New-York tribune., 1922-11-12

way OF mr., MOBILES pictures. There is
beauty In them and 1t leaves d lasting
impression.
At the Mich gallery, Mr.. Walter
Ufer, member OF the Taos group, is
having an exhibition Of his pictures.
There are some things in ii that are
precisely what one would expect, Iii
view of the work he has shown from
time to time in New York galleries
I'm His Garden Is the type. 1t is a
CLOSE up Of an Indian model, painted
with unfiinching realism. But though,
the scale is largo the figure 10 not
painted with what one would call
breadth. 1t Is painted, rather, with a
kind Of prosaic fidelity to photo
graphic conception Of form. In this.
or In the kindred "Noon," whenever
he adherea to his familiar custom, Mr..
ufer appears to be standing still. But
when he attacks landscape it is
obvious that he is making progress.
Only In his skies, which are too fat
in tone, does he remain stationary
and perhaps this somewhat weariaome
hatness is excused by tho character Of
the world in which he paints. It is In
composition and in his analysis Of
ground forms that he has forged
ahead. His pictures arc more in.
terestingly put together than hitherto,
there Is more engaging color In them,
ana, above all, they are drawn with a
more delicate touch. Too often. in The
large portraits at which we have
glanced, he has seemed to be painting
by main strength and to have defined
his contours with unnecessary hard
ness. In these landscapes the ham
ding Ia crisp and fine; the old metallic
rigidity has almost disappeared. 70
see 80 many Of his pictures together,
500, there being more than score in
the collection, is to realize that ho
has, after all, a more varied talent
than we had supposed. Altogether
there is genuine vitality in the e.;.
nlDition. II there is not much charm
IT is. doubtless, again explained BY
the Taos background. 1t must be next
70 impossible to extort charm from
those raucous colors, that staccato
play OF light and shade.
The Taos Society itself, with Mr..
ofef taking part, has show at the
Howard Young gallery. There are con-
trloutors who suggest that there. az
elsewhere in the world, an artist finds
IN region exactly what he brings to
lt. Ihere are no staecato passages in
the desert scenes Of Mr. Albert L.
Groll. Presumably he meets effects of
light in Arizona as sharp as those in
New Mexico, but he filters them
through his temperament and paints a
very suave kind OF picture. Mr.. Couse,
too, in his picturesque Indian sub
jects, is far from unduly emphasizing
the outlines Of his forms. He has a
restrained scale Of color, his brush
work shows the same reserve, and as
he happens to possess particularly
skillful pictorial faculty he insinuates S
rather than enforces his appeal. The
rest are all for sledge-hammer state.
ment. Mr.. Ufer Is faithful to it in
one Of, his three exhibits, but shows in
another, Toward the End of the Win
ter" the moro sensitive touch on
which we have been congratulating
him. Mr.. Sandzen, MIR. Higgins, MIR.
Sharp and Mr.. Blumcnschein uniformly
confirm the belief that Taos spells
hluntness. Mr.. Blumenschein almost
atones for 1t, though, In the romantic
composition he achieves In both Of his
two paintings. How attractive he
would be IL he didn't paint as Max said
Hall Caine wrote, at the top of his
voice! Mr.. Berninghaus runs him
close for honors. His daylight studies
are good and his night scene, "The Cot
ton Woods" is q haautiful bit Of tone.
Beauty, on the whole, escapes the Taos
artists. They are too forcible and too
panty. They work in too crude key,
reproducing hard facts with kind OF
blatant insistence. II ia odd. But
perhaps sun-drenehed Taos never has
its tender moments.
A few pages Of biographical friend
liness by M, Guillaume Janneau that go
with the exhibition at the Kingere gal
lery Of paintings by the late Henri
Georges Van Rinkhuyzep apprise US OF
the fact that that individual was an
amateur, putchman painting in Paris
only aB the mood overlook him and
then to please himself. He knew what
he was about. Painting still life and
scenes out Of doors. he betrayed none
Of the subversive elements in those hy-
potheses Of Cezanne and Van Gogh
which had q special attraction for him.
Some instinct made him at bottom a
conservative, indisposed to violate the
simple truths Of nature. A violin as he