New-York tribune., 1921-03-06

the room welcome contrast to the
dull frou-frou Of which we see so
much. He paints with an infectious
appreciation the rich Southern physi-
ognomy and, the warm flesh Of his
Hawaii and Navajo" He makes
positive parsonage out of the Bor-
rowesque matron of his "Madre il
tana." There are personalities mir
rored in thee canvases. .Neverthe-
less we return, when all Is said, to
just the flashing technique which dis
tinguishes the exhibition. It marks
an odd kind of progress. Perhaps
the best thing on the walls is the
Ear Rockaway," which dates from
1902. Mr. Henri's color is nowhere
else SO pure, and nowhere else is his
touch cleaner. Still. there Is more
body to his work in a painting like
the "Madre Jitana." In developing
moro complex schemes he may have
lost something, but he has gained
something too. His work now has
more force, more weight and. best
of all, moro depth-ths quality
/ which ono Is always hoping to see made
the essential aim Of his effort.
Mr.. Paul Dougherty. at the Har-
low gallery, makes another contri-
button to this subject Of the artistic
attitude, the point of view from which
the picture is produced that is worth
while and gives pleasure. He ap-
pears in more than one medium. The
collection is composed of oils, pastels
and watercolors. The oils revive ap-
probation Of his feeling for construc-
tion and the virile spirit which he
brings to the Interpretation Of the
sea. They are good pictures, but
would not, by themselves, make the
exhibition. The true key to this is.
perceptible in the pastels and water
colors, in which Mr.. Dougherty is the
artist at play, recording casual i'm
presslons Of landscape and the coast
with an inspiriting zest and a delight
in nature that express themselves in
terms of color. Also there is the &C.
cent Of individuality on these draw
ings, the fresh personal quality which
denotes q temperament at peace with
its world and its instruments. The
show has vitality, An exhilarating at
mosphere. Beauty has passed that
way.
We are aware Of beauty when we
survey this Connecticut landscapes that
Mr.. Charles H. Davis is displaying At
the Macbeth gallery. He is one Of
those painters who interest US not only
| in their subjects but In the texture of
their minds. There is no obviously
imaginative purpose behind his work.
He does not dramatize nature. None
Of our landscape men Is more complete
ly free than he Is from the foible of
Fictitious picture making. Yet every
composition Of his has unity and, what
is more, new-minted character. There
are fourteen paintings on the walls,
they are all Of Connecticut scenes, but
save that the old stone fences Of the
typical pastures appear In several of
them they arc As various as though
the artist had ranged over vast area.
He Is not type Of reverie, though
the charm Of reverie tinges his night
scenes. He impresses us rather as
quietly adventurous painter, preserv-
ing unspoilt his gusto for landscape,
feeling In nature her inexhaustible
freshness and enduing each new can
vas with q new flash of live-giv!ng
sympathy. He is more evenly success
full on this occasion than we have ever
known him to be before. Just once
he threatens to fall out Of his stride
Tho clouds In his Summer Uplands"
escape being woolly only by the narrow
est margin. In general he gives US un-
qualified Joy.
At this gallery there is also q collec
tion Of Cornish coast and vill.ge scenes
by Mr.. W. Elmer Schofield. They have
the merit Of vigorous, breezy attack,
but otherwise they are repellent- Mr..
Schofield paints at the top Of his voice.
Every subject is stated with the en-
phasis Of a shout Every canvas is
filled with hard, cold, overwhelming
light. One painting detaches itself
from the rest, "The Brook In Winter"
a snow scene handled in large way
and with u good deal of skill in the
differentiation Of tones. But tn. pic
lures taken together-and it Is thus
that they somehow compel themselves
to be taken-causs the beholder to
blink. The finer qualities Of art, me an
while, 20 by tho board.
In the lower rooms at the Macbeth
gallery the Society Of Animal Painters
and Sculptors makes its annual ex-
hibition- The sculptors bear off the
honors. Mr.. Roth has two little eques-
trian groups In which matters of form
and movement, treated with impressive
knowledge, are raised to a higher
power through distinction in design.
Mr.. Rumsey also, in "The Old Virgin
ian," gives to expression Of fact that
lift which comes from judgment in
composition and from feeling for cnar-
acter. There Is an indefinable atmos-
pheric quality about this group. The
rider in it Is not detached from space
but enveloped In it. The bronze is, in
The trite saying, instinct with life. Mr..
phir{ster Prortorsa ptacea owa tlieir