exhibitions at new york galleries

Exhibitions at New York GalleriesAuthor(s): Henry McBrideSource: Fine Arts Journal, Vol. 36, No. 4 (Apr., 1918), pp. 48-56, 58-60Published by:Stable URL: http://www.jstor.org/stable/25587548 .

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DOG PORTRAITS -Exhibition at John Levy Galleries, New York By Percival Rosseau



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Exhibitions At New York Galleries By HENRY McBRIDE

W ITHIN a day or two after writing my letter of last month, the Na

tional Academy of Design flung

open the doors upon its Spring Exhibition. To write of it now that three weeks have

elapsed sllnce my study of the pictures, is

difficult, for there was no dominating work in the collection, of 'the sort that would

make an unforgettable impression upon those who take art seriously. There-were

a number of creditable performances (one of them, you will be pleased to know, by

a Chicagoan, Mr. Walter Ufer, who gained

the Thomas B. Clarke prize with his "Go

ing East"), but nothing that could be honi estly ranked with the pictures, say of

Whistler, Homer and Eakins. Artists of that calibre are rare in any epoch, of course; and there is no need to make an undue out cry over their absence from the -present Academy, although there is always -the necessity among those who serve the pub lic to give a hint of the actual relation that exists between the contemporary output and what is undeniably great. Once satis fied that there is no attempt to confuse the public with its standards, then it is quite all right to go ahead and comfort the as



Pla(w lNiftv, I X f-IB17 IOANS AIT AXEWV Y'ORK GALLIERIIES

MAIN T A / Otibituion at rmaislmaar (k licrics. eiv York/ Rzj JOhn1 SlI()(

pil-ailts foI faille inI ally legitimately possi

bc faslhionl. For nowadays it is apparent that oulr

artists nlee co( fo-ting. is no easy mat

ter, for inistalice, to throw olle's whole sotil inlto thie paintinig of a still-life wvhen one's brother or pal or soni is facinig the (laingers of trenichl wvarfare. The Acadlemily showvs the effect of the untiver-sal ahsorption in the wvar to a mai]rke(l egree. It is niot alonie that inieinoriaile wvorks ale lackinig, hut eveni the (utianitit) prodlticedI wvas remarkably be hind that of ordinary tilimes. it has been sai(I that only ninie hutiid(re(d works in all

vere submitted to the jtiri anid that is the nliimber that was rejecte(l last year! The

V\anderbilt (allerv which is the inniier

shrinie of the ACcademy an(l the p)lace where an eflort is miia(le for the best showing, gives ahout the usual effect, but in the less er- roomiis tlhere arce mllany), wNoefuil canvases to (listtlrhb the eve. Pictures, it is e\Ti(lelnt eniouighl, that wouldI never hiave lhadl a clhanlce in previous seasonls, hia(d to be ac

cep)te(l this spring jtlst to fill uip. The principal I)rize of the sprincg is al

ways the Altimiani $i,ooo lan(lscal)e l)rize and this Nwenit to Paul Dougherty for PRot tallack Cove" a miarinie picture. Rea(lers Who are at all conversant with the official exhihitions knowlor already wvhat Mr. Douiglh erty's work is like ancd wvill niot lave to be wvarned against hastily assuIinig that it may be compared to the familouis miiar-inies of



E XHIBI TIONS AT NEW YORK GALLERIES PageFifty-one . .

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charming Reproductions of .. _> ~ - SeventnSeventeenhte Ceturye: F e: V

The House afways has- in;its pos . jz - * session ipany- of thtorigirialsfrom

w ich the i r. Reproductions Iare ,made. Correspondence solicited' regarding .-"decor ating,furnit' ur and woodwork. -'

_This furn'itu 'is madeinour' factoy at. Rocieite4' New

- * .A avAn R*p.oCnctlon Cair - ' York, where we also have a Se; ntnh 'Cc n DmIk u? rt

Chair Show-room at 320. ..ood

"The Hayden Company's looms man Street.' 'in Engand.

