New-York tribune. [volume], November 28, 1915, Page 3, Image 19

About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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The Art of Childe Hassam
Studied at Full Length
His Fmotion.il Traits and His Technical Method Illustrated
in Oils. Water Colors, Pastels and Etchings?
The Strange Case of Stephen Haweis.
By ROYAL CORTISSOZ.
In bequeathing his art collection to his son, the late Mr.
Widener :?' t to the public what can only be described a*?
another I??vrr "'* mystery around an old problem. There is noth?
ing i? the u'''' to indicate *'1c ultimate disposition O? the master
It <? brought together. They may be sold. They may
,c preserved indefinitely in their present home. They may be
?ver? ? te'elphia or to New York. For years it has been as
aumed that Philadelphia would receive the boon, hut the assump?
tion hast"-"-'" absolutely gratuitous. I he "-ame thing has been said
j \|r i G. Johnson's extraordin?r) collection, but the fate of thai
c prophecy of any man save the owner, and
?i counsel. Meanwhile an interesting question ii
Nat in illy we would rejoice if the W idener and Johnson trcas
. rC. ,. he Metropolitan Museum but ia it best for the
cotjntr ?' that they should do so? Imagination rests de
lightfully (i|i the idea of our institution as a kind of National Gal
vre, but in view of all the conditions here, especially
raphical nature, is it likely that New York can ever
...fan to the ? 'nited States what London means to Great Britain or
Paris to France? Lei it not be forgotten, either, that in those
HUCh smaller countries the imp?rtame ol the provincial museum
i? held ?n peculiar appreciation. With us it ought to be. if any
thing, more solicitously regarded. In short, the strengthening of
of New York is intensely to be desired. If in
o run these two famous Philadelphian collections arc estab
li?hed : ' the city where they have been formed, the New
Yorker who has any breadth of vision will he the first to rejoice.
m require any bolstering, he has but to reflect
that the Metropolitan is already portentously rich in precious
? and grows richer in them every year.
An Artist in Love with His Art.
The word "temperament" long ?go fell
into disrepute amongst acrious artists.
Thiy ?aw bnw ?t hnd come to be us?d as
i cloak for all manner of weaknesses and
Wp bavr? spoken of the represen
, tative character of this exhibition.
Nominally, perhaps, the r?-Tnark should
receive some qualification. There
?'..uralvptus Trees?Spring, California."
From the painting by Childe Hassam.
--.. The strutting young dabster
who has "never got back from Tari?"
is chock full of temperament. Exit,
the hateful word. But tempera?
ment, of coune, remain?, and there are
times when it affirms itself in such wise
that it seems the most golden thing in
the world. It i? never more engaging
than when it signifies a certain ardor,
i certa .tely enthusiastic ap?
proach. When Hokusai was in his Bev?
or thereabouts he signed him
*lf "The old man with a mania for
kindling traits the
phrue inggeats! Every artist is com
.'o-ttbly assumed to be in a pi
?f cV r his work, but
?*ly on rare oecaaioai does the artist
make yoj fi 11 It The world is crowd? d
?:th ; ? may have been paint
y, but that seem the prod
blooded routine. The real
thing, i IB, la unmistaka?
ble. ; anably connote
rrtat art? N'ot by any means. The
-rament has his good hours
and his bad one?. He doe? not always
it at his worst he in
'?reits ;.'. . And at his beBt he gives
yon one af 'he purest, most exhilarat
** ??? be had in the ?phere
?I artist..- emotion. In illustration we
?ouid c.-o atr ' ride Hansam, who is
*aax;ri; just now, one of
?"???nit-.?'? a*, the MoBtroaa gallery, and,
?t the Ka-p;- gallery, one of etchings.
*'?? i at the painting?
t-*4?u?' . r a wide range, ex
I the artist'? character at full
re are more than
? red of them, oils, water oolora
?r.d j.? ? and fignri
jn-u, eeaat ketehee.
rhe-e are of all dat?e in a period of
??re thaa in. They stand
too. The little
a careful study
rarrie? the rec
fairl** ob
'a later work. He
??? ah -.1. Aad I
?t*?d. ?
a*eeeii
'?r aaewledge, .. ? ner aenae of things,
??' tf. that
i?*li'.;. . have referred
****** eraaaeat, his in
hat a mania he
? d en
,rn -?? : ?a work! That
. xhibi
?
ir, hil
**?*?? ' Form, wo i
*? doubt, haa it
?ib? nude?
