New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-03-29
Il GREAT EXHIBITION.
THE COLLECTION OF The AMERICAN ART
ASSOCIATION.
(FIRST NOTICE.)


never presented more artistic or more crowded APP
pearance than they do now The association has
reurrected from the depths of storage vaults paintings,
brOnzes and objects of art which furnish forth
mbiuon that is surprising in its magnitude and in it's
high quality The alcove TO the left OF the entrance is
given over TO number Of bronzes by Barge greatest
CT all plastic animalers At of this alcove
the more important Of the two old masters In the col!
lection is encountered, Rcmbrandts IIomme dArmes'
from the eecretan sale. The remaining wall-space in
this first gallery is devoted to modern paintings On
tho next floor three galleries hung with mod
oils. water colors pates and drawings the long
the top floor is filled with Oriental porceains,
and every here and there there are containing
swords. sword guards, snuff boxes, enamels jades.
lacQuers and other curos The place for the next
ten days will remain veritabe museum. That museum
Is indeed which Is not burdened with some um-
ber and this has It's share of objects that could
well be spared. but 1t is comparatively small share.
Especially Is this noticed in the department OF pic
toral art the department to which will. for the
present confine our attention. Here there Is work
that is bad and commonplace, but the majority of the
pictures good. The star" pictures OF the eXhi-
biuon, the large Rousseau and the Rembrandt de-
ecrve the prominence given them, though they need
not be accepted without reservations Both are great
and beautiful works Of art. Both little disap-
pointing In the Of the Rembrandt it is undoubted
that have the hand Of the master in the sodity Of
the figure in the perfection of its detachment from
self. and in the lighting OF the entire canvas. But
either the hand OF the master lost something OF its
cunning or that cunning has been frustrated BY the
cumsiness Of the retOrer in the face and hands where
the purity and richness of Rembrandts disappointing
are superseded by muddy and, in the face at least.
rather nfeless tones. There is passage in the treat
ment of the armor too the painting of the steel where
the light strikes 1t Just below the left hand that Is
thin in quality compared with the painting we expect
in a work assigned, this is, TO the artists later
period. AS regards the Rousseau. huge " Forest IN
winter-sunset,' which was begun. as the catalogue
states. In 1916, and which continued an OBJ
icct of the artists most ailectionate CON
Germ until the day of his death, never
leaving his studio until the subsequent sale OF his
effects took place, it is noble expression Of sympa
thy for a of severe, almost forbddng beauty
work as sensitively true TO nature In one OF her
dreary yet impressive moments as the famous
Hoar Frost' Unlike the "HoNr Frost
however, it is not q finished work. II Rousseau
was averse to parting from It. 1t was very prob
ably because he saw what is certainly obvious enough
now that there are parts in the foreground and parts
elsewhere in which his intention as to either form OF
color is anything but plain. The treatment Is con
fused Though the work, as composition, IN deh
ance Of its size, is perfect unit 1t Is mot syerl
cal from the point Of view of execution. not clear
that Is in every detail. is The absence of clarity
that keeps it, In spite Of its grandeur Of sentiment
ard its freedom OF style, from echpsing Inc niue
.Forest Of Compiegne" upstars. which was IN Tie
probasco collection The latter picture. being per-
vaded by atmosphere as clear rs crystal ho'uS i'
own we'll beside the later work.
The Rousseaus OF which there are two Others OF lar
less consequence, form part Of very extensive Bar
bzon representation. OF ,Diaz there are 1--WE exaui-
ples two Of them, No 1913, "The Faggot "athercr'
and No no. A sunlH Landscape interesting DC
cause they are thoroughly and delgh'fn'y Vp'op'
~ him In n familiar vein and one Of them, No LOO
,fc iuf III
new mood a mood from which his usual 1e"eiy
glitter is banished and the dominant ho'o
4 one of Tenderness There two Corots one NJ
los "A Village IN Normandy which nech hoV oe
taken very seriously. though 1t Is authenuc' ana one
Va 1o3 aParjs Seen from ST. Cloud when Is
charmlngy Characteristic piece. The princip'l lIoS0"'
No. 15l ale Passage du Bac," is very beau,iiu 'n,u
roud give the impression Of standing Tor MS heh.
