New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1922-07-16

Inc moSt recent Oh the summer eX~
hibitions was opened during che last
week at the Art Center by the Art
Alliance of America, an organization
devoted to the interests Of workers In
the fine and industrial arts. It is the
former phase which holds sway at this
time and of the sixty portraits, figures,
landscapes, still lifes and sculptures
there is hardly specimen that could
not be considered professional" Bear
ing in mind the principal purpose Of the
Alliance, which is to assist the artist
in obtaining contact with the art pub
lie, there is every reason to feel that
much good will come to the member
ship through an exhibition CT this
class. 1t reveals things being done
sincerely and in a quiet way by artists
who are scattered variously throughout
the country, many Of them in localities
where opportunity for art commercial
cation is quite out of the question.
There Is, however, q noticeable alb
sence Of landscape subjects, while in
their stead are an equally obvious pre-
dominance Of figure and still life. Per-
haps, because a majority of the con-
tributors are women, the fondness for
flower subjects and pictures that admit
of picturesque and decorative posi-
bilities Is accounted for.
An unaffected and workmanlike per-
Torrance is Miss Hergesheimer's por-
trait of an elderly man. Seated in the
shade Of an old dwelling, the figure
itself appears in low key, though off
to the right appears a pleasantly in
PRODUCED suggestion Of garden in
sunlight. Likable for it's facility of
treatment and good color is the por-
trait by Jane Freeman. There are 8
poignancy about the features and a
charm in the languishing grace of the
arms contour, while the subject as a
whole is we'll drawn and we'll posed.
"Thc Royal Chrysanthemum," by
Edith Penman, is small still life IN
a symphony of deep reds and yellows.
There is beauty in the subject as well
as treatment, the miniature blossoms
having rich charm in relation to the
jar that contains them and the red
peppers which intrude quite casually,
it would seem, into the ensemble.
Among the many other still life sub
jects "The Overlooking Bowl" by
Elizabeth Hardenbergh, and Constance
Curtis's Cezannnesque group make a
most ready impression, the one for its
delicacy and charm, the other for its
copious expression of form. A fairly
impressive pair are the pictures en-
titled Figures on Sand" which were
contributed by Elizabeth Wentworth
Roberts and are representations Of deep
stretches Of sandy beach, enlivened by
few minute figures. Beyond are the
oceans stretch and the sky all reduced
to neutral scheme, which accentuate
partly by way of contrast with the fig
ures the vastness of untenanted dis
tances. A nocturnal fantasy by Louise
Janin resembles very much the char
acter of Japanese painting on silk,
and is quite as decorative. There are
few other purely decorative concep-
tions, including two closely wrought
tapestry designs by Mary C. McQuaid,
with knights and ladies against floral
groundwork. Other works include two
standing nudes by Mary Foote: two
nice figure paintings by Edith c.
Phelps, entitled "Daffodiis" and "The
Fashioned Girl" the latter present
ing with dignity young lady with her
sewing; and a portrait by Elsie South
wick Clark almost pastel-like in color
There are several fantastic watercolor
studies of exteriors, with nudes by
George o. Hart and sculpture. heads by
Angelica s. Church, Polygnotos vagis
and Herbert Adams. The outstanding
landscape, ACROSS the Valley" by
Mary D. Hitchcock, is a pleasing por-
travail of green hills in summer. Two
thirds Of it is sky, but this fact adds
certain aloof charm to the landscape
with its winding stream and distant
village.
Others represented are Emma Rusack,
Melita Blume, Frances T.Neill, Richard
L. Marwede,' Mary Fraser Wesselhoft,
Iva L. Abbey, Wilfrid Evans, Clara
Dennis, John Parker, Clarice Petre-
mont, Kate NJ Franklin, Florence
Hartley. S. L. Crownfeld, Achille
Laevens, Eliza Burlington, Ellen Mac
auley and Hugh Spencer. n