New-York tribune., 1921-12-18
Random Impressions
In Current Exhibition

The "Taos." on the same note, should
be commended to the we'll known group
as proof that their reg Ion does not
necessarily spell hot colcr. Mr.. Che
ney is uneven. He has put too much
into his exhibition, too many negligi-
BILE pieces. But the best that he has
on view is enough to Justify him. He
has a directness in attack and crisp
huency in the definition of forms with
which he should go far. He needs
only to be on his guard against too
great haste, such as is suggested by
the badly modelled sky in the coats
Harvest" A talent like his is worth
lot Of discipline.
The exhibition of water. colors by the
English artist, Mr.. Frank Galsworthy,
at the Kingore gallery, is divided be-
tween garden sketches aud portraits
Of flowers. The former owe their charm
to the painters feeling for the spirit
English garden, its immemori al turf, its
indefnable alliance with the architec-
ture Of cottage or manor house, these
things existing in an Incompatible har-
mony are reproduced by Mr.. Gals
worthy with precisely the right touch
1t is the familiar touch of traditional
school, averse to brilliance, knowing
not the virtuoso, preferring a safe con-
vention. After Sargent's magnificent
pyrotechnics it seems little cold. even
dull. But considered on its intrinsic
merits and with reference to the theme,
it is method not to be despised. The
flower portraits are more spirited, in g
bolder key. When the particular flower
like the white primrose, requires it, Mr.
Galsworthy can be delicacy itself. But
with his more vivid blooms he Vets
himself go and at times is positively
gorgeous. His accuracy Is an appeal
ing virtue. We call these drawings
portraits not because they are so des-
ignated in the catalogue, but because
they have SO much character.
While the French modernists are ex-
hibiting in the Belmaison gallery Sec
ond collection of French art of quite
different character has been placed on
view in another section of Wanamaker's
the New Galleries. 1t is composed of
paintings from the Paris Salon Of 1921.
Among the modern conservatives iden-
titled with it are Jean Maxence, Con-
slant Duval, Alfred Magne and P AL
bert Laurens. Thoroughly up-to- date,
however, in subject and treatment is
the appealing composition of children
at tea in the open beneath warm sun,
which Is contributed by Lucien Jonas.
Alice Binet, too, gives in "The Hoop
Dress" charming interpretation of
modern girlhood carried out in a par
ticularly arresting color scheme of
lemon yellow, mauve and old blue.
Spanish Women Of Tunis," by Nine.
Gourdault, is striking composition of
three alluring women reposing in the
detachment Of balcony overlooking
dark sea and mountain background.
The contrast afforded by the striking
tones of their mantillas and enriched
headdress is most agreeable. p. Albert
Laurens, In an allegorical painting
! called Homage to Flora" launches into
theme of great beauty and decorative
charm where children and beasts come
side by side to pay homage to the god
dess in her temple. In an adjoining
room are thirty water colors by the
Frenchman, Jean Ernest Sigismond.
They are mainly Venetian subjects
broadly treated, though much too SOM
Der and cold in tone
The Whitney Studio Club has an ex
hibition by nine of its members In
which chief interest centers about the
technical novelty Of John Alger. He
pas painted some sand dunes with q
sweeping grace despite the fact that
his colors, always modest, are laid
down fatty and without accent. The
rather good watercolors Of George 0.
IAart tell tale OF picturesque Santo
Domingoan landscape and waterfront
byways in language that cannot be mis-
taken. His use Of color is fluent and
strong. There is nice landscape Of
tree-studded fields by Samuel Halpert,
and T. Watanable, who essays similar
subjects, has very effective work in
"The Country Road" its arduous climb
on sunny hill-slope cooled by the
soft shade of great spreading tree.
Miss Marjorie Conant shows cheerful
color and vitality in her two portraits
of women, while another group of
heads done In crayon by Eleanor
sanxay have delicate grace.
Etchings Of old ships and some water
colors by Barry Pittar are being shown
at the Kennedy Gallery, along with a
collection of old English color prints.
George G. Wales is the pictorial pilot