- and last,
*"?- ?'?r'
'i,rm,
!
? -. . bat
leas live
kV'' '" ' '
"? ??-?/?*.. i -rath ?
**T *'
'* ?
? ? ... o? ""
? ia is b?t ?
^****1 ?aiprcaiion of m di?tinctly ca?u?l
Wee
Hut the picture m boaStlfal
TP*** 'he artist in hia inten??-, aeat
??y aul ?.* be
Of BOft
?1 hie at an
"?wly ??re
?_?'"^ hepoy B?e, en eat The room i?
**'iBn
? mr. It.? da-heat?
'*' " ' by magi*
?** tarnt a,-. _r?.i?t ha? pa??*"l that
"J. an an it with a glad ??nse of
Is a certain "effect" which we have
associated with Mr. Hassam's art, an
effect of nude fifrures set against
01 of trees, which ?b in this in?
stance absent. It has proved, more
than once, a very beguiling effect.
Ye' we are o.uite reconciled to its
omission, for as we look back at it
It seems a trifle forced, a trifle ar?
tificial, and in the true stuff of his
art Mr. Hassan, has no need of fac
expedienta. There it is enough
f..r him to take nature as he i.i.ii
her, to set down her moods in the
truthfulest and, it may be added,
the simplest terms. It is inspiriting
to how, us with every genuine
simplicity has more and more
appealed to him, how his method has
broadened. One of the finest groups
of pictures here is the one dedicated
t?i r'irk- nnd water the latter of the
??????pest, richest blue. Sargent has
wonders with kindresl themes.
But nore satisfying thai, even his
dazzling virtuosity is the sincere sim?
plicity with which Mr. Hassam paints
"Janet."
Krom the painting by t'hilde Hassam.
powerful water colors. He is not
?UCh a portentous technician. But
riger Bnd. into the
?he more sensitive inter
?>f nature. His sensitiveness
:s a matter especially to be observed.
-if which we make so much
good deal of ?beer force
he know? how to ad
Bty if not poetir key.
Witnei < i he subtle tints of rose in the
leoUO ?f l*''1-1. where a little
. i,' .iin!y thai, 'hrusts itself
Witness, too. the
..f bis landscapes in
pastel, particularly the one of a
winding through flat
a 'limp of mapl?'S. There
are picture* in the show which Mom
-.. t - < ?i ?painted by main
?h, notably the larger <"ah
'. ests. of riTctit date. They
ineiits. ??so, thOQgh they
ar?- r,';t amongst the artiat'l sue
Bal ?????? ' : i lubtllisod, ?s
Itantly is, his touch is almost
Infallible.
The Otehiagl at the K?'ppel gallery
?-i the impression left by the
painting! nnd extend it n an un
OOmmoaly interoatlng manner. There
are ?'im?, forty or fifty-odd plates,
nearly all done within the last year
',r ?wo. The ligure appears in some
s.f then, but comparatively seldom tor
? f m ?iwn sake and then to no very
impressive purpose. In etching as In
painting Mr Hassam Is concerned with
light Sad ?ir and color In this form
of art as in ?he other he is. too, un
?ven, prodsjrif.g pirres that are worth
while a/.d aorne that are negligible.
Those that are good are so good
to be positively exciting. In f
no etcher ha? appeared in rec
years with so fresh a quality, with
original a style. It is not a lin
.style in the Whistlerian sense. 1
do not savor Mr. Hassam's line a
thing beautiful in itself. Rut you I
it for its adequacy in the express
of what he ha? to convey. With f
medium as with pigment he will dot
less simplify as ne goes on and lea
to dispense with the cross-hatching
which he is at proMBl proti" to
dulge. Meanwhile his instinctive fi
ing for the genius of the art is no
ing less than astonishing. He pri
his plates himself and prints th
perfectly, getting cool greys and pi
deep blacks that seem in the v
spirit of his themes and to expr
the most intimate nuance of bis sper
taste. That one of his New Eagll
scenes which we reproduce I.? ap
entitled "Old l.ace." It is a w<
derfully i-licate fabric of line a
light and shade. This plate is ch
actenstic also of the wholeso
point of view, the sound subordii
tion of technique rs a mean? to an ei
which we have noted amongst t
water colors. The subject more, th
gets its chance. There is no trni
mogrification of the scene into a d'
orative pattern, there is no smart (
ploitation of white paper, after t
lashion of so many latter day etche
The sentiment of place is given
full value. Again it is of Mr. Hi
sam's sincerity and his gusto that '
think. Reflecting on these two ?
hibitions, so rich in truth and beau
in power and in personality, we e
as we began, giving thanks for t
artist who has a mania for maki
pictures.
