New-York tribune., 1922-12-10
French Art
u,.. Of the Studio and Ideas
of the Open Air

F,,yt s page Of history unrolied IN
a ,.neetjon now at the Kraushaar
-r,,, II takes one back TO the period
Ala French art was being made
iuv which new types Of individuality
=, f.iriy celebrating the academic
.s.s,ls sxempihed in David and his
-. paumier Is the most imposing
4 "a, rsnsvators present. His picture
=, Nsanier, son Fills ct son Ane,"
- 4, sent TO the Salon Of ls49. II
- kss, loomed therein ike monu-
-. 10. because Of the old legend Il
s,tr.sss. but because Of its magnia-
-. ssfnstion Of a rich sense OF form.
/ \. ulEsr 10 not by any means the cen
81 srur In this composition. The
,...n 70 All to the three women in the
svr,und, women conveying for a mo-
~. lie impression that they have
,u,d on. Of the canvas Of some old
.,sr bu. expressing in the long run
,ssty absolutely Daumier's own.
M, 4 profound lesson for the stu
n. hr., one Of the dignity and power
~ ut out Of the human figure when
asmlrtsd with true breadth and fire.
M. n, other examples on these walls
4 u, rs,urahsm characteristic Of the
ms uarss. Courbet is represented
|, tAa W feel TO be the finest land
v,s, frcn NE brush we have ever seen,
n, tnss n respect 10 pure loveliness.
N. great tree In the foreground Is
painted with rnplete abandonment to
"A, lsIay vhitL he often sacrificed 70
irs Hissg asrted with this gracious
mttk I'D 10 90 on in the same key.
hldIf-Eh landscape in the middle
dr.sna Ini the pure sky are painted
dIulnsy-snd that is the last epithet
d tls Uond one would ordinarily apply
b I Vcfk Of Courbet's. The color
1fnghoai is as suave as is the han
DIG Tor once Courbet is very nearly
~.
N Rousseau Is the great Charcoal
htxt Hut" a massive composition,
tusk tsnality, an instance Of nature
srnszihed into something high
Talsi majestic. II is interesting TO
nisz tJrupos Of this landscape on the
ariInsal influence Of the historic
IsaA genius. Rousseau is utterly
Artil from the Academy. But IN
= sruls character Of the Charcoal
hnffs Hut he subtly proclaims his
eEp with the classical composers
hatiisr French painting, with men
h Claude and -Poussin. Still another
,nAs Of the band Of sublime NAL
a,.srts Is included in the exhibition,
AlsrolI, With his "0thello and Des-
ansnA" He strikes the romantic
~ With fsrvid sloquence. HIS low
iV' the key Of the studio, has gone
''n the Wind. His authentic inspira-
1sa remains. TO keep glowing the
WntA Of bis emotion and the muffied
Flsndor sf his color. There are other
nsnssnen IN the show, Corot, Puvis.
ssnnn-Lsesr, slsley, Forain and Le-
ros' and al make persuasive appeal
nfoagn excellent specimens, but the
Ne outstanding companion to the
~n we have especially signalized Is
sufly Whistler. "Ths Coast Of Brit
~
sFirtsd It IN 1881 and showed It
s'yil Academy a year later
y title Of "Alone With the
-, s,,fies saw It as far back as
asvas exhibited in this city,
ns mn It appeared In the
Rw at Boston in 1904.
tsslf seems 10 have had a
4ag for Il. "A beautiful
i -. a0s 1t in a letter to Mr..
painted In Brittany-blue
s vtye breaking-black and
"fs-grest foreground Of sand
"aasrful girl asleep" Il be-
ns time Of Courbet's influence
art Later he would have
~ facts observed into a SYM
" color and tone--developing
T-'aony for its own sake. The
y stands is a study in real
se With next to no thought
fn But the notes which
ave made the symphony are
'a'enly notes Of brown and
P'in'ings BY latter-day Ameri-
aided, fine coast scene by
H. ''al, couple Of amusing actu-
~ 'ohn Sloan and Guy Pene du
se one thing that holds its own
La older men is the Woman
ID cav by George Luks, a pow
8asD0rnanee. In a back room the
th.s ssars By CASTOR Laehaise pro-
is,.. :. 'ns American Telephone and
h. seilding is exhibited in a
L.. ssdsl, with the pillars Of the
la. " too, SO that one may judge
lnh. .seI aimed at. II is a noble
IA sla'slssi in style. with the en-
k y mat vertical linear effect
Asl.,e - Associate with the Delphi
and similar masterpieces.