New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-12-15
PICTURES At THE UNION LEAGUE CLUE.

The enterprise and taste OF the Art Committee a
the Union League Club have In direction been
more useful than in connection with the English
school of the last century The Importance OF that
school and the necessity for wider enthusiasm
for It in America than 1t has hitherto provoked
have frequently been dwclt upon in The Tribune.
Every effort that makes for the stimulation Of such
an enthusiasm calls for The heartiest encourage
ment and 1t is a pleasure TO record that the Union
League has again rendered service to those who
visit its gallery by showing there some interesting
examples of old English portraiture. The prepon-
derance Of modern French work in the exhibition
does not deprive two portraits by Hoppner and
Lawrence. respectively, of the places OF honor In
the ROOM Neither does the fact that both paint
ngs are susceptible OF adverse criticism rob them
of their distinction. IN the absence OF HAWKES.
specimen of great school, slightly defective
illustration of 1t has still pressing claim upon our
attention, and these two pictures have more good
qualities than they have imperfections. From the
tall fuil-ength of Miss Kemble" by Lawrence.
we would like to subtract the thin waxness In the
flesh painting about the hands, arms and BOSOM
and the feeling OF inelasclty In the handling OF
the white drapery. There is too faint touch OF
stiffness in the pose of the figure. Hoppners por-
trait of Mrs Garden and Children fas passages
CT faulty drawing, as In the right mana Oh MRS
Garden. But in the cheeks and Ups Oh 'i''
Kemble" there are Lawrences inimitape carna-
tons: in her eyes is the CLEAN with Vhich ne en-
dowed his stters when he was in the risht "oou'
the modelling OF the head shows his chastened V'sor
and refinement and In the background 'he eo''' 40
a. once as ripe and as luminous as ne couiu i'asS
II uonnner's canvas Is likewise rich in some -
the strongest characteristics OF It's author ihs
stvle is loose, as 1t always Is with nim' ou' ~ III"
ais, the originality which he retained In spite OF
bic -.r,snoa unon Sir Joshua for the direction OF
b,s manner and It leaves MIN with grea, oeai Oh
charm His color like the test OF lawrences' -
extremely rich: 1t has 4 anything, h'''e nv
hioor, Vet the difference between Hoprners ross
tInts and Lawrences crimJons sums up 'iie va
ference between them in all the relations VI ''e''
art Hoppr.r's brancy has a dash Oh coa'seneo'
in The leans to the side Of emphasis La"re".e'
no a, his rreest Is of a moro polished, fragile
s,rrace II 10 a question of temperament fa'"et
thai of strictly artistic gifts. Ii Is pam '"a' u
tho two PAINTERS Lawrence had the greater ai''o'"
of innate taste and reserve. Botn me" ne -,
given n prominence in this exhibition wh'en VIC.
worls when all criticisms have been MADE ha'e
no difficulty in SUSTAINING ., ., N.
The French paintings present are mos"y
pa rh,zon school and some of the best Oh 'iu'o
which are not illustrated related tendencies INC
large Bull and Heifer of Courbet mas 49,
ro.rrolisp, a holiness of synthetic treatment.
which the landscape group OF Barpizo" p'"e
with few notifications. OF this Landscape so.S
,nera are some unusually fine examples. The three
pood" his chief merit IS one OF composi'.o"' ."
No Is "A Grey Day." there is vivid analysis Oh a
dry light not common In pictures py MIN a'N >, a.
upright canvas, No. s, THE Shephern-ou"''' :.
superb in dark. transparent tonaiity i-anuseap ~
high quality by Diaz. Dupre and Dauoighs arc a.
the walls. Fly Daubgny mere Is, III iae.' Ia
scone az the very FIRST magnitude All the sonu'
oo,,s ouall,y Of color which was noted IN the TO
~, paintings by him. sold with the bahes.'
collection last winter. is found in the present h'
scane No TO- Banks OF the Ose' put II 10 49,
tempered by great tenderness OF sentiment 80
softness of handling. The flushed SKY 10 "o1 ~
ravlshinR in its exquisite sensuousnes thah !"
49, ar,or, foreground In its luxuriance and spring.
Ike freshness Though very few or me landscapes
here are as mastery this-the three Soro's a.'o
the larger Of the two FontaineDieau s'uu'e' "
Dlaz being it's worihiest com2aniohs-'ne'e w
excellent average maintained throughout '"e
hIh,,ion. and the pictures by Elem, Mauve Jacque'
N,-is Clays and Peouse are all or more '"He
stereotyped value We must pause Tor hlo,'e -.
,,non the river scene Under the WILLOWS W
yr,uer, Naris II represents the Dutch schooi !"
ono of IT'S excessively rare eplsodes Oh po'",'
cayety as to light and spirit The cucnS IA '
picture are Irresistible, and ire freshmen
foliage and vegetation is equally happy Ahons ..'
ordscanists Mr. Inness must also be sishal@eo
=. o. n,c,urc Of his one Of the better works
no nrodncea in the sixties. holds It's own well III
This distinguished company. There are TO "eu
studies OF great moment leaving aside the E'sis"
portraits already discussed. The pieces oy fronien-
I'm Delacroix and Hamon are relatively uii.
,ortont. mixtures Ike the "Repose' of Henner' ana
he peasant subjects of Israels and Neuhuys aie
rood but not particularly novel, and the ohiy conn
position OF unfamiliar character. the interior VI
RAILROAD Car" by Daumier. has more or per-
,onal and ANTIQUARIAN than of an artistic interest
DaumIer IT, with monotony, coior's' IA
his picture. a coorst remotely suggestive VI
Decamps and he is as matter Oh COURSE,
psychologist OF ability. His types are unques'lon-
III, Tho ,rut Of a searching study of nature. inc
tye OF the picture. however. is the style OK an
Illustration and 1t reveals poor brushman as wen
IS a powerful draughtsman 1t Is the WORK Vi
,orn satirist and the air OF the caricature hangs
hon, q though the pathos OF the figures Is ex-
crossed with sincerity The last pictures OF merit
- This collection that recur TO US are half dozen
flashing palettc-knife variations by Monuceiil ano
N interior with figures by lsabey. done IN s'',"s
-. ., romantic fancy and unlicensed coloristic
rlo