Winslow Homer. What made Homer's name one to conjure 'with, is not that he was a clever craftsman with parlor tricks for the ladies, but that he had a great soul and faced fearlessly -the most gigantic as pects of nature. He confronted the terri fying battles-of the elements upon the rock bound Maine coast, not as a puny mortal; but with similar courage to that of t-he early Bible heroes or those' of Grecian legend; Mr. .Dougherty on' the 'other hand merely regarded Bottalack Cove as a pretty "bit" and did it with ease and grace. It is one of the best of his recent marines. Mr. Ufer's Indian picture, "Going East;"

is the' springhtliest and cleverest picture of the Academy. It is much above the gen eral run of Indian pictures, of' which'there

are 'always - several in every exhibition;

This artist' has ventured into the Indian

country with a better technique equipment than most of his predecessors have had, and has no trouble with proportions, form' or composition-and indeed is rather free with his brush. 'His mehtal attitude, how ever, is comparable to Mr. Dougherty,s, in that he was more or less of a 'tourist, out to bag the picturesque. In order to bag: this game, 'is a shred of -a suspicion in the;

mind of the spectatbr, that the' artist may have used a camera, in snatching this group of Indians upon 'the march, for there is 'something of -the cliche 'in his present-:

ment of the subject. One must riot be hy percritical on this point, thotigh, in these days; since the younger artists have fed their -eyes since infancy upon photographs, and it is not to be wondered at that their brains have taken> on the camera -habit of Working.



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IMPORTANT works of the 'Old Masters" are to be found

inour galleries at all times. DDuring our forty years' expe- -

rience as private collectors and dealers, our aim has ever been to acquire paintings of Quality. Beautiful portraits, landscapes, genre pictures, as well as deco rative flower panels, etc., and fine "Primitives" are always on

- exhibition. We deal exclusively the "Old Masters." All pa int

ings purchased from us are ex changeable at any time.

Photographs of Paintings in the Gall!rles on Request

AT NEW YORK GALLERIES

None of the other prize-wininers is as

complete technically as either of the two

mentioned. Mr. Hassam's "landIscape" slhows upper Fiftlh Avenue decked witlh

American flags for a patriotic demonstra

tion. It is pretty good all except the

flags, most of which hanig as stiff'y in the

breeze as thouglh they were made of wood.

Outside of the list of prize taking works, the thing I liked best was a portrait by AMr.

Kenyon Cox of his young daughter-in-law. Mrs. Leonard Cox. There are very few clitics in America, I fear, who would dare

con)spicuously to like one of Mr. Cox's

paintings, for to tell the truth he has never been widely accepted as an artist except amllong those who came beneath the sway of his personal influence. For year-s it has been the fashion, wlherever two or three artists comiie together, to chuckle and joke over his insistant contributions to the re curring Academies, and they have been held to be wooden, hard, lifeless, labored, anid witlhout humor. Nevertheless, in spite of the private repudiation, outwardly MXTr. Cox as an artist has had a great sway over American affairs, and no one of the gen eration just past has had greater official influence. This came about because he

wrote well and because he was considered the best teacher of draughtsmanship in

America. As he lacks imagination, poetry, and

humor, and works entirely f rom wlhat might be called an intellectual poiInt of view, it follows that the emotional quality so necessary to keep an artist up to the lboil ing point in expressing his idea, is lacking in Mr. Cox. Working like a hack work

man, he forgets sometimes, what he is working about, and consequently, even the drawing which lhe is supposed to have at his command slips away from him, and he

drops into complete absurdities, includinig even errors in perspective and construction. Possibly owing to suclh a temperament, he is at his best, with a living model in front of him, to more or less h1old himi downl to




business. Certainly, the only works of his

I could take seriously have been portraits.

The present one, is Mr. Cox at his best, for

he completely forgot his pedanticism as an

artist, and gave himself up to honest pride

and pleasure in his daughter-in-law's

wholesome and youthful beauty. It is not

ain important poinlt, but it ought to be

pointed out however that even in this por trait there are slips of drawing, and the

draperies over the arm are quite meaning

less and contain no hint that they cover a

solid and roun(ded forearm. A ,

Visitors to the galleries of Durand-Rluel

during the last half-dozen years have re

marked certain small canvases signied Al

bert Andre' whiclh lhave seemiied to promise

much. They were usually small interior-s

witlh figures, young womeni at their toilette,

at study or at various lhonmely tasks. The

color was always gay anid at the same timie

personal-a touch of MIanet in its pearli

ness, but nothlinig that was distinctly bor rowed from Mianet. The pictures lhad something in them that compelled you to glance at them, anid once seen, they were rememberecl.

