions might have been
OWNED, even without the aid Of the
catalogue, these canvases are so ex-
plicit in the revelation Of character.
Their eloquence reaches a high point
in the handsome full length Of Miss
Virginia Gildersleeve, dean of Barnard
College. The slender figure, set against
a tapestried background, is clothed In
the simplicity Of academic cap and
gown, but 1t is portrayed with so much
human sympathy, 1t Is 80 winning IN
its womanly dignity, that there is no
room left for the merely academic air
which so often kills portraits Of this
kind. The color scheme matches the
admirable breadth Of tho artists con-
copt!on. Here, as in all her portraits,
she has a vitality transcending the or
binary atmosphere Of the studio. Her
drawing, too. is good. In certain Of
the portraits Of the men-the study OF
q musician and that ono in which a
doctor is delineated-it is developed
with peculiar firmness and precision.
In ono Of the smaller neighborinE
rooms there are landscapes. portraits
and flower pieces by Mr.. Eugene
speicher. In tho hrst Of these cate
gories he discloses tho influence Of
Cezanne, but unlike 10 many artists
who have felt that influence he has not
allowed himself to lapse into fumbling,
obscure ways. On tho contrary his deh-
milton Of forms 10 bold and decisive.
His art is, indeed, Of = robust, full bod
led type. He is capable Of delicaoy IN
the manipulation of tone, but his habit
in general Is to paint with a forceful
brush. His talent gives pleasure. So,
in a very different key. does the talent
Of Mrs. Caroline Locke, who has one
Of the upper galleries to herself. She
shows portraits and flower pieces. The
former have charm, especially the por-
traits Of children. Mrs. Locke's style
is exceedingly refined. her studies Of
women and children have q grace
which is heightened by tho note of
color she has made her own. But the
portraits, at the best, must yield pre-
cedence to the pictures of flowers.
These are exquisite. A composition like
tho "White Azaleas" is altogether en-
chanting. To begin with, there is the