New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-12-28
RElrBRANDTS THE GILDERn

fortune for u will uprravellod public how an
oil master" WORKED fhe funess Of HI, powers.
thus impart sIenncancso phrase which the inferior
and doubtful examples generally olered have done
much TO dyest OF meaning. We do not forget the Por
trait OF Burg,master 10 the Msrqus"d ccllsstion,
"Rembrandts cook " nor other paintings attrb-
utef 10 Rembrandt but We have hs; nothing OF" The
elders" quality. and dsrd has Sssu much
needed especially OF lsts Yesterdays private view"
at the schaus gallery therefore noteworthy occa
son but there flourish or trumpe's, no appear.
anc- OF eulogistc pamphlets. Mr. schaus allows The
Glider" to speak for itself II Is shown upon esssl
In a comparatively small gallery without precautions
accessories. but tho lighting Is not uifavorabls and
although glass and snsfo TO be regretted tbs
lessons the pIcturs will not be lost exposes the
futility Of comparisons which have been lately msds
and It reminds OR painters that humanity Is well
as technique has place in great art.
It IL the presentation Of character tho subtle pef
trays OF personality, whi,h the highest point reached
I'm this picture Rembrandt painted many mean and
coarse subjects aud he painted them they were re-
deemed only by the glmor Of his art Hero tho frank,
kindly sensitive face of his sitter invites not only
respect but sympathy and liking. Various prints
told that tho facs with It's mnsticae ana cnin
tuft threeqnartsrs front view AMI tnas sne
costume consists OF broad black hat with Signify curv
fng rrp vhc ruff and closely butonsd jacket But the
prints have given aspect OF steranes' TO the
eyes and OF harshn'ss to the face ana the
expression OF character also suffers by tho ao-
stnce OF co,orne Transparency, depth ant texture.
The artists subject IN undistngushrd nan whose
,orrat IL invested with few associations and yes
here Is likeness which deer and is so replete
with human interest that any one would Hily turn
from portraits warriors ands tassmen to
thix Yet Rembrandt made OF hts sitter nothing mora
than he wa, brave hoDDe faithful I'd DIS dutes
honest, kind hearted modest, and withai somewhat
abashed ty his present situation BIT hts expression
IL entirely In the naturasm OF the portrait ;hes
fha Inf IA a
OF much current portrait painting. The artists Keen
perez aud sympthetlc touch have reaninated tpe
sitter IA his individua character. Whsrrvnr there Is
painting OF merely superficial phases, or the painters
materials held to enbody the chief purpose OF bis
art, The Glider" should prove profitable study.
some Of our artists object any implied distinction
between the Of feeling. thought
and character. will fail to acknowledge that IN
this picture haman interest and marvellous technique
fortunately united The brilancy OF tine color
Ing Will rst appeal To the victor who has gathered from
cherries examples among tnat an old master" was
n sombrs being and that Rembrandt and gloom
syuopynous The Glider" might have been painted
stool In The sunshine for sunshine has been I'M
psoued in the picture. The full srons eht upon the
right OF The lisa golden nge, IA nty suggested
again mustache and hair and still more family In the
russell coat The picture radiant with this golden lign
anu IL Is not strange smith has emnhaslzei The
Gnaers uncommon briliancy OF color" On the left
side OF face fascinating play Of light and shade.