Anidre seemed, a few years ago, as likely to be one uponl whom might devolve the

leadership of the present (lay impression ists-but aloing caIme Picasso, Matisse, and

Vani Gogh to distract and turn the attention of all Paris from the tenets of the im)pres sionlistic school, and it straigihtway becamie

apparent, that no new leader for Manet's pupils was required. Whatever else post imlpressionismii miiay have done, it at least

began a new chapter of history and it was

seen that impressionism lhad spent its

course as a movement, just as clearly as

the Barbizon School had ended. So M.

Andre, like a fish who had swamil inlto a

(luiet back-water, kept his character inltact of cotirse, but could not expanid it with the

conlscious atuthority, of one who was breast

ing the rapids of contrary public opinion

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Page Fifty-foitr EXHIBITIOINTS AT NEW YORK GALLERIES

7 !! = W a 1 1 ~r r v ro

K. Wi- >' l -.2L aw--Three West 56th Street NEW YORK CITY

Illustrated catalogue sent on request.

;'I iS X | ~I M P ; rTE R S of SELECTED OLD MASTERS

Jacopo Avanzi Di Verona-14th Century

anld leadling his tribes on to victor)y andc

the opeen sea. As an artist, howvever, Andre (loes not

appear to lack tasks, alnd in the I)resent ex

hibitioni of his work in the Durand-Ruel Galleries, it appears not only that he has

plenty of themes, but that he contrives to

be more than usually French in his attitu(le

towar(ls themii. That is the clhief reason

why the eye, especially the eye that lhas lovecl the real F:ranice, takes pleasure in

them. The wTorld loves the French lbe

cause they are so very humani and hence

understandable. The traveller of taste

used to finid a thousanid and one gratifica

tioIns for the eye in France, and those who

h1adI the luck to penetrate into the home

life of that land, took a pleasure that was

almost pathietic, in all the details of the

daily living. The very shapes of the small

rooms 'had somethlinig in them that seemed to relate them to humanity, and the fire

places, lamps and tables completed the ap peal. Even the portable batlhtubs are niot so objectionable as some stay-at-home Amiiericans might think, and at least they ar-e more painltable tlhan our perfected por celain affairs.

Andr6 recordls these interiors in an in timate way, so that one's heart-strings are

pullecl at. The few lanidscapes also have the quality of being peculiarly French. It should be added in the category of M. An lre's attainments, that he is an excellent

flower painter, one of the best existing in fact. He draws them sympathetically, surely and (lecoratively. His color in them is attractive, but not so scintillanit as the colors of Renoir's flower painitings.

Andre is a friend of the now aged Re



EXHIBITIONS. AT NEW YORK GA4LLERLES Page Fifty-five.

Drawings of National Iimportance must be made upon a paper that will' neither shrink nor discolor writh ac -a paper impervious to repeated handling. And because they possess these and- othr merits

are specified by Gcvernment Departments the world It is made in a greater range. of sizes, surfaces and o ner, and considered by them to be without equal. subs ances than zany other,hand-nade drawing papher. Whatman will brirng out the best features of your work. Ask for "Genuine Whatman- at your dealers.

H. REEVE ANGEL & CO., Inc. 7 to' 11 Spruce Street, NewYork N. N .

noir and has conferred a favor upon the

devout New York lovers of this master, by

ilncluding a few studies of Renoir in his atelier and in his home. He is seen, seated in a wheeled clh-air painting from the

model, talking to a customer, and playinig

backgammon with his wife. Now that Rodin is dead, Renoir is without doubt the most venerated figure in the world of art today, and so these little pictures of hinfi

will command wide interest. All of the affection that the whole world gathered for the famous impressionists is now lav ished upon the chief relic of the days of glory now gone by, and'-added to that, the

young people of the day, have elected to

worship his very latest series of nudes, hail-'

ing them as modern. ' Whether 'these late

productions will hold their own with 'the work of Renoir's prime is a question, but

at least, it serves to make the world unani mous in loving this painter.

