New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-11-21
TIE UNION LEAGUE CLUB EXHIBITION

The picture which holds the "place OF honor a.
the Union League Club exhibition is the Portrait OF
a Man painted by Rembrandt in 1882 and bearing
the earlier form of that masters signature IN
1884 Rembrandt painted two pictures, which fos'
maer regards as probably the portraits OF pf'
TULIP and his wife, and this portrait, While IN 'ne
Collat collection, was described as portrait Oh
Tulip But It Is hard TO Identify ths face Win 'ns'
81 the central figure of "The Anatomy Lesion ana
the Change In the tile of this picture is undoubtedly
basad upon sound reasons This Is portrait OF
man of forty with face comparatively thin, YET
retaining degree of ford color with lips fun anu
red. unconcealed by the thin mustache and Dean'
Tho head is bare, and Rembrandts skill IN teAu"
Is well shown In the rendering Of the halr. ine
eyes are intent, the brow knitted as tho s''e'
were absorbed in thought. Nothing could beuef
illustrate one characteristic of Rembrandt's por
traitre than the difference between the unconscious
self absorption of this sitter and the conscious SCH
assertion so common In portraits by weaker men
The left side of the face IS partly In snsao", -
The painter has seemingly sought to lghoen W -, "a
of color applied with freedom more chsia1 s. :,
his later years The modelling OF the risn, s $50
the face in the high light IS not a. luz mn. ho.a
as in the Van Beresryn Remorshu's' uhors
s set against a comparatively light background, w.
,nav ond male olive tones predominant, ana
,ren detached. although the effect OF S"iosPI
hobind tho figure taking it Throughout" -
obvious here than In some other oNahip"S' =,
bust clad in a plain black coat. seems eon'pAia's
aat hut II should be said THAI tho picture N
in an unsatisfactory light. Ills Is eVIu0n'P
one Of the most finished portraits oil the ""'s'
tboro ar, some touches OF color which seem rV'',
put the modelling OF the brow. the palnuhs '"
oos the rendering of texture and the eehera ~ Wv.
aton show the painter of the figures OF the AnaO..
Tsson y while the revelation Of character sho"'
man who knew how to draw to the suria'' -.
very souls OF those who sat before MN -,
,a,,,,, antedates "The Glider" by eight years "
- arc many traces Of the broader manner ""
was still only developing in 164o Inc paI n
tbo ruff offers an obvious example. fhsi'y a.
he found that analysis of the picture orinss
observer back to the starting point "'o 10 M,
~ a meeting with an actual personality .,s.
,,,,,e Nc in others the master OF a none 80.
cave his sitter Immortality in so far a. ps,,,,
| materials could bestOw tho GIT We .o"s uy,nr
Nr Ellsworth upon this beau'iui eAainp'o "
art. 49,. .ou.e,,on represent
Tho other old masters" OF this coilecuon 80 al
,ho mitch painters OF genre pieces 'ne ,,,.s
| the g. aCots which so grieVouSy .e,,,. ,apL
- .,o r,ocriacent Louis NV. htmDTah"'' -
| N,.oIas Macs mag be studied IN quaint ,rnf
-' ,or,ahIv seated IN the kitchen OF "a "a
soy ,oso family arc stolldy econciHhs ~
-, - ,heir strange guest IL Is p"' a, NJ
go Cor the soft, mellow coiofhs' al" ~" rNcs
"'ctrcss and perfect navete OF eNpre's,O ,srOess
is family group by pIe'sr de- n ,a with wife al
y. rohcs seated at his library table wiz Wiz, court
IN ra - na,ore him. and glimpse of sunni ...ss
daushsr D'i through an open The Ss
yard rs snS~n the younger we'll represent ss s's
hearty anmalism OF the old Dutch s' ,Ss,ousS e
"o'', drank and painted with q thoiVs. snI
nr.nans the Hearing is the most n-,.,,,rss, 50
q smelp the most vigorous, OF these ~ sns,l IN Their
..snrly ugly in their subjects ana 50 sssh. eles
f fs@s n.y. Van ostado Concert q, s ss Oh ot
vre work is an admirable example ., 70 paint
lsnders who painted because tnss arhsble ahis'rs
oa Oft .snoo Of realism ,..s s "a sos'
s sing fortunate in It's ..ll'y to pr''''
Cor the first time to public. ,,. rood. Amateurs
The modern paintings are iew' n SJ' Ausends
s a;s:'s ss, Ss :, ',;" s' d,
arsi.ls DO Ju.t s.s,.,. at ,i ssIs Of ans