New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1892-03-13
THE CUTTING COLLECTION.
SOME wEM.CHOsEY WORKS OF ART

SOME WE'LL CHOSEN WORKS OF ART.
II &c only At long intervals that good n collection
Of foreign pictures Is brought to the hammer III new
York a, that formed by the late Robert j.. cutting
and now being exhibited Mt the Fifth Avenne Art
Galleries where Il will remain until the evening OF
March o. when II Is to be- sold. Most OF the paint
ngs I'm it were bought twenty twenty-five years ago.
In many cases this would mean that grent deal OF
Mediocre anecdoc art from certain popular studios
I'm Munich Dusseldorf and Paris had been purchased
In the case Of Mr.. Cutting 1t means that while De
occasionally patrOnized Inferior artists, his purchases
were more guided by most discriminating taste
Moreover he had the assistance OF distinguished con
nolsSelr Mr. W II. stewart. and with him he sought
ont strong though not always fashionable men, bought
good works from them, and. as FAR as the Spanish
italian school concerned, bought with degree
OF enthusiasm seldom parlelcd among American col
ccors Of his day. His sagacons independence Is the
more appreciated when It IS remembered how large a
proportion OF the art OF men like Boldni and F0runy
Is primarily addressed to lovers OF technique All the
Italian artists have the pictorial sense most
OF Them have perception OF grace some OF them arc
ready renders OF character but the literary motive
when II IS present at all their work. Is there simply
a. a stalldn horse. They shine pre-emnently as
manipulators Of the brush. wizards who Use paint
with new sense OF It's infinite possibilities merely
material medium. They have hardly any sentiment,
even less poetry In fact they practically never get
at the hidden which subjective painters
wrcst from and nature. But their executive
power T. superb. That Is what endearS them TO ar
lists whose professional eyes rest with satisfaction
upon work with perfect command over the
ins riments Of expression.
Fortuny Is the Acknowledged head Of the spanish
Italian school, and the visitor to the Cutting collection
win Immediately turn to the two pictures bv which
he Is represented therein, No. 80. Interior with
Figures. and No. 70. Arab Beggnr and Dogs The
latter Is fine an illustration OF his method In water
coors ANYTHING We have had since the remarkable
little picture called The Rare Nase' was sold
with the rest Of Mrs. Morgan's collection
In one respect It shows him better light for while
it Is not in as brilliant a key " The Rare Vase 1t
l. a more obviously convincing answer than that work
u the charge that FOrtuny and his followers have
consummate chic. and that they that quality TO
cover n multitude OF sins OF ignorance. IL requires
intuition to grasp the science concealed In " The
karc Vase but tie mastery drawing in the halfnude
figure I'm the Arab Beggar and Dogs should not es
cape the most superficial glance. There is no chic
I'm this. 1t Is the direct, straightforward expires
sion u reality. The beautifully painted wall In this
picture IS model OF economy In the use OF color IN
backgrounds. The Interior With Figures Is an
unfinished oil sketch obscure In color. yet IL is In
Foruny's most sAilfuly suggestive style. and Is a
very chanc teristic piece. wonder Of profound sus
gestion is No. Is, Embroidery" n water-color by
IlolGin Of a girl reclining sofa IN curious AT
iiude and in odd confusion OF dnpery. Underneath
the confusion the living form is apprehendcd very
distinctly. Less snappy, bat no less sure In the
handling and remarkably brilliant IN color. Is an oil
by Boldini No. 80. Teasing the Parrot and more
delicate, more chnrming In fnesse than either Of
these. IS his tiny river scene. No 30. Fishing.
River scene There Is sparkling little study by
Vilega.. No. &c. ARAB Bazaar.' and there is tribe
by IiIbern pupil OF Fortuny, which may
be named with it. Rossrs later work Is nj
most as dashing rs Bodinl's, but the painting
w rha
rlrcsomc story was done In 1868 when his
method WIS dcllbcrata, and 1t has what is rare
among the men OF his school. tonallty. This Is
noticed particularly IN the white dress worn by the
woman I'm the picture AZ example OF extraordinarily
treatment In a passage that might easily have
been made cold and harsh. From HosSi's quietly
harmonious picture II Is natural transition 30 the
two paintings by Madra2o who has remained outside
the current Of the Nvaclos touch and 60 school and
carries canvas II finish by the most temperate
means This tells in .thc simplicity of his arrange
ments Of color. In the remarkable variety Of his
typcs-as In No. 50. "GOing ont OF Church where
you have study OF character In every OF the
many frlrcs-in the truth with which he paints
constrained movement and IN the sobrIcy and balance
OF his composition. Zamacois like Madrnzo has IL
separate place. but technique has nothing do with
his isolation. a sufficient and honest technique he
has-hc obtained II from MesSonier-but II Is not dis
tngIishcd. The point to No 81 Return 10 the Con
vent" which depicts the prcdcamcut Of a fat monk
who has brought his marketing home the back Of a
refractory donkey, and has sad struggle with the
beast the end 81 the Journey IS funny, not artistic
Tie group Of pictures by Martin Rico has u special
character three Of the four date from a period when
he painted In spain and France "a well rs In Venice
No. o. spanish Houses" ana 40. 30 The River
Seine are delightful.
The spanish and Italian pictures form the salient
features Of Mr.. Cuttings collection. but II they were
Withdrawn there would still remain a mass of splendid
work 10y of other schools The two stu nfes
by VOOn are far above the average specimens OF
his art that up IN the sale rooms from time 10
time. The Jongkind. No. %. Near Dordrccht" Is
likewise an exceptional work. luminous only As Jong.
kinds best pictures are. The Van Marcte No. So
Cows in Fool dated 1S6S, Is charming In the
landscape, which l. than he said for the
OF his paintings and the pictures by Clays are
uncommOnly animated ana transparent Mr.. Cutting
generally had good fortune With his arbizan pcMrns.
ono Of the two CorotS 10 30 THE Brook" Is rather
dry but the other No -. River scene Is nrstutc
The landscape by DaubIgny. No. 49, spring Time is
of very high quality. Is the little 'troyon a Nor
mandy coast study, fnl OF soft clear light and 80 is
the larger Of the two pictures by Daz No 6s. Forest
little pictures by Bernc-Belcc0ur Pas>au De IIItts
Dc!aillc. l1ssot and Bcraud. strong military subject
by John Lewis Brown and pretty decorative figure
Gabriel Max. Bouguerean, the Achenbachs Doorgaar
and few Others which are out OF place beside the
beautiful paintings OF Coot and roruny Jongkind and
Bodln but the general effect Of the exhibition is quite
out Of the ordinary.
A SCHOONER WRECKED on Cr1TYHUNK ISLAND,
NewIedford, Mass. March L. (SpecIaD-The