New-York tribune., 1921-03-06
Random Impressions
In Current Exhibitions
SCout'nucd from preceding paxc)

SSEtetic OF MN. In style he brings no
4 new note to the long procession that
q passes through our galleries every win
] ter. At tho same gallery there are
i scnie marbles by Miss Mamma Matthews
4 Bryant, Rodinesque nudes which show
/ smooth. perhaps too sweet, modelling
1 cf surfaces and no research into
| nuances of form. Apropos of Mr..
I Schattenstein. we observe that paint
1 ings by Philip Lazlo are at the Cor
4 :oran gallery in Washington. In due
] ne shown in New York.
Those who are interested in the work
Of Alphonsc Mucha and missed the ex-
tihition of it at the Brooklyn Museum
will be glad to know that his draw
.ngs, and all of the paintings save tho
big mural decorations, may now be seen
at the New York School Of Applied De-
sign for Women. A reception for NJ.
Mucha is given at the private view
with which tho show opens tomorrow
afternoon.
The Civic Club holds an exhibition
which is to last until the middle of the
month. 1t presents paintings by Ar
thur ". Emerson and Magnus Norstad.
Mr.. Hayley Lever has q quantity of
water colors at the Daniel gallery.
They are lightly touched, pleasant i'm
rressions. He has not attempted the
effects characteristic of his familiar
pictures in oil, but lets himself 90 in
she most spontaneous handling OF the
more fluid medium. He understands
its spirit. We do not need to take
these sketches any more seriously than
he does. We simply share in some
cheerful hours in the open air.
The salient accomplishment which
Mr.. Wilford S. Conrow puts to his
credit in the collection of portraits
he has at the Powell gallery is his
workmanlike construction of heads, es-
pecially the heads of men. The por-
traits of DIR. w. H. Dali and Mr..
Cephas Brainerd are we'll built up. we'll
drawn, altogether admirable perform
ances. The graceful portrait of Miss
Anne Mallet makes it plain that Mr..
Conrow can bring his craftsmanship
to a notably refined phase and that he
can make an attractive composition;
tive strength of his portraits of men
that he is to be commended.
The collection belonging to NJ. Paul
Rosenberg, Of Paris, which may be seen
at the Wildenstein gallery, is announced
as one of the French impressionsts. 1t
includes, as a matter of fact, some
earlier souvenirs. Chronologically the
exhibition begins with Prud'hon, who
is represented by a charming "Bac-
chante," wanting in the vaporous quail
ity which so often enriched his art, but
very like him, nevertheless. The por-
trait by David is a cold performance.
If he was to be present at all in a show
of impressionists, it would have been
good to see.a portrait like his tempestu-
Gus "Lepelletier de St. Fargeau." Cour-
bet and Delacroix stand for the transi-
tional period in this affair, with Corot
leading the progression still onward,
and then come the true types of i'm
pressionisms Manet is represented by
a single canvas, blonde, q little dry, but
marvelously rich in life. The Sisleys,
Monets and Pissarros happily include
several Of their early pieces, paintings
in which tone has settled down-and
become more beautiful. The Renoirs
are numerous, and uneven, the group
diminishing in force as we reach the
specimens Of his last period But
there are two or three portraits which
date from his prime, superb examples
Of his color at its best, and among
these older canvases there is also to be
hailed the lovely picture Of 1.-THE Gar.
den." A handsome flower subject re-
calls the romantic art of Odilon Redon,
and the exhibition Is brought to a close,
rather inconclusively. by a group of
pictures by Cezanne. The collection is
peculiarly harmonious.
An echo Of Monet is heard at the
Schwartz gallery, where his son-in-law.
Mr.. Theodore E. Butler, is showing
number Of American subjects painted
according to the Giverny hypothesis.
The result is fairly diyerting. The
piled up skyscrapers of lower New York,
painted in a mist through which their
thousands of lights fantastically CLEAN.
yield Mr.. Butler an undeniably inter-
esting effect. He makes a certain an
peal, too, in his studies of Central Park
and of goldfish in the Aquarium.
Hardly any of his canvases show. how
ever. really authoritative grasp upon
his instruments. Technically he falls
short, where technique is important.
"The Vernon Church" and the "Treport.
Evening" register his high water mark
1t stands for sincere and fairly inter
esting effort, rather than for solid
achievement