New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-13
band In its present company 1t is conspicuous.
In Paris it would remain unnoticed.
PORTR ALLURE.

PORTRAITURE
The above remarks in relation to the men brack-
ottad between Alma Tadema and Glazebr00k are
70 be considered in the light of depression. 1t
10 induccd in because the artists cursory noticed
therein are characteristic of the English school, and
cannot he ignored, though they cannot expect 10
dctain the searcher after what is best in so hrge
an exhibition as that at the Fair. The oDserVa-
tons on really distinguished English art, rclin-
ouishcd with the last reference to watts, may DC
resumed in connection with the work OF some
other portrait painters The portraits by Ouless
and biz the late Frank Holl have the best quail
ties OF the English art that is not touched by the
fame of genius like Watts's or richardson's, but
that is clearly cmancipated from the nlgglihs' r.
luctant method Of handling which is the banc OF
the school. Neither IIoll nor OulcsS is revealed
a colorist in the portraits here, and this Is ap-
parcnt not only in the absence OF sensuons charm
from their works. but in the barely adequate COLO
ration OF hands and faces. On the other Manu.
there is delghtful straightforward brushing in the
portraits by both men, and in them all there Is
also the rcctitude which is thoroughly British
attribute. No necessary point has eluded eltEer
painter, nor has he wasted his lime over II, when
it ha. presented itself to his notice. The portrait
OF Sir Henry iIawlinson by iIoll is, in lesser
way what Orchardsons group is, or watts :
"I.ove and DEATH" n shining marx.
Tie portraits by Sir John Millais bring an nn"x-
pcctod inter st into the British section unexpected
because he is known in America principally III tlie
manner of the large composition called The
OrnitholoQist.- which is one Of his Chicago ca
hihi,s. This is an interior filed with figures. 1t
is dated 1885, and while therefore coming from
a period after he had forsaken the Pre-Raphaelite
If
manner lingering in it, 1t is plainly the work OF
a cautious industrious and abundantly cxplana-
tory artist But in the portraits that follow this
there are signs of drastic change. The study OF
a child blowing bubbles. dated 1886, j. painted
with greater ease and vim. The Last Rose OF
summer" is even more loosely handled, and the
Smelling Peas" of $50. charming feminine por-
trait, unfinished, is positively sketchy. Sweet
Emma Morland," signed in 1892, continues In ire
same manner but with less success. Inc OH
shortcoming is again noticed in these portraits
The color is too sweet, and il has no quality. Bar
ring this defect the paintings are good
Professor Ierkomcr's portraits OF women are Of the
same class Hollis portraits OF men, only cohsioer
ably less able and personal They have the merit OIL
Workmanship which Is thorough WITHOUT pelne
stiff and they are based OH keen scrutiny OF
character the source, it may be remarked a'so'
Of the success of The Last Muster Professor
IIcrkomer's familiar picture of superannui'ei vefe-
rams at service j. J. Shannon is portrait
painter who would have been classified with Tn"
+" Salonniers. named above, but that MS ci'Trr-
ness lifts him above them. Ills portraits OF 'r
and Mrs George Hitchcock and Mrs CharlcsTworth
are tho fruit OF conventional method Plus maj
vidnality. an Impotence OF snpertuous detlu@ anu
a natural ability in the expression Of textures AMI
the ma king of IA decorative effect. FROM Summon
the interest passes naturally TO {. W. Purse VINO
has two full length portraits OF women, airhng .o
mcnts in gray and brown respectively when are
purely decorative. From him II passes 70 the f'w
other artists who arc similarly in touch with NV
Independent teaching Mrs: swynnerton ana az W.
Edward King and Wiron Steer who are awe 70
the quality of light In painting ont OF doors john
Riviore what Iaryc was to Iandseer and r. W.
Macbeth in whose picture Of =" Tho Fen Farm
there is continuation of the rural type ana rel
ing which may be found in several paintings ny
tLc late George Mason, a greater designer and in
diyidnality than Macbeth, nut an obscure modeiei
and poor colorist.
OPEN-,IR SUBJECTS.
Thus far. the artists signalizcd for sensitveness
TO the main point OF interest in open air supl"cts
have been King and Steer. two accomplished nut
r,;ror cr,ftsmrn To turn 20 the recognized
cNemplars Of English landscap, painting is 10 fnd
that IL rests unnhuenccd by the abandonment o'
studio light which is spreading every day IN
France and America and that IT Is also nut
family colorod by the synthetic mcthoi WHICH
their own earlier pointers made famous Inc ia'"
Cecil Lawson tried 10 renew the rich unc'uous
color the thiclSish imrosto and the close natural
ism Of Constable lie succeeded fairly WE'LL and
hi, hruc picture called The IIol Garden is ono
of the I.nglish landscapes worth seeing her"
| crowded "A little too much. perhaps. but true ana
ar,c There are oSd M Of IN" V Wntc qe% AMI
David Murray. whose analysis is accompanied ny
n tolcrablv broad outlook and STYLE. WIN the
representative Academicians though. Milais.
leader. Peter Graham, Davis and MacWhirtcr. II
is ANALYSIS first and generalization nowhere
/ This II hardly needs 10 be said IS eNictly wha'
thr he's, landscape painting in modern art strives
10 avoid Among the English marine painters
there i, on. Of great repute. John Brett. whosr
work is vtiated from the sam. cause; nu' nap
| pix he j. balanced by Henry Moore, than w,,Ies'
/ five sea pieces three oils and two water color>,
| the section has nothing 10 oner NOR" NcraciouS
or more beautiful.
/ summing M then. and giving due honor 10 one
or two painters whose talents have been unnotlced
until the last broad outlook npon the collection
/ 10 Walter Crane and Albert Moore, printers OF
charming decorative taste 70 MISS MqntaInh am am
! ,ion in th. kri Building II Is not necessary 10
enter into details concerning the water coors, for
they reneat uniformly the technical defects OF
the work of tho school IN oils. There is no spon-
| taneity in the typical English water color. Ihe
/ lipht spirit of the medium is utterly missed. tn"
! sculptrre of which there are some nifty pieces.
and rho rrint. arc hnet rcvcwcd separately and
AZ another tim" Restricting the estimate 10
the PAINTING, in oil. and there are over four nun
drod of them il may he said that they represent
fertility in ideas. patience ard accuracy IN work
mansbip and occasional manifestations of ina gina
tive rover and the hidden nrr Of style; 1hey
are deficient in the senSuOuS charm OF nm" roior
and i'm original, vigorously authorit1tiN" methouS
Of technique except in the rare exceptions which
have been dwclt upon II is n school with more
literary than artistic significance But II Is
school which takes itself seriously. ana II must
I've taken in tho same way I!s strength is EN-
ploych with impressive earnestncss.
MFTUODISTS AND SUNDAY OPENING
| nIEEERENCES OLE OPINION At TIE WEEkIN