New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-03-01
THE LOAN EXHIBITION.
OLD AND MODERN MASTERS AT THE FINE
ARTS BUILDING.
(SECOND NOTICE


other English works, strike the first powerful ho'c
In the exhibition. Tie significance Of the Dntch
school I'm the collection j.. however, equally gr at
~ far the representation ~ certain masters l.
concerned this department In In" exhibition |, about
~ good n, it could be in thi, country. In fact
there Is no finer example at Amsterdam Of the early
phase Of Rcmbrandt'S second manner than The
Glider" the portrait painted In 1910. which Mr..
lIavcm"ycr lends 10 the Fine Arts society. The
crWn Of the RjhS Museum, " The Night Watch,
IL dated two years later. The Glider Is one II
| the small paintings In which Rembrandt distinctly
forcshadow.d the brilliant expansion of his genius T.
which that product Of his middle age bears witness
II Is one Of the herads Of THE Night Watch
1t Is SIN handled Rembrandt handled the portraits
Of his first manhood. with the utmost and de-
liberation. and 1t could have prepared his friends
for The splendor Of color which burst upon them In
80 IN" Night Watch nor for the touches Of bravura
In that work which prcfgurc his thlrl and finest
period But II show, to perfection the surcneSs
OF hand In modelling and drawing with which lie
embarked upon his intermediate period, and the
purity the warmth and the depth OF tone which
belong TO that time never 10 his younger years.
The difference bctwe the Rembrandt Of 1GiO.
at last In his art and painting OF fund OF
experience which has made him familiar with technical
diniculties-and their mastrr-tl, difference between
the Rembrandt of 1910 and the tca;a I've Rembrandt
Il say from five 70 eight years earlier Is 10 be
asc"rtnined by comparison OF The Glider with
the two portraits Of I.urgoma ,tcr six ana his wife
lct by Mr. J"ssup. In iii" latter The Is thin,
III" flesh painting Is fresh, but pgiicnlly subtle
In lis gradaionS. and the characters, are not cN-
pressed with peculiar force. In The Glider which,
rs regards character IS unmstakablc triumph OF
penetration and Sympa hy. the tone l. ~ fnl a, that
~ cello II such analogy may be- PERMITTED AMI
III" fac" Is without flaw In the scare hing sensitive
treatment II lis vitnzcd surfaces. There /.
nothing greater In Rcmbrandt's art on the
| I'd" Of technique Informed by high Intelligence
IA. flss IN.
Of his dttcr'. revealing it in the very fibre Of the
'osh such face As that Of The Glider could
iohg 10 no other hu Of his year.. whit, ARE
advanced, but not ~ far TO be- wclgl.ty and In
| the other fine relic Of R'mbrlndts prime which Mr.
lIavcmcycr lends. III" Old Woman of the famolis
Nari-clkine collection. the naccii'v Of the sitter,
| h"sh Is reproduced ~ though the work had been
done with the aid of n microscope This "Od
Woman" Of which we have not the exact date ob.
| viou'ly belongs to the sam" group 1.-THE Glider"
| being In E"mbrandts NOR restrained and closely
finished style. and. like that portrait IT /, one Of his
masterpieces N" rounded perfection II tho work
placing II high I'm lis period. The richest super
htivcs are generally to De- reserved for RDmLrandt's
later manner In which the greatest breadth and free
dom are combines, with perfect vrracItv. but in this
exhibition Sup"rlativc> arc TO be Sranncly employed
before III" only example OF his third period shown.
| the BOY Buching His Armor.- lent By Mr..
| Mortimer. Something said of this I'm The
| Art AssociaOn', collections wcr" dispersed. The
| Judgment expressed then has only 10 be repeated.
| II Is an authentic work OF Rrmbrandt's. II came
| 10 America from the collection Of an amateur Of dis
| c-rnmcnt, VI. s"crctan. who had 1t directly or In
| directly from The san Donate sale II /, I'm style
| and workmanship painting Of no common character
fu, In 'onal. In Transparency. In richness OF color
| and poI-e and swing Of execution 1t is below the
! familiar Standard Of Ecnirnndt's rip">t maturity.