A Triumph of Talent and Ta?
Over Fantasticality.
There is something that excite? di
trust about the artist who cannot ma'
an exhibition without writing a pre
ace for the catalogue. You at on
suspect that there are things in h
work which require to be explaini
away. In this matter we are not alt
gether disappointed by Mr. Sti pin
Tlaweis, who pre?ixes a very ingetnoi
little essay to the list of his South Si
Bad Caribbean pictures at the guile
of the Rerun Photographic Compan
He has been attracted by some of tl
BO called "new" ideas and according
ne has the usual disparaging commen
to make on the old ones. "I have la
on the deck of a tiny sailboat fifty mili
from anywhere while the moon leap?
up and down till it seemed like a B?J
SBg stripe across the purple ?ky. Sha
une not try to record, however fei-bl
the joy of such moments beneath tr
canopy of those incredible nights ? I h
solitary blot of silver permitted by th
?catlemician is the last thing wit
which to do so." We love that naiv
little slap at the poor academician,
is consummately in the manner of a
the self-elected revolutionaries" of ou
time. If you can't play the game ai
cording to Hoyle, or, so playing i
can't accomplish anything, follow you
own sweet will and patronize or abus
Hoyle. Mr. Haweis, who has receive
the conventional training and ha
painted as a disciple of Whistler, Con
der and others, now wants to paint i
a fantastic way of his own. To jus
tify himself he must drag in the acad
emician and prate about the latter'
"solitary blot of silver." It doesn'
really follow that the academiciai
would use such a blot in the depictioi
o! a zigzagging moon, but we must taki
it for granted that he would do jus
:hat thing. He must be wrong. How
otherwise, are we to prove that Mr
ilaweis is right?
Well, as it seems to us, Mr. Haweii
is wrong. The notions he gets forth ir
ins preface fail to convince us wher
we look them up in his painting? nni
"aater colors. The latter do not in thi
' least Impress u?, as pictures. Rut ther
we are confronted by one of the oddesi
phenomena we have encountered in i
iong time. Mr. Haweis does in anothei
way impress u? a good deal, he gives u?
almost unalloyed pleasure. lie ha?
taste. He has talent. With these-gift
he pretty nearly smother? hi? own ab?
surd fantasticality. "I received vivid
impression? of color, form, sunlight,
fragrance, joy and tranquillity," be
,.. ?. "Here is my thanksgiving." We
aeeept it la the shape of paintings v nirh.
are BO* painting?, pictures which ire not
pictures, but colored quaintnesses that
ure ineffably amusing. He.watchcs the
-tratige fishes drifting about in what he
aptly calls the sea gardens of the
Bahamas and records his impressions
in curious putterns of line and color.
These patterns make cne think of vari?
ous things of Btaiaod glass windows,
of Japani-se prints, of the lamination?
in BOflaa Mt of agate. They are hope?
lessly arbitrary Ifl arrangement. There
is no' composition la the accepted ?ense
Of the tona. The treatment of form is
natoraliatic enough, but it ha? a cubis
tic accent. It is in a world turned upside
down that the maker of these designs
may be said to dwell. But in some
vague way he exert? a decorative ?pell,
and hi? color now ?parkle? like a jewel
and now glow? softly with the moonlit
mystery of romnnce. At the bottom of
h.s thOOlisiag li*1 'he virtue? of the
artist who can draw, who can realty use
;hi? instruments. It i? a grotoeqael)
?elf-a??ertive kind of art, on the wrong
trafk, subversive of principles that will
i Justify the haple?? aiademioan, with
hi? "solitary blot," long after the pas?
ing charm of the?e kaleido?copie im?
provisation? ha? faded. Hut while the
kaleidoscope is working it undeniably
witcbe? the rye. 1
"Old Lace.
From the etching by f'hilde Hassam.