water mark did not the large Ferry Lower sent oi
the last Union League Club exhibition recur 70 ."'
mind as a vastly finer painting on tue sac Vi Gun"
Two NJ the four pictures by Delacroix, on the ohe'
hand do not suffer from comparison Win an! oi MS
works that have been brought TO America. NJ if''
aTbn To, HINT Is one Of his most mastery s'uoies
n, animal fry rapid and bold in STYLE strong III ooio'
and fun Of passionate energy, and NO a. nv" ~
vr,rnc a Goat" IS equal IN quiet, nervous co"'e',i"
ton II not superior 10 any OF the barge
which hang in the next room. Ihere arc III. -.
IN. latter thirteen v1e studies Of lions ana ueeS'
,.,na~ts md scrpents bulls and bears, done WIN d
49, 90. a,v-ays decately poised brush In eomofe
tnts. , ,.,rr,s nv
Facing these vigorous and dramauc pu ~;
Harye are some OF Mlct's most peaceiui pa''oi" I
"a Milling: No 80, "Garieuse &c Ohe''e'' ~
No. %. ~Tl, Little shepherdcss,' three a'""i"s'
pastel That Milet, too. could choose oiu''i ~
,ect however is shown by No Al hi'lns Va, 'oe
\ ,arnvart scene OF great animation drawn WIN Hu0
force and economy Of line In pastel IHis u'e
ike several others here, was In the barye 1917,
exhibition In 1885, SO was the Dce~S .,.ao
colored landscape No. 145, "Paysagc o|'uN0's'
which is the finest Mlet in the colecuoh' py ,,a1't
EHernitto follower Of Met, there are three or.'iI.'
-, - n.ao ,,,stIc scenes and a fourth sketch IN
an. .suo ,oeAum No. o., "The Communion WIN"
"a an cyouisitcly drawn study OF Host p'',' -,
church INTERIOR Cain does not oruIha''i' 0 =,
COMPARISON with Mlet, but In TINS eAiiouo' W. ,,,,a
a uic,ure by him that suggests at once Wy i'' ~
the yrea, de.d pa,nters masterpiece 1t represents
man and his wife standing in q lonely heio "t es
the husband bearing chiid III us . Ia
q 4, c.ned "IIat dc VOyageurs aVa"'
yut hut II has been dubbed also "Cahin Ts rue. .,
IN recognition OF the hour and inc a."' ,a
sru.s 7, is . nicture OF considerable charih a''u
On It's own merits landscape II ,,sp q
enough In comparison with MlheeS - ,,c,,,ra
Is hardly creditable To Cain. Though A'o' ,,s
w. 49,, .,,. o,,ornroised the enthusiasm iof ils
sreiuous CONTINGENT. has after all Iou"""
fact To see how the subject appears "He" W. ~
by A less gifted mnn look at Gains picture, 81,
tween his pseudo sentiment and MileVS u.oP nssoc
spirituality there Is an iimitabic gun - amos.
alton has not been guided In It's pnfo,NaS nnorcntIy
lions Of spirituality or sentiment but mas o. S,c
,s,.r,. -. ,b nonular demand seemed 70 hus
gest Thus there Is a group Of water coloiS o' .,oo
men like Bastcrt Ncuhuys Mauvc anu i" 49,. and
are landscapes by intense reallstS Ike ~o neto,Ie
ssley military subjects by dc Neuv'io anu o,.son,cr
little cabinet pieces by genre painters iihe sGv Of
Chaplin. Mlchetti. Lowith ana boi'i"' 'aosant sub
ieet ~ pm'a, na Partisan street scene by RahaeI
With all these there are works by cOurbe and pa"
De Sits and zem and by two or three A" Gaorre
artists such as Arthur Parton. +. A. Bhdgmah' ,So
Inness ana George Fuller which go 10 hio' ., The