New-York tribune., 1921-03-20
American Paintings
Studies of the Figure and Of
I,andscape

Landscape
II there is one thing more than an
osher which makes welcome the ex-
nibition of pictures by MIR. Carl Mel
chers, at the Mich gallery, it is the
suggestion there of certain mental
range and activity. Artists so often
get harnessed to routine. The subject
with which they have succeeded once
not unnaturally strikes them as sub
jert to tackle again, and while genius
may turn the temptation to desirable
uses anything less than genius is
hound TO end, under such circum-
stances, by funetioning in vacuum.
There is something about the tempera-
ment of Mr.. Melchers which we can
only define as artistic health. He
maintains his gusto, gusto alike for
the art of painting and for the play
Of life about him. There is a very
human note struck on the threshold
Of his exhibition in the little sketch Of
Dutch peasant, called "lce Sweeper
It is sincere, vitalized portrait, beau
tifully done The fresh spirit of it
runs through everything shat this
painter has produced. He has his ups
and downs, but there is no mistaking
the energy, The freshness, with which
he attacks his diverse themes.
lie ranges, as we have indicated.
Yet he stays, on the whole, a realist,
il he must be assigned to category
The point is enforced by his Supper
at Emmaus," a picture we value not
only for some good passages of paint
ing, but for the mere fact that an
artist Of to-day should have under
taken to compose it. We had the same
impulse of gratitude when we came
1 upon Mr.. Bohm's Sermon on the
Mount in the Academy. What boon
It is when an artist finds it worth
while to embark upon really high
emprise! The theme chosen by Mr..
Melchers is one of the most appealing,
Tor painter, to be found in the
Scriptures. 1t brings the Divine Pres
epce into relation with human life on
-S'AAs ~itieh oA'y gam III piCl0Ildl
form as they are interpreted with a
KIND Of homely simplicity. The heart
breaking test comes, of course, where
the beauty of that Presence is to be
realized. Rembrandts great picture
draws most of it's significance from
the unearthly poignancy of the cen
srai figure. Mr.. Meichers is touching,
Dut not overwhelming. We note the
TACT with sympathy. One realizes the
Vastness of the ambition here launched
upon, There is another point in which
one misses not SO much the imagina-
i've magic so rare in any period, but
. purely technical element in. the
Problem. We refer TO the unity which
comes from broad sweep of execu-
tive power.
IS especially important in the
painting of Biblical subject that it
saouid be seen, and mastered, as
Nfole The design needs to be knitted
logether with a peculiar spontaneity
no matter how modernized our minds
"ay be, we inevitably ask-uneon-
sciousiy, perhaps-that the picture of
an episode in the life of Christ should
psftaae Of the, nature of vision. 1t
nay be localized and humanized to the
iast degree, but it remains detached
from ordinary existence. The success
~ artist solves the problem through
she imaginative magic to which we
aase alluded, but he is aided immense
y py the unbroken impetus Of an abso-
'uteiy authoritative brush. Let the
ssaaer, Tor confirmation of this, con-
s'usE the Supper at Emmaus' painted
~ 50 mundane a type as Tiepolo. He
peoples the scene with more than
ssisn hand, but even his theatrical
f.oluslon IS tempered by the brilliance
: his technique. His technique is like
A great creative gesture. 1t carries the
0s1ai's of his composition into one
%.lestic chord and leaves the picture
~ ol piece" It is in this that we
.ao Mr.. Melchers disappointing. His
'suses seem doggedly built up where
sae wants them to fall easily into !
,hcltous group. We want to grasp
~ PAINTING as a unit, hut we find its
'"srits only in the workmanlike treat
.ssht Of each figure by itself. The real
I'm which so distinguishes this artis.
ssnnot quite carry the tremendous bur-
yen put upon it.
QbSeryes II an 4ha ntbar hand d;r
a'ged from the grave obligations Of
sefo.'onal painting. Go back TO the
amsh canvas which we first cited, the
'se sweeper" There Mr.. Melchers is
W embarrassed .by a portentous pre-
sapstipn- He simply rests his eye
sp0n picturesque object and lets his
ssnse Of form and color have its way.
81. ae result. in this pictuse and in
sasrs is altogether charming. In color
srscaally he has quality Of his own