Random Impressions of Art
in Current Exhibitions
Designs for the Russian Eiallet?Pictures by Mr. H. L
Hildebrandt and Others?The Association of Women
Painters and Sculptors.
I he season o? salea i* well started. At the Anderson Galleries
there begins to morrow afternoon the dispersal of Mr. Robert de
Rustafjaell's Egyptian collection, which is of some artistic interest
and of very high archaeological significance It is rich in small
bronzes, in amulets, vases and utensils Some of the sculptures
and the little Mue Ushabtiu figures in lovely blue will appeal to
the layman, as will the jewelry and beads. Bui the sale is essen
.?ally ?me for the museums and those collectors whose devotion to
the antique embraces things of historical a* well as aesthetic
value. The examples of early Egyptian painting make a notable
group. At thi*- place there may also ?be seen a quantity ?if ancient
glass, Persian pottery, Egyptian necklace*, and other antiquities
belonging to Mr Azeez Khayat, t?? be sold next Friday and Satur?
day afternoons. - >n Friday there will he placed <>n view a collec?
tion of I ?rientalia formed by Mme. Yang-Shi in China, it will be
sold next week.
At the American Art Galleries several collections have just
heen placed on exhibition. < 'ne, left by the late Eugene Kelly and
Thomas H. Kelly, is composed of ancient and ni'.?lern paintings,
drawings, etchings, miniature*, furniture and other objects. There
is also furniture, old and new, from Mother source. The old
weapons, bronzes, miniatures, rugs and other art objects collected
by the late Salvador de Mendonca, once Brazilian Minister at
Washington, are shown, and Mr. Timothy !?'. Crowley's Wedg?
wood and ither wares complete the large and very miscellaneous
array. The first of the different sales occurs ?m Thursday after
noon of this week.
The Salmagundi Club is making an exhibition of paintings
and sculptures by Harry Franklin Wattman and Willard Dryden
Paddock. The Art Alliance gives t?o-moiTow a press view of its
exhibition, at the former Blakeslee gallery, of Art Associated with
the Child A private reception follows on Tuesday, and the next
day there will he the regular public opening.
A ?group of eighl paintings by Van Gogh is the special attrac
tion of the momenl at the Modern gallery. The 1 ?aniel gallery
shows works by William and Margare! Zorach. At the Kraushaar
gallery there is a rece?? portrait of the late Dr. Trudeau, painted
by Augustus Vincenl Tack. At the same place there is also an ex
hibition of etchings by Bauer, Brangwyn and Lumsden.
At Mrs. Harry Payne Whitney's studio, in Wesl Eighth
Street, there is a public exhibition of the paintings, sculptures,
"Morning- Light."
>rom the painting by * hi]de Himim.
Itera and drawings dealing with the immigrant in America
which were lately submitted in a competition on that subject It
will last until December 15.
' 'n January 5 there will open at the Municipal Art Gallerj an
exhibition of postcard designs, submitted in the competition or?
ganized hy til?.- ?\ssociation of Women Painters and Sculptors. All
artista are invited t-> contribute. A prize of $100 i- offered for the
best design? There will he a second prize oi S'rO and three hon ?:'
able mentions \v:!l he awarded. Paintings nnd pi Itcarda of Men
Y<ark will also be shown.
Let us give thanks that our national
temperament is, for the most part, in?
capable of producing such work as that
shown in the drawings made for th?1
art exhibit illustrative of Serge de
I'iaghlieff's Hallet Russe, by Mr M. van
Saanen Algi, Mr. Robert Montenegro,
Mr. George Barbier, and Mr. Ludwig
Kainer, now at Charles Scribner's Sons
Nevertheless we have a lot to learn
from them. Their work ig ni>urotic,
erotic, abnormal, when viewed in our
sunlight. Rut. in spite of this, they
"make good'* to a compelling extent and
their force is a lesson to our
footed, puritanical, prtttjr-girl r> ; .? ,,?'
art. About as much influence as they
will exert, absorbed into our pink
??heeked. innocuous, m.i.az?.-ls'-rn-sm
health; should bring excellent results.
Needless to ?ay all these men pos?
sess an unusual knack of exp-.
motion, an especially vital quality here;
*in?*e. in dancing, obviously what wi>
see is action, is the movement from
one poso to another. In this respect
Mr. Algi leads. Never are his sketche*.
frozen into strange attitudes. The
swiftness and lack of detail of his p.n
Tstches and tT.pr.-__l nervous en?
ergy with a minimum of ecceno
?tivs> when inherent in his subject. Mr.