* * *

The portraits and still-lifes by Maurice Fromkes, now on exhibition in the Henry Reinhardt Galleries, show that this painiter has advanced since his last exhibition. He applies' the paint to the canvas in' a flat, smooth fashion, probably with a palette knife, so that his pictures have the sufr faces of enamels. He has posed most of his sitters against a black lacquer screen, aihd it is possibly this fondness for orien tal art that has affected his technique. Be that as it may, his color is sparkling and

spring-like; and for that reason especially' appropriate and successful in the portraits of children, some of 'Whom c6me, if' one is to judge by 'the names, frobmi Chicago.

Among those whom Mr. Ftomkes has



Page Fifty-six EXHIBITIONS AT NEW YORK GALLERIES

To Those Who "Can't Afford It"

WA/HEN you hear a man say: "I can't afford to buy Liberty V .Bonds," ask him these questions: "Can you afford to see your country lose this war"

"Can you afford to see hundreds of thousands of the flower of American manhood lose their lives because of lack of equipment and munitions?"

"Can you afford to see your home violated and devastated by the Huns?"

"Can you afford to live under a German governor, appointed by the Kaiser"

"Can you afford to pay oppressive, ruinous taxes as long as you live, to help meet a colossal German indemnity"

You can't afford to buy' Liberty Bonds? YOU CAN'T AFFORD NOT TO!

LIBERTY LOAN COMMITTEE Second Federal Reserve District 120 BROADWAY, NEW YORK

This space contributed by WINSOR & NEWTON, Inc., 31 East 17th St., N. Y.

painted, are "Ann Ware and Margery," and "Shela," loaned by Mrs. Chauncey J. Blair,

Mrs. Laurance -Armour, and "Josephine" loaned by Mrs. Joseph Medill Patterson. William and Margaret Zorach have had

a joint show in the Daniel Gallery, showing undeniably cubistic paintings, and also em broideries and rugs in the same style. The rugs and embroideries were admired by evetybody but not so many championed the paintings. Nevertheless they were in ex cellent color, -and no stranger than many early prints and samplers that people of fashion love to hang up in their homes. Some of Mr. Zorach's pictures were evi dently religious character, if one might judge from the patriarchal heads, that stuck out here and there from behind the disjointed triangles and parallelograms of the compositions. D'iUring the same week of this exhibition, one of the numerous little theatres that are continually spring

ing up in out of the way parts of the town, put on a quite cubistic play by Alf red Kremborg, with settings and costumes by Mr. and Mrs. Zorach. Mr. Zorach also acted in the piece with success-so that it can be seen that it is still possible for an artist to have a good- time, if he only knows how.

* *. *

Another exhibition that had distinct cubistic tendencies occurred in the Bour geois Galleries. The pictures and sculp tures had been carefully chosen from the works of our most advanced young people and were sympathetically hung. The gal leries were as gay as a flower garden in

May, for the "modernists" at least always seem to command good color. What could not fail to be remarked also, was the fact, previously observed in similar exhibi tions in Paris, that these new works of art were distinctly smart. Americans buy



Page Fifty-eight EXHIB IT IONS AT NEW Y ORK GALLERIES

Sale of Works by

Edw~ard J Hosia In Our New Italian Galleries Till May first, 1918

Sale of Works by

A rd Je ansson

May 6th to May 28th Write or Phone for Catalogues

O urber Awrt G a elleries 75 E. Washington Street, Chicago, Illinois TELEPHONE CENTRAL 7848

A ARLINGTON GALLERIES HIGH CLASS MODERN PAINTINGS

Exhibitions by American Artists every fortnight during the Season.

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pictures for all sorts of reasons (the usual

reasoni is that somebody told them to), but not many have grasped as yet the fashioin able possibilities of Cubism, althouigh cer tain up-to-the-miiinute miiagazines, sulch as

Vanity Fair, are working the vein enthu siastically. Among the most successful artists in the Bourgeois exhibitioni were: Mary De Anders, Diederich, Hunt Diede rich, Mr. Walkowitz, Mme. Hermine David, Juliette Roche, Maurice Pender gast, and Gaston Lachaise.

