The New York herald., 1921-05-15
Bellows'S Progress
In Lithography

Always ready to applaud effort and
progress, ] have several times this sea-
son had occasion to mention the extra
earnestness with which George Bellows
is now working. although to my real
regret I cannot as yet go all the way
with this artist and hold the same
reservations in regard to his present
collection of Autographs In the Keppel
Galleries that have heretofore held.
These Autographs. in my opinion. rep
resent Mr.. Belows's best work. They
are worthy OF the attention Of the native
collectors, for they do represent certain
phases that we are passing through.
although my national pride as an Amer
lean Is terribly chagrined when at
tempt to compare them with the work
of j. J.. Forain or even lesser modern
F'renchmen. 1t won't do to SO compare
them, in fact, although. as said before,
these drawings have their signiflcances
for us and will serve until an American
Forain. Garvarni. Guys or Daumier ap-
pears.
Freed from all the embarrassments OF
oil paints Mr.. Bellows works with
greater case upon the lithosraphic stone
than upon canvas, and there is the sense
that he expresses his whole thought in
| this medium. His draughtsmanship is
excessively faulty and his range of ex-
preston is limited, but he achieves
| rich black and distributes his masses
of black with sure effect As a litho-
grapher this Is the best thing he does
Most of his plates have a pleasing effect
when viewed from such a distance that
only the light and shade may be seen,
but when one approaches nearer the
painful awkwardness of the drawing or
the crudeness of the apprehension of life
shocks one. ..+.M.a
| He is much at his best In this cx-
hibition I'm the Autographs of prize
| fights. The prize fight provides gor-
| geous material for an artist, and I don't
know any American artist who has ex-
celled Mr.. Bellows's plate OF the Stag
at Sharkey's." 1t Is no moro sure In
| drawing than the other Autographs. but
II does give in an overwhelming way
the sense OF fight and plunging force.
The theme is directly In line. apparently.
with the artists temperament. which
likes to do everything with a smash. The
same method applied TO the delineation
of ladies sitting In n drawing room and
the artist comes to grief.
chose for reproduction hero the litho-
graph OF the 'Old Player because It
was one of those that pleased mo for Its
rich blacks, when seen at a distance. but
7 should hardly like to say OF II, as
Y
rectors Quarterly, said OF an etching by
Forain: There is no trace OF carica-
ture II is all the result of exact observa-
! tlon and perfect knowledge OF the right
way OF utilizing It," 1t Is merely an old
man posing who might be anything else
than a player. He actually stands with
his back to tho billiard table while some
ono appears 20 be taking a shot. Had
Hogarth or Daumier challenged the at
tention OF the other masters with a
drawing OF billiard player they would
have sought 20 have made It the very
Quintessence OF billiards.
| So. In wishing this photographer we'll.
certainly wish him to find lucky SUBJ
jects. Scenes that call for sheer dy-
namics. such as prize fights, he can do
admirably, and he also is the man for
scenes in which comedy sinks into rough
\ farce such as the never to be forgotten
episodes OF the Billy Sunday campaign.
Two attempts along this line in the pres
ent exhibition. the Hold Up and the
THE Subway" are not interesting. This
| is. however. the vein Mr.. Bellows works
| best.
The artist acknowledges in the eata-
logue obligations to Mr.. Bolton Brown.
with whom he printed some OF the litho-
graphs. The printing II uniformly ex-
ceilent and all the plates shown are Of