New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-03-01
ship, Neither possibility Is easy 10 square with DIS
reputation rs a student of Italian painting

reputation student Of Italian painting
The only Continental work OF real worth. ana datlns
from the seventeenth century. Of VII ch nothing has
yet been said i, Portrait OF Charles Fist OF Eng
Mri." by Van Dyck. lent by Mr.. Durant Rucl Though
sill leaving margin between Itself and The van
Dycb, Of suprcmest quality 1t l. n most ADM able
work and represents, him sufficiently well to i'll the
peculiar position Into which II good Van Dlck In this
oNIibiiicn would BE- sure TO fall the position which
mark, the transition from the school OF portrai!ure
represented by R'mbrndi's "Gild r. on the one mana
to that marked by Sir Joshuas Mrs. Knapp on tho
ether Bonn seven years before Rembrandt AMI
dying more than OF years before that master
laid down hi, brush for the last tine, Van Dyck wa
vet the founder OF a tradition which In certain ways
Is far more modern than that Of Rcmbianit, which
anticipate, the a Of tn, eighteenth century. whrc
Rembrandt gives not the fantest hint Of It. The
school of Rembrandt was based on III" primary el'
m'nt' In human nature; passion, pathoS hnmor :
It's note is the not OF SERIOUSNESS, OF dlr"ctnesi
The school of Van Dyck was based on gamut OF feel
ings lying the surface and less essential In
character It recognized the graccs before all things
and though Van Dyck too much OF n Fleming
for hi, figures to ever be anything but creatures OF
flesh and blood. he created art that Charms by
Niru" OF Its elegance, its yvacity. By a quality
which might be described articallty II /. wee not
better defined Il kind of a,focratic reserve. From
which Of these two schools the English school OF tn,
last century Is derived is obvious II Will be appr"
ciaed by any who examines the portraits at III
Loan Exhibition by Reynold'. Romney, Gain borough
and Lawrence, portraits which again ard again elicit
the words which apply well (" works Of Van Dycbs
school. Reference thee has already b. made In
The Tribune. and iir. Fuer's beautiful examples Of
Constable. Cromc and other English land capst, Of
that eta were treated at length wien tlcy W r. SAOwB
the Union League Club but few Ob'crvations on
both the figure and landscape divisions In IN" British
department may still b, Oirrici Mr.. Fullcts SIR
Jo'hua', aid especially the finest Of them all, the
Mr.. Knapp and the hne portrait Of a lazy Lett by
Mr. Appleton, every one maiklbl, FOR restraint
aud smooihncs,. TO this group Mr.. Elodsct add a
portrait Of Mrs. baldwin, wife Of thu English minis
ter {, Persia. in an Eastern costume and Mr. Angus
picture called contemplation" portrait OF th'
Hon. Mis- spencer. which increased the interest OF
the Eoyuoc, rABiO by bringing it iliIslra tiOs
hi, broader. ii"rr manner. manner rcni III COS"
though les dencat" and distinguished. than tiat
Appctons example" tuItnrr study Of tn
TWO homirys lent bs ar Aneu, anL Mrs. Blodg'ft
heightened enjoyment OF tn.lr brllIancy ana sd-
.,st, another cIuiil allu>lon 10 thcn aud Il smilu
experience" with tn IUr' RAFT OF t Al,pu, d. fn-
vai',>>c, by iigaud, prompts IA similar r. marx. y
Gilbert stuart NM, E. the it'll, croup OF t0plcys doc,
not civ" much pleasure. stuart II not at his best
IN any o III" pictures ana topl"y was never M
artist To satisfy purely artistic a>t" bOh Il" an.
stuart aic interesting historically. In this exhibition
but neither /, mucn more than that The land
to which IL Is possible To return frequently Win
augmented rather than dimni'i'd enthusiasm. Inc
often enough been discussed In thI' cpdluy pn'
never bcor". save NJ tn" Mon League exhibition,
which has been referred TO more than once. has he
been made plain TO tn" publ her.. t~r conprr.
hcnsvcnc>N The coll, elton Of pictures by Consta."