An Interesting company If Ecmbrandt'S
| iomporaries surrounds him in the Loan Exhibition
company In which painters Of landscape. portrait
and ecurc are 10 BE- found. Though poliralturc prc
dominates. II IS that in thi, instance + nearest
| the artistic value Of Rcmbrandts work. There +
| nothing In the collection quite worthy 10 stand
beside 1.-The Glider the Interior" by -" Hoo -hr.
which, like The Rembrandt Is lent by Mr.. IIavcmcyrr.
THIS Is Of the best specimens cxtant anywhere of
tho mellow. golden Hight which Distinguishes the best
Dutch painting Of the seventeenth century. Painted
with fnr less Gie,tria than Rembrandt exhibited in
| those years which SynchrOnred with d. HocGh"'s
| time Of most advanced development. II nevertheless
| has strain Of beauty In common with certain
| late pictures by Rembrandt II the beauty Of
cxpui,liey nnsparcnt. impid sunny There
| two DE Hooghcs In the exhibition. Gard Party"
lent by Mr.. Duranh Iu-l. Characteristic. we'll pro
served. but not unique example, furnishing an
ccllcnt companion piece 10 Mr.. IIav"mcycr's IN
erlor.' point Of IMPLYING It's painter in n mood
| worthy OF his fame a little portrait Of himself by
Halls lent by Mr.. Durand Rucl. follows the pictures
| by DE Ilooghc. II bears IN" same relation To th"
Hal Of the brilliant corporation pieces Of IIaarcm that
The Glider" bears the "SyniicS.r the capStonc
q; Hcmbrardrs career: in other words. II Is MT h"
work Of Halls in Tia" plcnItnd" Of his powers Eni
il j. fine work. nevertheless. work with the dis
tncon Of his style. and ii is extremely fresh In
color. The 4" Portrait Of Scrivcin," lent by Mr.. lii
gals and attributed TO Halls is faded panel not alto
| gcih'r uuIntcrcSng. but Still a picture that would
provoke doubling snrmlscS ri any time. ard which
suffers especially when contla>tod with the superb
p,r;rnts o Scrivcrius ana his wife 10y Halls. which
Mr.. lav"mcycr owns. but does MT, unfortunately
| lend To the present exhibition. Mr. carney lends
"A portrait Of man by Van der Hest which Is faded,
| too bat although IL i not echo Of III"
color which still flashes In the best works 81 a>N
great rival in the painting oi corporation pieces. itS
authenticity is proved and 1t eXcrtS a charm by the
irmnrsS 81 outline and dccacy Of touch which It pos
>css.s and which separate Van der IIcl,t from the
| crowd Of clever painters who Surg'd around Rem
brandt and Halls The portraits by Gonzales coqucS.
| Thomas de- Kcyscr and Jacob Cuyp. which hang IN
IN. neighborhoGd Of tho Van der l!"Sf. all paint
ings Of dubious value. Their authenticity might be
proved but hardly their claims 10 intrinsic artistic
merit An exact reversal OF this remark apples I"
the figure OF n Indy boldly catalogucd aS The Artists
Wife, and :scrih"d to Gerard Tr. Trrburg II IS
poll hcl bit Of painting. but not done with III" authority
and with the fitness ~ tone by which T'rbnrg Is
known. Slill more improbable work Of this
extremely rare master-rarc almost rs Yer Nicer ct
Delft which IS saving much-iS the lrg" picture Of
| sThe Musical Rehearsal attributed TO him. paint
ing whose laborsd execution and commonplace color
n,ion nut il Immediately without the range Of pos
sbllIiy as a genuine production ~ the celebrated
Dutc,man. And equally unconvincing Is " III" Music
| Lesson, n mediocre fancy subject assigned to
Nc,su The standing If the little old Masters OF
| Holland Is upheld somewhat more effectively In
ad. tcu Iy
after the De IIooghes the pictures which vlndioatc
,he school with absolute truth and completeness are
five len, by Mr.. Lambert the series OF designs In
which the Younger Timers described the five senses
These Illustrate the highest achievements OF
Tcniers' expression. perfect modelling In little