New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1922-07-09
In the Realms Of Music and Art ID
New Summer Exhibitions
Sustain Local Art Infero.
The Fifteenth Annual Opens at knoedler's. An
Group of Paintings at the Enrich Caller, y
A Picture Fund Raised by Carneo;e

The Knoedler gallery claims for it
self tho distinction Of having set the
precedent for summer exhibitions in
New York. That was fifteen years
ago and at time when the period
from June until September was GUS
tomarily one Of inactivity in the gal
leries. Since then majority Of them
have taken up the idea, announcing
usually at the close of the regular
season, special collection Of paint
ings to remain on view throughout
the midsummer months. Many resort
ed to their stockrooms, bringing out
pictures belonging to their permanent
collection, and the complexion Of these
summer exhibitions often remained
much the same from year to year.
Others, however, enlivened their walls
with few paintings sent by invitation
and comprising things new or at least
unfamiliar. 1t was these galleries
which always seemed to NIKE most of
the opportunity to keep up the public's
interest in painting, even in the heart
of the vacation season.
The fifteenth annual summer exhibit
ton, which has just opened at Knoed-
ler's, is an example Of the latter cate
CORY. Though there is nothing star
tlingly new in it, there is proof, in
its variety and moderate freshness, Of
an effort toward something specially
interesting. It is at once retrospect
tive, showing examples Of some of the
best known men of a few years ago,
| and representative Of many of the
leading contemporaries. forty-six ex-
amples in all having been assembled
Quite the most striking things are fig
ures by Melchers, Bellows, Mile
Bruhl Frederick and Robert Henri.
These shine out either from mere
famboyancy Of their colors or else
from the boldness Of their method.
Melcher's "The Piper" is a work re-
membered for it's wartime association.
1t is proud but rather obtrusive per
Torrance. Henri's "Laylah" treats of
an Oriental type, painted with little
feeling for charm or for good taste in
color. The large Thayer takes a diff
| ferent sort of grip on the beholder.
This Sunrise on Mount Monadnock,"
repainting Of the similar subject at
the Metropolitan, commands contem-
plation. The force of it's attraction is
more subtle and more inevitable. There
is fascination about those dark
masses of cold pine trees that causes
one to explore their depths and to ar
rive at full appreciation of the sun
touched crest by process of mental
mountain climbing.
There is an infinitely charming
small-scale figure and interior paint
ing by Irving R. Wiles. 1t is probably
not a recent work, but it has the
highest feeling for good taste and for
Its unmixed sincerity and harmony of
treatment is one of the really appeal
ing things in the show. Hawthorne's
distinctive personality in painting is
reflected in little composition Of a
girl with her doll, while the mother
and child of Mary Cassatt is an equal
~ lovely though q widely differen-
tlated representation of kindred
theme.
Among the other works is Frederic
c. Bartlett's Canton in SUNLIGHT" an
unusual view of the Chinese port show
ing an array of small boats and ram
bling buildings, while casting shadows
across the foreground water projects
the spreading arm of tree Rockwell
kent's Down to the Sea" tells with
restrained sentiment the traditional