New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1894-11-04
PORTRAITS OF WOMEN.
THE LOAN EXHIBITION AT THE ACADEMY
DESIGN

OF DESIGN
1t is no paradox to say that the specialization
of subject increases its possibilities Of variety
single good theme. adequately handled, viii
Nieid endless combinations and effects The loan
exhibition at the Academy OF Design provokes
observation of this sort. Its six or seven hundred
pictures are all portraits. and all portraits OF
en- but nothing could be less monoton6us than the
impression ii leaves Put aside the first attraction
II has Tor the public the semi-personll and. for
the purpose of these remarks irrelevant que OF
feminine beauty. and there is still left great deal
to study and enjoy. There is the conception the
basis OF each portrait There is the question OF
pictorial design there are the many by-ways up
which a mere craf:sman's sympathies and interro-
cations are bound to lead him. and finally there
is the psychology OF the work This last is not
at all the eXtra-artistic element IL might seem 10
be. On the contrary. II counts more than does any
thing else In the formation OF the spirit of the
exhibition. 1t reacts upon the methods OF the
painters. Portraiture than any other form
OF art being reflex of mental conditions In the
worker we'll in the sitter 1t follows that
here more than In any other exhibition we are
likely 10 have this season there may be seen
points of view. styles. artistic Compartments which
after all what comes to In the long run
From one end OF the handsomely decorated gal
leries 10 the other there are suggestions invita-
lions TO discussion OF this that. OF the
problem which each painter represented has set
himself TO analyze. With that word the prevail
ing of the exhibition is reached 1t IL full OF
loneliness. full OF good workmanship Crowded
II is with recent American work. II is also full OF
analysis and the air OF neryous. experimental
ergy which is one OF the delights OF any good dis
play OF American pictures.
The style Is set by the painter whom It ls mpos-
siblc to speak OF anywhere bat at the All
Of Mr. Sargents portraits refec: the active brain
which. the side Of portraiture At east IS
missed In American exhibitions. Look at his spen-
iI.- Hfer IaI al Of Mar
quand. the picture which rests upon the apex u
the show. Look at the original even eccentric
sketch OF Mrs. Met. the animated full-length
| OF Mrs. Adrian Iselin Turn at last TO the crisp.
| curt study OF Mrs Walton Phpps and the graceful
| seated portal: OF Miss Elizabeth Chanler. All
| these have power and beauty In workmanship and
| they arc thoroughly individual In style Their
most insistent merit is their vitality. their truth.
merely TO feature but the modern and pc
culiarly American atmosphere in which the d!ner
ent persOnages obviously belong. In other words.
Mr.. Sargent adds to all his brilnncy as a painter
the marked vlvacity and intelligence. and It
| IS here where most Of his American colleagues are
| also most characteristic and most interesting Nj.
Dewing. IN his sensitive portraits OF Mrs. White Miss
| Emmett ana the young lady who Is not Identified
! in the catalogue (the number IL 49, Is subtle and
quiet a colorist. master Of hnesse in drauehts-
manship and then. in the spirit OF his work. In the
thing that MAKES his siitcrs interesting. he is re-
fined to the verge Of poetic strain There Is nothing
loveer here than his Mrs. stanford " hitc.' 1t
IS one Of the finest achievements Of the show In
| its imaginative and elevated phase 1t has some
fine COMPANIONS in addition 10 the other examples
! from Mr. Dcwng's own brush. pictures Ike those
| Of Mr.. Thayer Mr.. Eaton Go 3d. and
Mr.. George Butler, IN which the beauty
| and feeling distinguished AZ they are pro-
found One picture there is by young painter OF
| the first rank as a craftsman. which is nearly but
not quite worthy Of association with these On lofty
grounds This is Dagnan Bouverets standing portrait
| OF Mrs George Baker which hangs not far from
| Mr. Thayers Miss Elizabeth French" a study In
which not only the lady but her horse were objects
OF the most sympathetic scrutiny. Compare the
French work with mis-. and the former has less
sentiment less charm Of deep, penetrating kind
But in its field IT has much more man a passing
meditative ana the work fingers in mind as not
many portraits do. II heads niue group OF pici-
Amy Bend" Kenneth Frazier's three portraits.
Lenbachs beautiful unfinished head, and the wholly
nIa vein Of dciicatey thoughtful nqusitiveness
tn,r Irean fesling They go beneath the
| facr not poetically Mr. Thayer does. bht not
raiher frequently in evidence Illustrating the brisk
alert style which has been pointed vu' AZ uoiai''
from Sargent men like Mr.. Metcaf or MI C91H
the e'ure hsnsnF III d Mss Haey in h
numerous fruits Of Mr.. Chases nuency ana clever
taste. in those various works by Mr. Peck Mt.
ReId Ms Ro!shoven. Miss Beaux. and three well
come foreigners Wauters. Chairman and Zcrn'
which hung, the artist seems 10 nave bech saIs
| dad
way. with no curious subtleties with no attempt to
use Inc natural gifts in the personality before him
TO a higher power but with much understana ni,
ton IL Is pure realism that they present. ana IL ~
realism with unlimited interest IN H. TOT IL Is lelt
that here are positive types VINO may or may
any rate entertaining and worth KNOWING on ,her
superficial side. The technical methods OF these
Dsnsas keep y Pa9 n w" f' fSpr' mental
There is kind Of click and edge 10 their brush
work there is 10 their treatment OF re icaS ,s
the figures who submit thcinseves to th hi
art Men Ike Chartran and MI Metcai. IKE MI
Beckwlth and Mr Zorn are very represtntatlVe an,
highly suggestive. Their works deserve me HVstt
careful attention. 1t is a bright pleasing series on
portraits they produce There IS grace Of movement
reelected I'm their drawing IN the positions in when
great decorative gayciy and freshness IN the coors
which they handle on founcar9n OF Gr,
so They are not a.wayS serious lhty
are never. the whole shallow. And passing
for the moment to the American representation
alone. there II great pleasure Ia recognizing the
ability the superior workmanship which II visible
in matters o, texture IN the handling Of stuns and
furniture These details Ia a picture are conquered
through c!everness OF manipulation They seldom
| appeal the Imagination. But they do appeal II
the taste and Refinement Of painter. and IN much
ZION and destness that lift them up almost high
as they can 60 Compare with Mr. Beckwihs
portraii the dazzling but hard. brittle Of
artists and for their breadth and generally sumptu
Gus authoritative methods they are entitled to some
| of the celebrity they now enjoy. But theirs ~ "A
onocious briiliancy founded showincss well
on the sound training In draughimanshp common
IN France and the visitor needs to be warned against
nassrt them here. lie will hnd better work. though
loss reent!ous IN some of the veracous pictures TO
which reference has Just been made he WI ma
E,pah school, which IL the best in the section de-
,o3sd 10 the old rpAsterS. TOO rich section 10 be
discussed briefly