Montenegro's method of work, in his
*,ks.*s*hes of N'.jiiisky, is quite the op?
posite. In some instances he does deal
with motion, as in "IVtrouchka." a
strangely interesting, disagreeable,
black and white figure sharply defined
agsinst a painful and realistically out?
lined gold silhouette of a human heart,
that you f,>oi he studied in the disMCt
log room of a meslicai school. But here
it i| formal motion rather than com?
pel.ing speed. For the most part his
subjects are fixed ami sot forth in curi?
ous exaggeration by the use of slender
line on white surfaces, contrasted with
hea\y masses of black. It is the Aubrey
B-ard-ltjr story over again.
Mr. Kainer alone gives us the lighter
Fule of life in his colored nket?*hes,
Bl_t_ with pastel-like blues and pinns
Al???, he too evinces an uncanny sonso
of fleeting action. The picture
ured" beyotul the others is Mr. Bar
bior's "StsIsmis-." another ('?pure a little
In tho B..,.r.l*>y ?.?*!** nin-tly in black
and white, ltli.Y.d by spsits of rod and
yellow and streaks of gray, the insist
pretentiously exotic of the lot and yet
the most uninspired.
'?ne of the best proofs that art is not
so much a representation of what a
thing is as of the way it looks to us
"ttf is ?_.- bs-cau-is. art. after
all, is only a product of "us"
ran be obtained by walking
!y through any big museum when
the pictures aro grouped in rooms
accorsling to period. This gallery, and
period, will run exclusively to blue
Miai Susan Richer Kaoa, "The White
Homestead" and "Kd. Young's House."
Somehow the old white New Kngland
boilding, standing among its elm? and
-. ?cSei ry bushes, ex?
presses most forcibly the character of
me corner of our land, and Miss Knox
has said ?o in a fresh, cheerful, remi?
niscent way. Quite another mood
come? r'rntn Mi<s A. H Parker's "Fish?
erman'- Homes" and "Mountain Moon?
light." They bring you that sort of
romantic pathos you indulge in when
you enjoy feeling son y for yourself.
way and Sixty-frst Streo'," "Korty
second Street and Broadway." ' Noc
turn. Rio de Janeiro." flash their dis
Bordaat lighta at you. Theo with hie
"Autumn Evening" you thank goodnesa
he has left the vicinity of electric signa
and cosmetic sunsets. Finally in
a "Sleeping Valley" you realne that, in
hi? own bailiwick, Mr. Helsby might be
a likable chap.
It i? rare to find an exhibition of
glass or pottery which keeps consistent?
ly to the delicate and the choice. This,
however, proves to be the case in the
Koaehakji Prerea collection of ancient
gla?s, at their galleries, (?lass from
the old Egyptian dynasties to Arabic
erork of the thirteenth century they
have chosen and sh?wn with dscrimina
tion. The early Egyptian har.d moulded
forms and those of the Alexandrian
period have relat relj little interest,
aside from an historical one, as their re?
sults to-day appear more as mildly suc?
cessful pottery glase than anything
else. Rut with loch blown glas? as
that of a I- ? ittle of the first
century. t>r ? p. rfunie sprinkler of the
same period, time has wrought on dell
"In the Sea liardens of Nassau."
From the painting by Stephen Hawaii
Again, Miss Laura W. Luce, in the
"Road to the Lake," presents you with
the so't autumn haze so suggestive of
a ?-hud's wonderland. Aa for Miaa Mini?
Ponda Ochtman's "Indian Summer,"
though the date of tint season ?s H
trifle vague, the little painting tells
vou it i? tune t" go partridge hunting
beyond those brown fields and elms.
Aside from the landscapes, Miss
Helen M. Turner has a red faced,
bright eyed, inappy little portrait of
an old iMB. Miai Grace 11. Murray in
un BBiaaiBg minia
tur.- of /i baby painted with freahneaa
and breadth, not tOBSOd to death with
the poitir of a pen. lire. H. I'. Whit
BOS lea.is in th?? ?cuipturiM with a
"?lead of a Spanish Peaaant,** ilni
"Spearing Fish?Fiji Islanders."