the deepe ming beneath the hat on either side,
but always Transparent There Is a gradual Passage
from light shadow harmonious blending OF co"rs and
grataon half tones OF exquisite delicacy THIS Ike
the wonderful depth OF the picture. perfect express
sion OF to the observer by degrees for
after eooring his eve Is arrested 0y the
modelling soliity and the truthful treatment OF the
FLAMES OF tue face compel attention.. for this nr sub
stantal flesh painting mas been the despair OF many
modern artist. like Re orsudrs manage
ment chtaoscuro This is honest, vigorous painting
yet Dwork with all its breadth and strength
shows ighness OF touch which recalls Charles Blancs
words: The touch of the Holland painter MS bHen As
astonishing as Of illustrous venetians
There Is no doubt even that no surpassed them In
decaey aneSse The head is realistic IN that every
part has carefully painted and In its spendidiy
modelled relief There is atmosphere on all sides. 10
would DO possible to walk around" this figure Behind
background the lighting ADD its
follow those OF the bust downward. Tho left hand
relieves little the OF the bust and the elect
or relief is slightly by upon the back
ground behind the left In details like the painting
Of the mustache even the scrutiny of the most ardent
reast dened The Indications of high upon the
face aud OF warmth flesh exaggerated. On
the wLte ruf the paint Is land more heavily than else
where, but the picture, with all IT'S lsrgen1ss OF style
carefully finished. anu the artists dra~ never OF
Acade severity, is heie aDnate', anu ex-
Ir-ssIye NO ono has surpassed Rembrandt In the
expression which Is the soa OF painting, Charles
said. He attsns 1t by his drawing his toach
and his chiuosco, three parts OF art III which he
phases of tecnnc sxceIsDeo 10 this
picture aSS yet artists VINO study may rse~Pe' also
moved; ne eels PROFOUNDLY that which he wishes TO
QUO point which must have impressed every observer
YESTERDAY The Gilters" perfect preservation.
Although 247 years have passed SINCE this picture
paiutsd tue panel remains as sAooh and str.igat as
chosen ty henbi audt in his bouse on tue Arster
dam Braestee painting escaped the
anu reolchsr who have wrought havoc IL many Euro
pean gallery Its freshness Is remarkable It's history
the Hunred Masterpieces need not be repeated here
tut know The Gilder" something must be known OF
RsmSr.nds was tairy.four years old # We accept the
tes geeod and by oar
before Rembrandt palnied rue Anatomy Lesson" and
in Which and in tue syhdics Of the Hall OF
Cloths according TO Blanc he has SAID the last word
painted has been called Rembrandts golden period"
fu that year, l64O. he produced halt dozen COMPOST
and .ndscape One OF the years compositions in
tue aud two or tnree otnsrs are in English coee
TONS IL Of activity of the rapid unfold
ing OF all his powers The riace assigned The Glider
BY vosmaer this development is significant lie ranks
IL marking the elimination or Remhr anuts first period
OF portraiture. The artistic activity OF Rembrandt de-
velops three branches, porrature, li:tle cabinet
pictures with biblical eere subjects and great can
with ugures OF lie SIZE Al the beginning OF his
1884, IN tue simeon and the Anatomy Lesson
These three branches be has developed with power
cepion OF p.ture; his touch becomes tree.
ample, and the sentiment OF the eo!orst rests upon
multiply Themselves. This geneI Al remark winch
lsaves us no exceptions Bot II will not appear less Just
when We observe some results obtained in the three
directions Indicated. Tho inst eliminates in Tue
Glider IN the Woman with Fan, the Sasha OF Ant
werp OF Dresden; tue Ia tile Holy Family;
the third Ia the Night Watch. III the years 1910. Al
traits Tue Glider is one Of those wh.rs the eooiins
mounts already utJ Hll the eciat of scale warm and
golden where the touch less soitenel broades ITSELF
The expression life is also OF inary force.
In general the orras oi this period reveal spirit
nors poetic, Conception moro Rraudi0sc than those Of
the bfst manner, which call pIosac,
historical. Tln question OF mrsns tends 10 become
ma "a Iia.G
To Civ" pl ace To Impression which
According TO soDe purists tue title OF this pieIureis q
misnoner AMI its really 0rtrait OF Que OF Reuv
braDdts riends, but the OF rhe Glider has he
saLction OF I'll. horitics well OF usage
We kno from tue inventory OF Rembrandts effects
hat despite the stor of h,s
he iinpassoned collector OF hca-brac aud All
ftaua niture fpPiu aan.p