at the Loan Exhibition would be worthy Of LONDON
itself Two version, Of The same conipoitloI "KNcl
>tour. suffolk" lent by Mrs. Blodge and Mr. Fuller
respectively. show hi; most careful style in a.: one
and his loo-c,t in the other and IN" width Of
his range" we'll aS his extraordinarily sound natural
@ are Proy"d by succession Of picture, s sssmnn inning
atmo- ph'r" and delicate handling. comprchrnding pic.
n lin he "sh' Of the s,e"r III, sn w aa
and%r m"rc l@Er inrn"rrSIur ,say ,hat [u 1nrr
Is one magnificent canvas. H." Argu' ana Mercury
celebrated by Mr. Ru>hin. In thi, work passages OF
form ana color occur which arr dmcnlt 10 rrson'e
NTH the truths "f familiar v'iol bur tc cn.'t oi
III" whole. cnvclop'd IN palpaung mis-, wnch l.
neither strictly atmospheric nor strictly poetic. bnt
par,akcs Of both natures. It l. easy Ia reconcile
with Turner, imaginative and persuasive conception
4 Landscape art. The immediate appeal ~ 'thfs
yctulr il ,l>unr it being OF those ,uperhnc vet
iuipaS,ingy rich schemes OF color which Turner alone
could PROJECT and control. bu! more snbtly affecting
auty u the comp ,ition and the vivid poetic i'm
agnaiiv"n'>' with which The work rs charged IN" ART
Constable. Of rom" and Of the minor Eng ''nrn
II their time which l. visible In the samc gallery with
this j. the responsive To the tcnden'ic, 81 our
i'm is III" 10 which can be traced much Of the
.s,iicrI. tcn.tabic the very antihe,i, OF Turner
and Constable, disciples. his hes. have expressed
uv in .capc art. Look rr confirmation OF this at
In, north gallery aforesaid Cout anything be more
adequately 10 inc 10 lH'
If the mt crn lover Of nature than the art 81 which
,ourl,et CorOt Ron. and Dauligny eloquent
rXIoncnts l,ut never while taste Is sensitive tn the
domination of genius. can style Ike turner's, per
,onal arbitrary. bat "Npui>u ly fin" In Kind and In
dcpree fail 10 a~crt IT, vitality There j. no pictnr'
I'm his exhibition which touches III" Imagination more
pow erfully than cs th" "Argu, ard Mercury
The difference between modern landscape" art ana
the art ~ l. interesting suggestive
than peculiar difference between the old and modern
men I'm the exhibition. broadly considered We ma
all the early schools Of which III" exhibition con-
rains examples practically engroSs"d In th"
study Of the isdrS: The mon msHrr ro or,, n1s
whose works fill the north gallery: II +:
found treated with ntcn>" sympathy by such different
men u, For,uny. Couture. Eodinl. ll'nn"r. Sargent
hv such adaptrr rather than II COPPER OF -, as
Nnufic.lii Eu against these names ar" to b." placed
not alone the few gwen above Wit! 'oro and 'onr
bet at their head. but mlnv Others n" NAIVE
C,zrn Monet Michel and Rico. TIL" development
Of landscape art l. the glo"v OF modern tlm".
is one Of the most impressive things demonstrated
lax such an exhibition rs III" Fine Arts society ms
crcrn!zcd A side ~ that exhibition which gives. IN
n, those tav.r,cd above. Is the sid" devoted To Oh
inct Of ART - the old silver plat" ~ fnrope. me
Terra Gotta rgrrin'S ~ Tanagrl. I'll" prNcti"ns o
Japan I'm metal and iacdI"r. the r'r'"i'lS 81 ILL.,
and - rsir and finally ~,.h diSSimi''r treasures rs
I mis- XVI fars ard weapons Of different fiS,"r"
nor obs ,ll III. objects In thiS department nave
been selected with discrimination ani CIV" ~" Pr
lI Tho opuprtlnIty to study 1T their best me ui'
fr,ni brorches II or they represent On" nnir oi
,.nsc. IN thc collection 81 silver war" N would per
hans Irve been more judiciouS 10 nav" "ih," ,,
Presented v"ars ago t. the ,'o' ~, VIII r liz ,
', ~ come iriorrst but arstically they are
81 no Importance whatever
.,,r ar opc ivT1rD CU tPTTY