From tho painting by Stephen Haw.t.,
greens, that to light browns with no
contracts, another to dark browns with
sharp contrasts with white. On vialt
ii'.g th<- exhibition of the Association
o- W,unen Paint?l_ an?l Sculptors, now
bting held at the Arlington gi
where there are about four hundo- !
canvasses, none of them ove:- a foot
across, it is borne in upon you that
? bal we _f to-da . ilight and
that is about the most bleeaed thing
on earth. We may be crude,
in taste and the -pir11 of discipline.
But as long as m bava t..,. r.calth to
enjoy the sun we ar.. beaded in the
right direction. Also, we gravitate
nrs, for !and-.i-api'- Men the most
obvious material for untrained expres?
sion*; and tins exhibition is an ex
? example of that. Among ths
first of thest' landscapes are two by
executed, filled with a very real char
..ii.l clean cut in profile.
A great boon to humanity will he
i red by the cnt ?e a ho disi
the anti-new-art serum, or specific, or
whatever the doctor? call it. with
which to inoculate hitherto healthy
? i, or then i . ? ly the ore
liminarv symptoms of diaeai One
of th?- latter Mr, H. L. Hildebrandt,
wh"-" exhibi?
tion in the City <lub of New York.
The risitoi
in the air when he first sees Mr.
'!:..i'l.!".'.it's ???., portraits. The one
?rae and unde?
fined in handling, while a noble gen
tleneea, latent m the old "S(|inre,"
?comes to the observer rather through,
than bv means of the arSJBt'a me?
dium. Th?- same BtatC of affairs ob?
tains with the other work; a sort of
house-blind green, which begins to
make itself felt in "The Picnic" and
"Arranging Flowers" and reaches its
culmination in "In th'? Woods." Rut
the worst ?ymptoms break out in his
"Autumn Lat.d-.-ape," where a scene
that should be full of snap and vitality
looks as though it had BOOS made of
colored putty.
otherwise, Mr, Hildebraadt's r*
show workman-like drawing and ?..-??
in composition. F.vci the ??reeii be?
comes pleaaiaa when toaod fcwa to
the restrictions nlaced upon it, as in
hia "Laurel," or his nude of a girl
entering a pool, or when reduced to a
(?ingle spot of color as in "The Sewing
I'?.- " I:..- last named pictures un?
doubtedly show Mr. lliid.brandt at
hi? best. There is a freshaose and a
delicacy of thought about this bathint?
girl that t- -fonder how the
? artist could ever have dreamed of,
his "Autumn." His puttitied splotches
give place to dry contrasting colors,
which vibrate aa the light of such a
place would do. In "The Sewing Ree."
too. his breadth of texture is well
within the limitation? of comprehen?
sible v.-mbols. Moreover, with ?'? ??','
of heaviness that is refreshing, the
picture had a Terborch-like atmosphere
of home tranquillity. It is strange to
fe??l this note of affectionate care
thrruifh Mr. Hildebrandt'.? rapid-fire
method of work. Yet the note is there
and well worth nursing.
It is strange how. with but
warning, a rather unsympathetic art it
may expand into a work of plea
giving imagination when the subject
?uits him. Mr. Edgar L. Pattisoti.
is exhibiting his etchings in the
Schwartz gallery, la a case in -joint.
After seeing hi? "Toon Tower. i'hri-t
Church," and others like it you feel a
?? ---i !r..--s about ;..- ?.'...[?,%.. Then
"Th.- Edge of the Boa" or hi? "Land
scare" appear?, and 'our impr.-s' ions '
of his matter-of-factness mellow. Ob
rioaaly hia city-cramped imagiu
ha-- begun to spr'-mi t- Briaga. Next.
p??rhap?, you see "La Danseuse," where,
with a Watteau-like subject, he ha?
given more play to charm of composi?
tion. Finally, when in a "Motaiag
Walk" a gentle touch of sub-cons ?-ous
humor lightens hi? fancy, you begin to
feel an affection for what a moment be?
fore had been sober indifference to ?
ter. -our a day draftsman.
