The Galleries of the Exposition Part 4

It is not a far cry to Twachtman, who presents a peculiar combination of Whistlerian tonality with the methods of the modern impressionist. His work is relatively high in key, and devoid of any colour resembling black. The covered skies of early morning, before the breaking through of the sun, are his chief motives. Snow plays also an important part in his work, which is most suggestive in the tender beauty of the few values and colours it is composed of. There is absolutely nothing of the sensational about his work. To most people of not sufficient interest on first acquaintance, on better familiarity they yield to the serious student and sympathetic lover of nature unlimited pleasure. His poetry is of the true sort, and in finished work like "October", "View on the Brette", "Bridge in Spring", and "Greenwich Hills", he rises to a very high level.

Manship's small statuettes are very effective features of this gallery.

Their linear decorative architectural quality has put Manship into the front rank of our younger men, and he will have no trouble to maintain his place.

Gallery 89.

Tarbell.

In an adjoining gallery, Edmund Tarbell is much more striking, in a number of canvases containing certain qualities, which easily account for the great popularity he justly enjoys as one of the best of our American painters. To the student of pictures who does not care whether they are well painted or not, they are intensely interesting subjects, reflecting the happy domestic atmosphere of the painter's home, which has furnished him for years inexhaustible material for many delightful interpretations of similar subjects. This ability to produce so many things of equal excellence in a relatively small circle, in one way proves his greatness. In the last a.n.a.lysis, he has practically everything in his work one looks for in a work of art. In addition to having an easily understood idea, his pictures are well composed, without showing the consciousness of it, as does Whistler. Fine in colour and handling, beside the idealization of everything he includes in his work he achieves a certain something which we recognize as style.

He may be a realist in every sense, but he shows how to deal arbitrarily with his figures in such a way as to endow them with admirable distinction, without losing the expression of reality. His recent outdoor work has not the unity of expression of his indoor subjects. It is difficult, and not really necessary, to single out any work in a one-man representation of unusual uniformity of excellence. Every one of his pictures has the earmarks of having been carefully studied.

Bela Pratt's statue of Nathan Hale is much less academic than the other sculptures arranged in this gallery. Compared with the high standard of American small plastic art his works are somewhat dry, though always conscientiously done.

Gallery 88.

Redfield.

As a realistic painter of the outdoors, E. W. Redfield holds an enviable position in the field of American art. He is the painter par excellence, without making any pretension at being anything else. The joy of putting paint on canvas to suggest a relatively small number of things which make up the great outdoor country, like skies, distance, land foregrounds, is his chosen task. He is the most direct painter we have.

With a heavily loaded brush, without any regard for anything but immediate effect, he expresses his landscapes candidly and convincingly.

He is plain-spoken, truthful, free from any trickery - as wholesome as his subjects. His a la prima methods embody, to the professional man, the highest principle of technical perfection, without falling into a certain physical coa.r.s.eness so much in evidence in most of our modern work. His sense of design is keen, without being too apparent, and the impression one gains from his works is that they are honest transcriptions of nature by a strong, virile personality. Winter subjects predominate in his pictures, and he expresses them probably more convincingly than others - though his Autumn is marvelous in its richness of colour, and in the two night effects of New York he shows his acute power of observation in two totally different subjects. His art is altogether most refreshing and free from all artificialities.

Gallery 87.

Duveneck.

Paradoxical as it may seem, Duveneck's art is carried by the same painter-qualities found in Redfield. From his dark colour it is self-evident that he belongs to an older German school - a school which has been superseded in the affection of Americans by French methods. We know relatively little, entirely too little, about the generous methods of the best men of the Munich school, of which Duveneck is so conspicuous a member. His importance in the history of art can hardly be set too high, for the soundness of his methods alone. Only the greatest ever attain the capacity for direct painting which characterizes this astonishing collection of his pictures. Juiciness is the only word which will adequately express the result of his brush. The pictures here are most interesting for the reason that they were all done while he was not yet twenty-five and while he lived in an atmosphere of workers of whom Leibl was probably the most famous. There are few paintings - and then only the greatest - which give one the same satisfaction at a big distance as well as at close range as Duveneck's do. Men of his caliber appear only at great intervals. This Duveneck collection, if brought together permanently, as we are fortunate enough to see it temporarily here in San Francisco, would become the Mecca of all painters who want to refresh their memory as to what const.i.tutes real painting.

