New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-03-13
THE WHISTLER EXHIBITIONS.

Tho Whistler exhibition at the wunderiicn Caller,
may be for tho few rather than the many, but the
enthusiasm Of the few is hone the less ardent
and even vociferous. Whistler has had tho faculty
OF gaining for his work the severest censuro and
the most lavish praise, and possibly Is amusing
to the MASTER the other. Nothing would grievs
him Ike Indifference. aud consensus of moderate
approval would be received Like the )" second class
compliment Of the medal voted at Munich. 1t may
be true that the world is less concerned with whistler
than he appears 30 think. or IT may DO true thai
forms Of self-assertion are assumed as parts Of
stock In trade. But, after all neither his Delphe
uttcrances regarding the work Of the master HIS
crusade against Menpcs arc matters Of
vital import TO amateurs the public, and we nesd
concern ourselves only with his work. How admirabis
much Of that work has been In tho past amateurs
and artists need not DO told. We have had his
beautiful portrait of his mother. his White Girla
and many minor works, and private collections H.
lassrate the complete history Of hfs achieve
rents with the needle from the Brittany set etched
thirty years ago onward. Che present exhibition
of sketches In OIL, watereolors and pastel shows
nothing which would DO termed capital work. Tks
familiar titles repeated, and are introduced
to sixty-two @notes,s ~nocturnes' and harmonies'
which the conscientious may endeayor to identity
as scenes at Deppe, TrouvilIe, DOrdrecht, LOches.
Chelsea and in Cornwall
There are many worthy people who always find
this dinacuity In Identification a cause for whole
sale condemnation Of whistlers art They demand
that ell tho facts Of any given scene shah be set
down with exacttude, that all tho outlines shall be
lifted in, the forms fully expressed, the treatment,
In q word, conclusive. To such the Wundetlich
Gallery has nothing Offer. but there plenty Of
Academic painters whose pictures arc finished TO a
finger nall and plenty Of initiative painters whstiers
theory and practice altogether different, and Il
he is to be Judged ut all there must DO some under
standing Of his point Of view
There several pastel studies, Venice done with
vvacous touches Of red and blue upon gray paper In
q manner which recalls American work shown here
last year, and there also various studies Of the
figure, quito meaningless and even taseless In two
Instances, but skotched merely for the sake OF
delicate color scheme. There Is little occasion for
lingering upon these notes Of impressions upon fine
artistic sensbiity, for the story OF the work Is told
when the theory Is explained, and we may content
ourselves with enjoying this little garden Of slight
blossoms, appropriately surrounded without asking
dclepcles and dangers. The exhibition should pro-
vide some enjoyment for all who care for at, but
catholiclty In art seems the rarcss virtue. These
pauant studies arranged In gallery newly furnished
panied by a group Of etchings which summary IL
lustrate tho work Of an efchcr, so malyduai forci
BILE and truthful after his own fashion, of 50
much spirit, wit and felicity Of touch that bis bot
master. Here Is q kitchen interior representing the
Brittany set, followed by The Pool OF London, ana
others representing the Thames set, by the WE'LL
known Soup at Three sous ind the . BID yslen- 3
sThe Storm etched IN 1870, the Venice set dated
$780, and examples Of later echings OF Venice Brus,
sells, Holland Chelsea and various English notes OK
scenes afoat and ashore