New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-04-16
NEW AND OLD WORKS OF ART
THE COLLECTION OF THE AMERICAN ART
ASSOCIATION, !:

fore the public OF New-York ancient modern
paintings distinguished some which are
offered by the American Art Association. That
firm is about to reorgan.ze and prior to the changes
In its membership II throws upon the market Q
large miscellaneous collection in which number
OF productions must evoke fairly unqualified ad-
miration. Good old masters are few and far be-
tween in auction-rooms The present collec-
ton contains a group OF remarkable paintings By
early men. At the head OF this group is MASTER
piece by Van Dyck. fuli-length portrait OF the
Marchese Spinoa and her daughter. painted In
Genoa in 1926 The most conspicuous point OF brill
fancy in the lies In the winered dress OF the
Marchese, a flowing mass OF sumptuous but re-
fined color. Still more characteristic OF Van Dyck
than this however is the distinction In which the
entire work Is enwrapped. the statelness with
which he has bodied forth a dignfed and pct-
uresque figure. All his grace and delcacy OF work.
manship visible in this painting. The touch 10
exquistely fine and sure about such trying features
as the elaborate ruff, and in the impression Of
technical mastery which 1t leaves the work can
bear comparison with any OF Van Dycks great por-
traits Some few be recalled which surpass 1t
In pictorial charm and In richness or color lin
spite of the magnificent red robe mentioned above.
but as regards the style OF the master it is abso
lutely representative.
The Van Dyck is one OF a little company OF old
portraits in fact, the only ancient examples from
other fields are two interesting but not extraor-
binary religious pieces by Altdorfer and Jean %
Bourgogne, respectively, and fascinating fragment
OF artless narrative by Benozzo Gozzol This last
production is a positive gift OF fortune to New
York The early Italians are not illustrated at all
In American collections, now and then by
highly doubtful performances. and this naive Mar
rage Scene" while obviously minor work OF the
Florentne Is yet genuine production. fuli OF tho
mans curious style and the enchantment OF MS
time For this and for the plausible but rot quite
convincing bass relief attributed 20 Matteo Civtae
nkaly IN
the sale But this Is alluded TO In passing To re-
turn to the portraits Is a pleasant necessity 1hey
are all delightful The association appears 10 nave
followed no specific prediction as TO school, but
to have fastened upon a brilliant picture whenever
and wherever possible In contrast 10 the naughty
elegance OF Van Dyck there may be studied the
somewhat archaic polish of Antonio Moro
painter who was often more flexible ana suaVe
than In the Portrait OF Margaret Roper here Is
played but who was never more precise, never
more searching in his moduatons OF diiiicut
surface than he is seen TO have been IN this In
stance. The Moro, indeed is one OF the treasures
OF the collection a really fine illustration OF
valuable master. Another master o. the Low
Countries Rubens. is likewise represented oy an
adequate portrait. The head Of monk said TO
have bean done from the artists confessor Is in
rho formers most vir,le and accomplished manner.
Rubens was at home with type OF THIS sort-1
type which Weakened sympathies underlying the
courter I'm him. and you feel him TO be IN SIM
al one with the object OF the painters STUDY ana
the result is a striking unit OF veractty and pict-
uresaueness Tire portrait OF Marie de Medici
given to Francois Porbus g a peculiarly attractive
specimen OF that painters conventional out En-
ishad art. and in a kindred vein, but more eiasuo
ard more personal. there Is feminine SUBJECT by
Bronzno which revives agreeable recollections OK
that facile figure In Italian art. The smooth
quality OF this portrait enforcos the Judgment thar
Bronzlno was always shade too sleek. and tho
ACCOMMODATING surmse that his procedure was TO a
great extent mechanical Yet he is one OF the
numerous lesser men OF the sixteenth century VINO
survive IN spite OF themselves-painters whose
patent defects are insufficient hide their pict-
urcsqueness and their special Renaissance atmos-
phere. From Bronzlno the survey might pass TO inc
little example OF Creuze Included In the show, were
that a work OF Importance, but 1t may be merely
mentioned in turning TO the English works on tho
walls There several OF the latter-a fascinat-
ing Lady Hervy" by Sir Joshua Reynolds. Mrs.
Beech" By Gainsborough which atones for its
cracked surfaces by rayishing color and an alum
dance OF the painters most fluid and Individual
touches. and two entirely charming heads BY Law
renee. These English portraits are In the front
rank OF the associations possessions They are Sra-
clous in spirit and brilliant in execution. They round
on, mos. fenctously the collection Of old paintings
which occupies SO prominent place In the galleries.
The same cathonclty which has placed Van Dyck
and CozzoI side by side in this collection has rued
difference.
wing There the association shows that IL has
chung rather desperately to rhe French school,
but at least IL has been broad within its limits
and Charles Jacque Is represented along with the
mpressonists, Ratfaelli and Daubigny lie down
together The effect Is curious, but interesting.
There are some fire examples Of Corot. Dupre and
Rousseau the walls. and 1t is amusing TO turn
from their imaginative and sober naturalism 20 tne
purely optical analysis of Monet Sisey and their
followers. For of the followers. by the way. there
are many examples. Mr.. Twachtman and Mr Weir
are present to speak for the American contingent.
and in one room there is q most amazing group OF
clever young unknowns. VINO were especially Sc
lccted for the association, IL seems. by NJ. Bins
the Partisan Orientalist. II is not apparent why
the selection should have been made. THESE uh-
familiar men cannot be taken seriously. That they
are unknown makes them momentarIy attractive,
but their nstrinsic qualities soon prove sterile. and
We have no hesitation In saving That Mn GiilouS,
Cottet Freedom, Naltat and their fellows might
better have been left TO their Partisan mil!eu Hero
their absurdty is obvious at a glance, ana does
not become the more fnfasTg az from
| the emulation OF Degas. for example leads TO a
happy though superficial hit on the whole. the
leaders are enough. and OF them the ASSOCIATION ni
are all here In typical productions mere Is an
and two studies Of scenes in the laundry give an
impression OF what Degas Is like. To many Ameri-
seem seem to be very impressive to them in these two
! canvases. He exerts In such bourgeois studies not
moro famous ballet pictures. But the student VIII
observe In these pictures very irm and sagacious
management OF values and for truth 10 the psycho.
logical elements In the subjects 1t would be hard
to find their equals, These are virtues. Of sort:
| AS TO beauty. 10 pictorial delight, VI. Degas
advises you upon this occasion 10 go ELSEWHERE.
| Certainly there are many good men 10 whom u ~
| possible to CO. and with clear conscience. more
| over. The American painters represented In addl-
rison. Chase and Gay. are in each case in very
| excellent vein. and from Frenchmen like Cazn,
| Gerome. Lepine, Jacquet Henner and lsabey. from
| men like Jongkind Pasni and Poktinow. there Is
much pleasure TO be derived ana they are an pres
Besnard is serious. too. but the spectator must be
pa rdoned who finds him slightly reckless ana over
| wrought I'm his vivid portraits and his dashinS
| sketch OF Sevillan Jaleo. He inspires mingled
| doubt and admiration.
| The paintings belonging TO the American Art
Association III four OF the galleries but there u
small collection OF sculpture. embracing the Italian
| piece referred 70 above, Andrea Della Robb!a 81
| minor Importance and several remarkable works
| by Auyuste Rodin These last are truly unique pro-