New-York tribune., 1922-01-22

The sense of balance fostered by his
earlier activities is perhaps responsible
for the principal merit he can claim,
that of sound if not particularly origi-
nal composition. His pictures are we'll
put together. In landscape like his
"Mountain Mirror" he shows admirable
tact in the disposition of masses and in
the adjustment Of light Dealing with
the difficult problems of Scotch noun
tain scenery, he discloscs a good deal
of that sense OF proportion which is so
rare in the handling of huge Landscape
forms. He does not, however, extract
from these weighty subjects of his any
thing of the glamour they might be c.;-
pccted to yield.
There is no eloquence in his general
lzatIon of foliage and similar textures.
The larger elements in given design
are effectively laid out but the paint
ers skill seems to stop there, leaving
ground and tree forms thinly defined,
only specifically modelled. Mr.. Bar
ney's color lacks quality He paints q
mildly adequate but not distinguished
picture. The best thing in the colcc-
tion is the "Blue Hills" Virginian
landscape. The fresh color in this and
the luminous atmosphere seem to have
been caught in a fortunate moment.
The trees are skillfully drawn, too, and
the sky is cleverly painted. The virtue
of the picture seems to reside largely
in it's spontaneity. When Mr.. Barney
lets himself go, as in this and in some
of the smaller uncatalogucd sketches.
he has vivacity and gives us a hint OF
talent. The big Scotch landscapes want
spirit and force; they seem trite and
laborcd beside the vivid fragment from
Virginia to which we have just alluded.
The Montross gallery opens on Tues
day an exhibition of oils, water colors
and etchings by Mr.. John Marin. 1t
will summarize his work during the
last fourteen years
The portraits by Mr.. John Philip at
the Sterner gallery are catalogued
frankly as "portraits of celebrities" ,"
They have the interest of such produc-
tlons, giving us impressions of the
Pope, of Rodin, of Arthur Nikisch and
others which are very plausible. AS
paintings they leave the observer cold.
Mr.. Philip is an accurate but hard
draughtsman, cold colorist, and in his
surfaces so harsh and "panty" as to be
repellent. For virtuosity in the han
ding Of paint the reader is urged to
see the example of Goya which is on
view at this gallery, a large bullring
scene, containing multitude of 6r-
ures. The composition, as was so often
the case with Goya, is happy -go-luckv
aHalr. tie filings the actors in his drama
pell-mcll upon the canvas. But the
drama is there, and so mastcrlv is the
technique that the myriad details in
the picture are somehow fused. while
the canvas takes on a perfect bloom.
There are Goyas and Goyas. This is
one of the jewels.
Hayley Lever was awarded one Of the
prizes in the annual exhibition of paint
lngs and sculpture at the National Art
CLUB with marine called "Fresh
Breeze, Moonlight" He richly deserved
the distinction. This painting, showing
small boat with bulging sail, BROUGHT
into relief by shaft of moonlight is &c
smart and we'll handled as any,
thlng IN the show. Throughout are
occasional outcroppings of brilliant
work, thoroughly representative of new
ideas. The lovely colors which Helen
M. Turner utilizes in her "Mornnc"
lnvoluntarily fascinate the eve. Into q
garden atmosphere Of sunny radiance
and color she has introduced a come)v
figure Of young girl. The ensemble
IS altogether charming. On the other
hand, "Nude With Shawl" by Georce
Bellows, is a blunt conception which
knows only the saving grace of good
drawing. w. Elmer Schofield has 81
very effective work in "The Frozen