New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-11-30
SEYMOUR HADEN'S ETCHINGS.

II is the good fortune of our artists and the
artIoyng public that very complete ana representa-
tive collection Of Mr.. Seymour Hadens etehings has
been gathered together and Is now on exhibition AT the
rooms of Frederick Keppe, No % East sixteenthst'
This collection which is arranged in chronological Order
heefnning with the "Amalf" etched in 1898, includes
seventy nine numbers, under each OF when are cas
fed from one 10 different echngs executed gu aJO Ut
The same time or different states OF the same etchngs
There is afforded therefore, an unusually satisfactory
opportunity not only for following the development
and notifications Of Mr. Haden5 methodS,~Dut ior
noting his and selfcrticisns they
are made manifest in the changes Of the different states
His range OF subjects Is vide one smOOth rivers
foliage river banks aud stretches OF low lying country
are the phases OF nature which most attract him. while
be also displays a parIahty for buildings Of pictur
esque outline for fishing boats and occasional tanses
of oass and rigging yet stunning the angry moods OF
Father Ocean save In instances and for studies OF
the human form Keeping the chronological order OF
tho etchings, Mr.. Haden's general growth mas been
steady yet perhaps natural progress from elaboration
and exactness details Dreadness and freedom In
examples his earlier work like "Kensington Gardens
ana Mytton Hail." this painful working out of every
ine and the literal tendency to leave nothing TO the I'M
agnaon manifest In contrast 10 the wider scope ana
more assured touch of A Lancashire Meadow and the
famous "Agsmemnon." In the rendering OF foliage
air Haden has eesainly produced remarkable effects
The chief beauty OF the wellknown etching shere Mill
Ponds extrayaganty praised by Hamerton. seems to
us 10 be the right 1t is not fiat de
nneaton that we see-t is the rounded solid yet culver
inr and airy mass OF foliage itself In strong
of light and shade as in Sunset the Thames" Mr..
Haleu appears often successful than in such
OF the line as etchers turn to the suggestion Of the
more delicate blendng of tones The accurate anat0m-
zeal knowledge gained as a surgeon has stood Mr. Haden
IN good stead in his studies the human form, notably
in two etchngs OF hands, one of which-No. 45-done
In dry paint Conveys vivid sense o. life and muscular
power Taking the collection whole and IL Is I'M
Possible this space treat it otherwise than gener
ally the distinguishing features are the simplicity, the
direc,nessof attaek-to borrow a musical phrase-the
and the mastery materials Few etchers, 1t
is to be feared would work long and pa
tieDtly over their plates, producing halta-dozen
different states only slightly different save to
the jealous eye OF the artist, would destroy plates
and proofs which the artist alone considered unworthy
to 40 fortb Pretentousness and the attempt at orgi
nahty vaguely dubbed impressonism, are foreign TO
Mr. Hadeas work. although he has himself told us
enough OF his views art TO show that he seorns
literal rendering and recognizes the functions OF
Imagination aud suggestyeness His simplicity and
Conscientious workmanship might be initiated with adj
vantage by soioe younger etcheTs, and all should
embrace the opportunity TO familiarze themselves with
the strong Intelligent methods OF master In the art
master assuredly, yet one who speaks
often in prose rather than in verse, for, with
ali that has been said. 1t should be added that Mr.
Hadsn, In such gentle gersaes az No H. appeals
rather the intellect than the emooDs 10 the head
FATHER than to the heart But every one Interested In
an o. srtsta shenlf visit MI. Ksppels andjudg ths