New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-29
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or. five n;cturos Of his in the Dutch section. ALI
are good whether it is the portrait of buIly fish
erman the patbetic interior called Alone in the
World" or the hastily brushed "Fisherwomcn NJ
Zandvoortn The last is one OF the least ooVi-
ously detailed studies, and one OF the most con-
vincing in its suggestions of structure IL Is In
tstructive also in showing how spacious the hhu-
scylpc in picture by Israels can be and how sue
cessfully he wrings subducd but strong notc Oh
color from gamut which keeps strictly 70 duil
nrays, browns and blues. with sometimes tawny
red and, ont of doors, the silvery green which Is
one of the favorite tones Of the school,
1t is curious that neither Israels nor BOmmers,
who is busy in the same field, nor Neuhuys, third
and an altogether winning painter of cottagers ana
| their humGrum affairs, should have comprised one
characteristic of their forrunners in the earlier
times of Dutch art The golden luminosity OF the
native interior seems 10 have gone out WITH lleh
like De IIooghc and Macs. and to ind IT. or some
thing disantly resembling il, among modern pant
ers of similar subjects, it is safer 70 90 TO i'onv'n
and Met in France than to those men III Ho1and
who afford Their closest parallels, Neuhuys anu
| Israels The latter practise a broader naturallsn
than did either De Hooghc or Macs But they
get no closer reality than did those giants WHO
may have added ingenuity TO their observation ana
mixed the chiaroscuro of the studio with that OF
nature in order 10 secure an effect. ne most rei-
sonabc solution of the absence of mellow rlcifness
from the tone in picture by lsraeis or Neuhuys
ences of the school. Ii rarely seeks for warmth
of color. and when it does it follows different
line from that which was once so magnlil:c;pat ~
cultivated in the Low Countries. IL Is satisfied
with little sunshine of direct rather thar di1u-
! sive character. such sunshine as anmates the
Washing Day. of Bommcrs the brilliantly real,
| istic Village Carpenter" of Tony Ofermans and
| the Sunlight of Neuhurs himself. who, In this
pretty Dutch idyll, garden scene with baby and
| goat just outside the doorway, Is at ms very
happiest in color and sentiment. 1t il to be added
that because there is no luminous quality III these
pictures it docs not follow that they lack depth
and transparency. If the Dutchmen have one
Gift in painting interiors it is that Of conveying Il
| sense of space even in the most shadowy portion
| of the room.
MARINES AND LANDSCAPE
| The PRINCIPLES of distance and related planes
affected by heavy atmosphere follow the artists
| of the school ont of doors They paint lands cape
| and the sea frequently. In their pictures there
is evidence not only of sympathy and reflective
ness but of the correct obscrS alton which brings
| their studies of interiors into focus. II thcir i
| ANYTHING finer in the marines OF M"sdag t!lan
| the truth with which the turbulent movement
| Of the waves is rendered, or the way In which
| the shipping il made to have an actual existence
| on the sea- being full of life and motion. II l.
| the scale Of his skies. They are splendid. airy
domes, swept by strong northern winds. They
are outdoor skies with vitality in their clouird
| product Of studio labor. they tell OF familiarity
with nature and are quite free from ,hc sta
| tiOnarv, manufactured appearance win winch Il
| sky thought ont too carefully indoors II IN
danger Of being spoiled. =,
on the sea. as we'll as in the heavens, Mesda"'s
scrutiny of natnre is closs and SO is that OF al,
| has passed them By. There is bare lint OF
it. and nothing more. in the and.capcs of WiIiiap
Maris. But in the pict.iros Of On Chrtte JACOB
Maris, \. Bas:ert, Louis Apo George Poggrnbcck,
W. Roelofs. Phi. Zilckcn and more others than
can he named there is the freshness which means
| direct study though If mas not mean the enter
rr'co Of EnfprnrlSe.
its experimental bias, Is not characteristic OF the
Dutch school. When certain fcicitous strokes Of
art apprchendcd such "a tho vlvfving OF
simple, broad wall spaces through III" force Of
color. in the church interiors Of Bosboom. or the
cropping of scores f rally bnen n
recognized Al once that no clcycrncss no spccions
dcXterity was involved.
The military studies Of G. II. rrcitncr, are
| based almost entirely on suggestive sltctching.
But they have not the mark Of chic They
are simply than ordinarily free in the on
ployment of that idea Of generalization upon which
| the whole school rests II is an idea from which
the thoroughbred Dutch artist never attempts to
| depart. Hubert Nos. who is n prominent en-
hihitor. has derortcd from it in some Of his pic
he has transferred himself to London. and what
looks like versatility in him is nothing more than
susceptibility to the influences abont him. lie, is
| an interesting artist in his different manners. In
terosing in his Israelscsque interior called Poor
People. in the smooth portrait Of thr little Queen
Of Holland which records complete Abandonment
| Of the chara cteristic Dutch method, and in III"
polished rather hard and yet very individualizcd
niece Of realistic genre The Angrlus on the
Zuyder Sea-, With all his merits Eos dos not
| equal in quality the quantity Of his work in the
| Dutch section. He represents the less desirable
outcome OF contact with ncighboring schools lie
is without that in which the Dutclmen are rich,
the charm of an original and good style. II is
their style as much as their sentiment and feel
ing and truth which makes Israels, Blommers'
Artz, Mauve, Jacob Maris and the rest what they
are 1t is matter of importance that they treat
interesting subjects and treat them with sympathy
II is a matter Of still greater importance that
they have a knowledge of their medums-for they
handle water colOrs with much success ~
os-and that the way in which they use them If
a way OF their own.
THE BELGIAN sECTION.
The sorry state of the Belgian school, Of which
an incomplete but not at all insufficient rprcscn
tation fills five galleries in the Art Building, is
not easily eXplicable save by reference 10 fact
which do not explain There is no Belgian schoo
, Of consequence. That Is "a common place Of infor
nation But why should there not be ONE The
country has had an artistic past That oilers
not a final hut at least pa usible reason for al
nrstG iH'ur II ,on s w,h pars 'I
is also a fact that it is the most cynical sl,
Of the French city which is reflected In the spirit
= of the Eelgian, and this factor III the hist . OF
the present may throw n ray of light upon the
subject of Belgian art AS 1t = to-day lcnpcra
ment is u powerful agent. Whether an artist vii
or no. il IS bound to color his work This la
been shown in the discussion of the German ant
, Austrian schools The transition from the fOrmc
TO the latter is chiefly a transition from the ten
perament OF the Berliner to that OF the more
vivs,:ious Vienncse There is more than this cx
perienccd in going from the Dutchmcn t. th
belgians; the differences are many and radical
5 but the single point OF temperament Is illulniia
tive Where there are feeling and sincerity IN al
Artz, Neuhuys or a Jacob Mars, there is flash,
; yulgarity in a Leon lIcrbo or there Is surpass
= ingy clever superlicality In a Jan Van Beers
Z IL il bat Justice TO say that Belgium has on
landscapst Of remarkable ability. The two land
scapes by Franz Conrtens which hang at TN
Fair are beautiful paintings that no other sch2o
d in the building could despise. There are ais
.one other painters OF n,scaDe, Keeelian. Binl
and Hooriclx whose wor! is honest and wei
e done. But on the whole the school shows n
@ sign OF a genuine artistic impulse in its work
II is shallow and it is not we'll versed in tcchnica
matters except in the case OF small group Of lanl
scapists or in that OF Jan Van Beers The cDstum
a.n.GIios q Yan lIudcraa and Erunin and lii