Unfortunately these canvases are owned by different people, and to think that they will all have to be scattered again among individual owners is a shocking thought. The uniformity of excellence in the Duveneck room forbids any attempt at picking out individual works; however, Duveneck's equally great accomplishments on another wall, in the field of etching, are apt to be easily overlooked. The sarcophagus of his wife, done by his versatile hand, increases the admiration that we, must hold for this liberal genius. Duveneck's art, no matter how much it is rooted in foreign soil, will forever make its influence felt for the best of American art.

Gallery 79.

Chase.

Balancing Duveneck's gallery on the south, William M. Chase continues the Munich traditions, in the successful treatment of a variety of subjects for which he has always been famous. Closely a.s.sociated with Duveneck, and showing all the rich qualities of the Munich men, Chase's picturesque personality finds a reflection in his subjects, which all seem to have been chosen to give him an opportunity to display a certain bravado of handling which characterizes all of his work. The Chase collection gives a good idea of the career of this most useful of all American painters, who in an astonishingly active life has been teacher, friend, and counsellor to hundreds of the younger people in the field of art. His life has been most useful - always in the interest of the very best, with conspicuous success in aiding the uplift of American art. His still-lifes have for years been famous for their fidelity of interpretation of a variety of contrasting things, like fishes, copper bowls, and onions. No less interesting have been his portraits of the great ma.s.s of people who have sat for him. He has never been afraid of painting anything, and whatever it may be, he has treated it with great breadth, fine pictorial feeling, and charm of colour. His "Woman with the White Shawl" has become a cla.s.sic during his lifetime, and some of his still-lifes are sufficient to serve as a permanent solid foundation for his reputation. Chase's art, while decidedly academic, excels in esprit, in a certain elegant yet energetic expression which after all is nothing but the painter's own personality reflected in his work. The delightful set of small landscapes of Italian and American subjects adds much interest in this collection, which is very well hung against an effective blue background.

Gallery 78.

Ha.s.sam.

Childe Ha.s.sam's art at first is very disconcerting, particularly under a strong midday light. One has at first the feeling that a religious adherence to a certain impressionistic technique is of more importance to him than anything else. Entering his gallery from the Chase collection, one is almost overcome with the contrast of light and dark presented by these two masters. The contrast of the cla.s.sic academic atmosphere of Chase's room shows Ha.s.sam p.r.o.nouncedly as the most radical impressionist we have. His interest is light, and always more light, vibration at any cost; which contrasted with Chase's art, or for that matter anybody's else, Duveneck's, or, for instance, even Whistler's, becomes almost irritating in its lack of simple surfaces. He does not eliminate in the sense of the older men, who care more for a unity of expression than for an approximation to the actual outdoors. There is sunlight in his work, without a doubt, but it is not always spread over agreeable subjects. The wooden quality of his figures and the frugal aspects of his fruit, to us Californians are particularly painful. Of all his oils in this gallery the two on either side of the "Aphrodite"

on the east wall are by far the best. In them he succeeds in carrying his point agreeably and convincingly. They are both lovely in colour, and they give you the feeling of having been well studied. The two groups of watercolours and gouaches on the side walls are, with the exception of a wash blue sea, very discreet in quality of paint and most intimate in feeling, and to my mind do Ha.s.sam more credit than the many other canvases, which seem to be painted for expounding a technical principle rather than to reveal his innermost feelings.

Gallery 77.

Gari Melchers.

