New-York tribune., 1883-12-21
Mr.. VANDERBILTS PAINTINGS.
A RECEPTION FOR GENTLEMEN.
MANY NEW WORKS ExHIBITED-cHANGES IN TIE
GALLERY.


the art reception OF years and who have had ohe
opportuntes of visiting the galleries The first gallery
remains much the with the exception OF some
changes in the interior decorations. From ths 'e'o
formerly opened small room with oil paintings hung De-
low and water cOors above narrow gallery luis rum
has disappeared and in It's place we ma sPacio"o
and admirable exhibition hall, OF size perhaps
ouadr1ple that OF the first gallery. Indeed, we fMi
to recall either public private gallery in the CITY Vi
equally stately proportions. And the yanlted rool
with the rich arches OF dark red wood ana the lhNi'n
decoration, accessories which, like the exceent
catalogues probably added materially to the enjoyment
of Mr. vanderbits guests That the host had
certain decided tastes regarding pictures comd
be reasonably inferred from noting the strong
" prominent qualities OF his collection. Ihat
these tastes incline toward figure subjects ana
subjects which, the expression Is, tell Story 10
ward pictures painted In high key and toward exact
technique would to be indicated by the e1
ampes OF Gerome Meissoner Madrazo, Villegas Zama-
cois Escosura Detaie, DeNeuve and artists OF vary
ing degrees OF similarity either in style subject For
example although there is but one DeNeuville, the
famous delincatiOl OF the surrender OF lhe
French forlorn hope at the ch urch in lie Bourget,
the size aud prominence OF the picture, occupy
Ing does the centre OF the north wall in the second
gallery render 1t the keynote of the collection In that
room And somewhat IN the line follows the beau
tfuly painted Christening" by Ylegas, at the end OF
the gallery. Nevertheless, find that Mr. Vanderbilt
has shown catholic spirit In his selections when we
come to seven examples of the "the father OF
landscape painting" Theodore Roaseau, to four
admirable Troyons and manyDupres and 70 his almost
priceless collection OF Met's works There is assem-
bage OF works by English artists WELL who have been
rather elbowed aside in this country by the ang e
thusiasm over French art Faed Nicol and Lnnell are
less familiar to than Turner Mllais, Leighton
and Alma Tadema, but they have all found hosptable
welcome in this collection, much TO advantage OF
he frat In thp
leries perhaps a have lately into Mr. Wander
bilt's possession Mict's "SOwer," Turner's Fountain
Of Incidence" "The Rainbow" by Jules Baeton from
the last Salon, "Playing Chess the Terrace" by
Charles Bargue, "Atrng the Bride" by Jules Lccbre,
these note among the latest additions. Several
other pictures not in the galleries before have
previous the enlargement been hung elsewhere in the
house. At present the OIL paintings. 1G9 In number,
occupy all the wall space in the galleries The collection
colors, numbering about % are hung in the
library and In other Perhaps such general
ment able TO make will show that there
has been attempt at sameness Of tone
in this collection. II differs widely for
xamplc such collection as that at the current
Loan Exhibition in the Academy. But It Il necessary
say that Of the this would large majority of
popular suifragcs.
II to any Of the Melssoniers Gcromes even
TO the Turner that would concede the place in
Mr. Vanderbilts collection. but to Mllicrs "sowcr"
which hangs the door In the second gallery This
painting has been pIced public exhibition here,
but from time 10 time few have enjoyed opportunities of
studying II I'm one Of Mr. Cotter's upper rooris.
Fortunately, the picture has been etched by Matthew
Mari- and lovers OF art VIII sl be- able 20 trace the
subtle genius Of its creator In the etching peasant.
and the OF peasant painting the pastoral life o'
which he formed part, with simple spontaneous love
for humanity and nature. Mlet chose for the subject
Of ihls picture scene which has appealed
to every fine Imagination, whether Of
painter or Of poet orof dyncy inspired wder-the SOW
ing OF the seed The strides along hillside I'm
rhythmic action, casting with yet ges
lures his handfus Of seed upon the dark upurncd oam
In his pose with foC advanced aud hand Ousrctchc we
read all Mlcts wonderful scusitlyencss to natural
action. None OF HIS peasants pose models They
transferred 10 they In actual fc yet trans
figured by his genius. In this figure there Il something
that hints at the pathos and humility Of by
the hopcfulness Of him who good secd-hope OF
haryestand the warmer lights beyond the central figure
may be the artists suggestion Of coming resurrection Of
that which Is buried In the ground The "Angcus" be-
trays something Of the mystic religious element In Mlers
nature and It's not strained Interpretation trace the
spirit here. Yet thls not necessary Pngans we'll
Christians have recognized the mystery Of the scctmc
We be well content TO acknovicdgc
in this picture only living page from the book Of nature
And do this without the consciousness. OF tho
painters art, for Mllcs art lies In It's cOncealpent
The face Of the peasant Is hardly shown indeed what
could add to the pctnrc But every shade OF express
sion Is portrayed in the attitude OF the figure Tho
painting Is in a low key. the cooring soft, har-
nonic;s and subducd. hut the low tones about
the figure are relieved by burst OF light upon the
night We leave this picture with reluctance, for a wor
thcr example Of Millets genius has not believe been
brought the water so far knowledge goes
neither Mr. shaw, OF Boston, any Of our NcwYork
collectors possess Mlct which s the peer Of this II
is Indeed aroya possession, and we can congratulate
,N.It
Millers sower" ana the "Burgomaser" by Rembrandt
have found homes this city is enough render the
present art season memorable and trust that COrots
Orphcus" may also have a permanent abiding place
among
The wel-known Knitting Lesson" with IT'S apprccia
tive rendering of domestic peasant fe and the Shop
herdess" come next among Mllets works Larger than
these his delneaon oflusiy vigorous ouiofdoor life In
the figure Of the peasant wife, broadshoudcrcd, and
ruddy y-iaccd. whose mighty bare yield but little 10
the weight the pals OF water while the same time
the artist recognizes their weight, just as more
marked degree he expresses the effect Of the burden
the familiar Peasants Carrying Calf" The blue skirt
seems only 10 the figure rlnc and the faint
green foliage and duh coping Of the walls arc merely
background TO picture OF rustic health and strength
frank, simple and inspiring within its limitations.
Another OF Mllets domestic scenes, "A won an
her cottage door pouring the contents OF pail into
q brass jar around which stalk hungry ducks and intru
sVc geese Inc ldht u tc ptlnuhg OF TWO hunters
laborousy and cautiously advancing through snowy
forest
IL Is interesting 10 notice the strong individually
which at stamps the admirable example OF Turner
"Thc Castle OF Indoence" as Is work which stands
out from and above its surroundings. The auda |
cous colorng Of the fountain mists IN |
the fun light, the hatmysterous figures like lotus eaters
or dwcers in enchanted castle; the smiling valley and
purple heights Of awful mountains stretching away and
away into the dstancc all these wonder at as II ia
dIeanland, seeing them through atmosphere warm,
soft and llciably subtle. The catalogue tell, Us that
this picture was first exhibited at the Royal Academy
In 1884, and purchased from Messrs. Agucw |
& Sons last year II good fortune |
that enabled Mr. Vanderbilt TO secure 80 worthy an
example Of Turner'S original genius atsc late day with
This uautiug and The Slave Shin both iu l country