The same thir-* is true of the paint?
ing? hf Mr. Alfred Bobby, now on ex?
hibition at the Strauss gallery. The
?;r?t impression is that hi? fondues?
for Turner rise? infinitely beyond h:
power to follow that master. "Broad
cate forms the most delightful patine
of opalescent greens an?! blurs. In
i ?special there il a tiny Roma?*, urn, ex
plained is* B ?redding gift, evidently
blown into a ?nssiil.i, with tlie ligure of
a ara?an on one lids ami a man on th?
other? time*ineruated, bul brilliant as
an abalono ihell, By far the most in
tereobing p .????' of the exhibit, boa
. is an Arabic eaanelled boater of the
twelfth eentory. Its iis-h, Issw keyed
colsirs, meiiow r?i|s and bluss* ami
whits's, an,) it< eharningly irregular
i ??lona s.f ? ? , r [ptioni an?l
three fanciful animals, s-a!!eil Sphax,
give it a warmth and rich presence
????ti to be net,
A year or two ago the Arts and
("rafts iiisiveiiiont Ulsan? novelty at the
. .-.. Since then
its workers have Is.ami.I that th.. pub.
lie la not ts> be handled by mam
strength, but graceful!] lured So it
is with the two exhibitions at the Lit?
tls> nailery, the tro? s,? band wrought
jewelry by Margins'! k.igors, .Is.sephine
llartwoll Shaw ansl others, the MCOnd
..I' ByrdclitTe Pottery by Edith I'siiman,
F.. R. Hardeaberf ansl Mabel Davieoa.
Both exhibition! furnish a real pleasure
in their genuine ionic of restraint.
Mrs. Shaw's Jewelry especially shows
in the working of cold and silwr
and t gold silver alloy. Moreover, her
?tonet are truly excellent and not the
flat excuses so ?.*'*?? n provided; witness
hor silver brooch of white topeaos ansl
yellow tapphlrea ?n<i her little i.?<>??<? is
Of noonatonee. Miss RsigiT.'s enamel
and gold work ainl tombination of
silver ami t'ipar, has a slight art nou?
veau suggeotlon, nut aeareely enough
to count.
The Byrdcliffe Pottery is done in
Woodstock, Vow York, by three women
who make their own forms nnd their
Own glasea anil to a large extent furn?
ish their own clay. If is successful,
simple and tasteful in form and color.
Columbine and Pierrot would re?
markably enjoy this reflection of the
eheerfal ealor-patterna on the rov?
er* of sv:r - .i?-ie*y-fa*hion magazi.ies
now in the exhibition of cushions by
Mr. P. ?T. Prank!, at ifi Fifth Avenue.
"Art is art, no matter what its me?
dium," suggests Mr. Frankl in his
rot:?-. "The author observed
?.?.?th Intereet that th" public craved
?u*hions with individuality. So these
1 v began to ac?ji.
personality.
?aality :? what it is. from the
fin! moment the visitor's oyos moot tho
cheerful round-splotched colors of th??
salesroom. Bolster cushions, ngar
shapod cushions for smokers, bon-bon
boa *hiiped cushions for chocolate
cream young ladies, triangular cushions
for the erotchety, tur-trimmed, muff
shaped ruahiona that rs-mms) th?
I of a walk up Fifth Avenue,
cushions for un?l?rgraduates,
floor cushions for gout or when the
"Fijian < hief."
From the drawing by Stephen Haweis.
chairs give out, silk cushions, appliqu?
cushions, and all with the fanciful
vivacity of up-to-date modern youth?
ful cushions are there, (inly one type
of eeahion is m-.ssrig, and Mr. Frank'
is working overtime on that in his
cushion laboratory it 11 the kind of
CUahion 1 man will leave in the back
of his chair.
ART HRIKFS.
'ting collection of paint*
colon ami pastels by
C'hilde Hassam will be placed on pub?
lic view this morninij in the Montro??
(.alienes, *>M Fifth Avenue. The ex
hibition will eont.nui- un*l December
11.
The cop.ct-.on of Egyptian ?rt ob?
jects form?-.) by Robert de Rustafjsell
?Bey, P. P.. (, s., which is now on ex?
hibition at the Anderson (?allerlei, is
t<> be dispersed on the afternoons and
evening, of Monday, Tuesday and
Wednesday, November _. and 30 and
Deeenbar 1.
MONTROSS GALLERY
I'xliiliition of Pictures hy
CHILDE HASSAM
i util Drornilxr llih.
SSO Fifth At?., abo?? 4Stb St.
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