Melchers' style is much more sympathetic than Ha.s.sam's without being less personal. Of modern painters I confess to a particularly great fondness for Melchers' art. While standing firmly on cla.s.sic tradition, it is modern in every sense. One can say everything of good and find little fault with any of these most conscientiously painted canvases which make up his contribution to the exhibition. Beginning with his "Fencing Master", one of his older works, he shows in a great number of similar subjects his loyalty to Egmond aan den Hoef, a little Dutch village where he has worked for years. The quality of pattern and colour in his work is very p.r.o.nounced, and this, combined with a fine psychology, makes his work always interesting. He is no radical; the best as he sees it in any school he has made subservient to his purpose without any loss of individuality. His pictures yield much pleasure to public as well as to artist, even in sentimental stories like the "Sailor and His Sweetheart", or the "Skaters". His finest note he strikes undoubtedly in the many sympathetic glorifications of motherhood in his fine modern Madonnas. These works will be the sure foundation of his fame. No matter whether he calls them "Madonna of the Fields", "Maternity", or simply "Mother and Child", he presents this greatest of all subjects as few have ever done. His art is wholesome and sane, but endowed with a subtle quality of insight into his subjects that will always a.s.sure him a very high place in the history of art. For years he has been one of the reliable painters of the world, and to meet with his work at intervals is always a source of great satisfaction.

Gallery 75.

Sargent.

A small adjoining gallery is given entirely over to a few Sargents which are quite sufficient to maintain this great stylist, whom many believe the towering giant of the profession. One thing is evident from this work - that for surety of touch and technical directness he stands practically alone, though he does not possess the deliberate ease in which Duveneck rejoices. Sargent's "John Hay" and "Henry James" are absolutely exhaustive as character studies. His "Nubian Girl", however, is woody, no matter how interesting in posture. In nothing does he disclose his marvelous precision of technique so completely as in some of the outdoor studies, like the "Syrian Goats" and the "Spanish Stable". There is nothing like them in the exhibition anywhere, and these two things alone make up for what is really not a comprehensive display of one of the greatest of modern living painters. However, a man whose standard of excellence is relatively very even does not need a large representation.

Gallery 90.

Keith.

In two other small galleries of similar size three California painters have their inning. While all these are of different caliber, they have something in common which ties them closely together. It seems peculiar that a country famed for its sunshine should produce men like Keith, Mathews,, and McComas, who surely do reflect a rather somber atmosphere, in a type of work which must be called tonal and arbitrary rather than naturalistic.

Keith's collection, with the ma.s.s of modern landscape all around, and even compared with other followers of the Barbizon school, seems somewhat somber, as compared with the vital buoyancy of Redfield and others of Redfield's type. His range of idealistic landscape subjects is intimate, but not characterized by the stirring suggestion of outdoors which Inness, Wyant, and others of his school possess. Keith's marvelous dexterity of brushwork really const.i.tutes his chief claim upon fame, and some of his best things are gems in easy-flowing methods of painting which the best men of the Barbizon school seldom approached. Keith must not be looked upon as a painter of nature nor even an interpreter of nature. He used landscapes simply to express an ever-changing variety of personal emotion. His att.i.tude toward nature in his later work was of the most distant kind, although his early career was that of the most painstaking searcher for physical truthfulness.

Gallery 76.

Mathews and McComas.

Mathews and McComas do not exactly make good company. While closely related in the decorative quality of their work, they are not alike in any other way. Mathews' art is emotional. It tells something beyond mere colour, form, and composition, while McComas' art is mostly technical, in the clever manipulation of a very difficult medium. His sense of construction and feeling for effect is very acute. He is becoming so expert, however, in the handling of watercolour that one sometimes wishes to see a little more of that accidental charm of surface that his older work possesses.

General Collection

Having reached far into the heart of the modern American section by way of the one-man galleries, a chronological pursuit of our study is no more necessary nor possible. Almost all of the pictures in the modern American section have been produced since 1904, the year of the last international exhibition, at St. Louis, and they reflect in a very surprising way the tremendous advancement of native art to a point where comparison with the art of the older nations need not be feared. In all the fields of painting, including all subjects, portraits and figures generally, landscapes, marines, and still-life, we can turn proudly to a great number of painters who interpret candidly and vigorously the world in which we live.

Gallery 71.

