New-York tribune., 1890-01-03

wber. the thougnt mas more yigor and precision tan
the hand. Finally, has he or mas nc not ici' @ pvau
tful paintingsi His form, his laDgudee-i nleiI
that exterior envelope, without which works Oh genius
do not livc-has II the qualities necessary 10 es,aO
ih nun @ as & sfea ,sm pi e u Drofo~nd thinker in
comparison with Paul Potter or Cuyp; CHARMING
dreamer when we compare nm !il, Win Sen one
thinks of the rvialities OF seen Ostade or Bralwer
as a he puts them all 10 shame as painter Is
Clearly. Fromentln held that he was not. And yet
some of MS will find the panter-hke quality Oh tne
old Dutch masters in pictures Ike the large sheep
shearingp with its cool refined sympathetic co0ra-
tion its fine rendering Of action o ana sfmospbere
q quality of high distinction. The women Breakihhs TX
Flax sober, low-toned harmony, might almost DC
taken for an example Of old Dutch art and the Cos
The later critics Of Mlet are wen represented py
Charles Blgot, who goes over the iamlar grounu @ VI
when in the ateer Of DearOche and his want OF
plablllty and adaptabllity. At last NJ Higot agrees
some of his qualities appear to me equal to the great
est. He is not an astonishing colorst: his Drusn a,
value Put he realizes harmony. his ,,sfE,e
sees Justly witch hs ,ops,s baS rendered as we'll
the greatest artists is atmosphere the depths Si
plain which merges into the horizon, Of sky where
the eaze penetrates without nnag 49, n Tho nraSa %
tions Of his tones are Just and weobscrved bnt on
the other hand there m Is hrs ps' has as neither H
nor supplencss his painting IS often abored heavy;
as nd it asc built tSs q9 frankly
times brutal and hard 10 Is more Often lndeclslv,y
Its worst and most common fault IL 0i beihs soi1,
thick and cottony" Like others, NJ Bgot pas es from
criticism OF Mlllets paintings TO an unreserved prase
OF his drawings from which no one VINO is fhnnar
with tho best drawings will he likely ~ dissent There
are paintings in this exhibition which show an ao-
sence of texture This we may note IN the garments
Of the peasants Of the Angells," tne Turkey Keeper,
the CRATER in the soil OF the impressive N0ven
there are pictures which seem brutal In ex-
ecuion, like LA Baratense, A. or comparatively
Iabored IL NAV he conceded t--Mjllet's brush
work was neither light fluent. and that his impaso
often seems heavy and Over~orked, but u must De
conceded at the same time thst In his better pictures
he added the correctness of composition and draw
ing the ability 10 express atmosphere, whether IN TIE
Sheepfod by Moonlight or In the glare OF fnll day,
that his col0rng is usually harmonlons ana that MS
better effects could only be attained by the use OF OIL
II could compare the whitney "Sower' which
might he called drawing, with the Nanderbnt
"SOwer,' which Is complete palnnng ana q me
example OF vigorous brushwOrk and well-modlated
color should have an immediate demonstration OF
the weakness of NJ RieOts proposition. Net's
method not attractive one In q sense,
but In the important features Of his better
pictures he has realized the depth and force or the
oil medium and he has therefore, justified It's en-
tects treated with the crayOn and with the brush In
this exhibition But the recent attempt to prove
Met only druehtsman represents not unnatural
reaction against the extravagant cult which has
painters painters like VelaZquez. Rnbens, or REM
brandt IL Is not to this class that Mllet belongs
by virtne Of his paintings. although his command
OF the line alone will bear comparison with the linear
will hold place among the noblest examples Of the
cenfurys art. The theory that Millct no painter
is dsnrOved to the satisfaction of most of by the
examples Of his art In this exhibition.