Allen Tucker, who is not quite a modern ist, showed the greatest ratio of improve

mIeIt in the modern art collection at the M/lontross Galleries, his winiter landscape being admirable. John Sloan, the carica turist, exposed his latest pictures recently at the Kraushaar Galleries, with success. As usual with this painter, his style as a painter is at its best in the pictures in which he gives freest rein to his carica



EXHIBITIONS AT NEW YORK GALLERIES PageFifty-ninie

Antique Rugs>

COLLECTORS

and connoisseurs of Antique Oriental. Rugs from all parts of America come to the Nahigian

Store, when in search of the more worthy specimens; and find there their heart's desire.

a A notable collection of a fancier of Antiques, known as such in many European as well as American Art Centers, was secured recently, and is now on special display and sale in our store.

. .

I~~ NaheDk9ZierY 122 South VVabash Avenue Ghicago

turist vent. The present exhibition in the M\'ontross Gallery is of the work of Ran

dall Davey, a pupil of Robert Henri. Like all of Mr. Henri's pupils, Mr. Davey paints

dashingly, and at the expense of his draw

ing. Drawing is often dispensed with by

modern painters who supply some other

quality to fascinate us and distract our at

tention; but in Mr. Davey's case, the style

is built upon a presupposition of drawing, and the eye is always seeing the faults and

demanding their correction. The artist, however, may work his way out of his

morass, and it is to be sincerely hoped he

will soon. His color, at present, is his

main asset.

A fine portrait of Gainsborough, "Col

onel Townshend," has just been purchased

by Mr. Martin V. Kelley, of Toledo, Ohio,

the work being one of several "old mas

ters" acquired from the Ehrich Galleries,

707 Fifth Avenue, New York City. Mr. Kelley, who is well known in the automo bile industry, only recently began forming an art collection.

This picture is the portrait of an unl usually handsome young man, and it is par ticularly striking because of the contrast of the brilliant red coat and white stock witlh the dark background. It comes from a pri vate collection in England, and has the en dorsement of Sir Walter Armstrong, who wrote the authoritative work on Gainsbor ough, and A. H. Buttery, expert of the National Gallery.

* X *

A squad of U. S. soldiers raised April I3 a block and tackle in the rear of the statue

of Frederick the Great, which has long stood in front of the War College at Wash ington, and lifted it from the pedestal. In

November, 1904, President Roosevelt, sur rounded by a distinguished- assemblage



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which included a German general and the

German Ambassadoor, accepted the statue as a gift f r omii Kaiser Wilhelm. T h e Kaiser's emissary said the Kaiser sent the gift, believinig it would remain "as a last ing p 1 e d g e for the continuation of the friendly relations between Germany and

America, for which the foundation was laidl in the days of King Frederick." In dragging Frederick the Great from his ped estal the soldiers acted on orders from the \/Vlar Department. These orders are under stood to lhave been approved by President

Wilson. There is pencling in the Senate the Thomas resolution for the removal of the statue. Among the suggestions made wlas one that the statue be melted into bul lets and fired back at the Germalns.

* X

R LEADERS of the FINE ARTS JOURNAL will be grieved to hear of the death of Charles Louis Borgmeyer whose

devotioni to art a n d artists has afforded them such an intimate acquaintance with the treasures of the Luxembourg Museum and the works of the Master Imnpressionists.

IV/lr. Borgmeyer was, by natuLre, a scholar, a traveler anid a connoisseur. H a v i n g reached the height of a brillianit profes sional career lhe retired to pursue his favor ite (liversionis in Museums and Studios, ac quiring works of art and an understanding of and friendship with artists.

Like the naturally genlerous ancl com

l)anionable man that he was, he did inot for get in the midst of these delights and di versions those other art lovers less favored by fortune who could not indulge personi

ally in this fascinating and uplifting pas time. His collection of photographs and notes

upon his travels awld experiences were care fully preserved with the idea of passing on to others, a little of that aesthetic enjoy

ment he himself lhad found suclh a source of interest and consolation in life.

Presenting the Luxembourg a n d the Master Impressionists to the American pub




lic th1rough the FINE ARTS JOURNAL was a

labor of love scarcely less than were the

experiences wlhich led to their compilation.

To the last he was true to his ideals anid

absorbed in his efforts for the benefit of

the arts and the art lox ers. He diedl in the

midst of his great work upon Frenclh sculp ture, begun some years ago andl interruptec bv illness. It was the intention of the FINE

ARTS JOURNAL to hiave brought out this volume in serial and, later, in book form and MVIr. 'Borgmeyer's loss at this time is, indeed, irreparable.

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