The gallery nearest to the one just visited gives a good idea of the mastery of a variety of subjects in the art of painting, and to continue our investigations from this point is just as logical as from any other part of the modern American section. In this gallery, easily located by two large parvenu portraits of dubious merit, are some others which are really vital expressions of modern art. Beginning on wall A, going to the right, Luis Mora's "Fortune Teller" and Meakin's landscapes should be singled out. On the west wall Frederic Clay Bartlett's painting of an interior and Norwood McGilvary's nocturne charm in different ways, while on the adjoining wall Ritschel's marine and Rosen's winter scenes display excellent quality of design, with fine outdoor feeling. Miss Fortune's Mission interior deserves its distinction of having been bought by William M. Chase. Robert Nisbet contributes a rare green tree design, and Hayley Lever's harbor pictures are all performances of superior merit,

Gallery 70.

This gallery is given over entirely to portraits, most of which are so devoid of any real merit that it is relatively very easy to single out the good ones. Flagg's portrait of the sculptor Bartlett, a portrait by Robert David Gauley over the door, the lady with the fur on the second line on wall B, with her neighbor, Lazar Raditz, by himself, are better than the many others, which are all well done but do not interest one enough, for one reason or another. The one picture in this gallery that comes very near being of supreme beauty is the young lady reclining on a chaise lounge, the work of E. K. Wetherill. Very few pictures in this gallery come up to the placid beauty of this distinguished canvas, which is somewhat handicapped in its aesthetic appeal by some unnecessarily tawdry bits of furniture and bric-a-brac used in its make-up.

Gallery 69.

"Phyllis" here represents John W. Alexander, that most capable artist, lost to the world recently at the height of a very useful career. John W. Beatty's and Francis Murphy' landscapes, on either side, are both beautiful, in the Barbizon spirit. Howard Russell Butler's "Spirits of the Twilight" is very luminous, and Lawton Parker's "Paresse" in its sensual note runs "Stella" a close second in a colour scheme and design of such beauty that one cannot help getting a great deal of aesthetic satisfaction from it, aside from its too apparent sensational character.

Gallery 68.

This large central gallery averages unusually high in the large number of excellent things it contains. Four big, well studied marines by William Ritschel make one feel proud of the contribution they make to the field of American marine painting. It is very hard to say which one of our four well-represented marine painters, Carlsen, Waugh, Dougherty, and Ritschel, is most captivating. However, a canvas like Ritschel's "In the Shadow of the Cliffs" will always hold its own among the best.

Ritschel's work is easily recognized by this robust, healthy tone; it reveals sound values and intimate study. One of Johansen's small landscapes, and another one by H. M. Camp, on the second line of this wall, grow in one's estimation on longer acquaintance. They are in fine style and very big for their size, largely by reason of their monumental skies. Howard Cushing's group in the center is full of skillfully presented detail, without losing in breadth in the many different subjects he paints. His portrait of a lady, in the center, is distinguished in every way, not least so in expression.

Johansen's main group of pictures, all on one wall, stand for breadth and intimate study alike. The Venetian square canvas in the middle is one of the jewels of this exhibition. There is no end of distinctive canvases in this gallery, as one must conclude on going over to the two big Daniel Garbers, which are more of the typical American type than his others in the group. The one on the right is a perfect unit of colour, atmosphere, and pattern. In between, Spencer's backyard pictures reveal a sympathetic younger painter who, for reason of his choice of proletarian subjects, does not get the attention he more than deserves.

Most original in technique and charming in tone, they interest wherever one meets them in the exhibition.

On the second line a delightful Speicher landscape should not be overlooked. On wall D an important winter landscape by Schofield reminds one forcibly of the many excellent painters of ice and snow we have in this country. They are really the backbone of our American outdoor artists, and all of them, with the exception of Gardner Symons, can be found in the exhibition. To this group, beside Redfield and Schofield, before mentioned, belong Charles Morris Young, John F. Carlson, Charles Rosen, and others. Leon Kroll's "River Industries" and "Weehawken Terminal," on the second line, are so typically American in subject that they would have been unacceptable to the public here twenty years ago.

Gallery 67.