New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1897-04-06
THE TYLER COLLECTION
SOME MASTERS AND SOME OTHERS.


II report be true the late GeorgeF Tyler formed the
collection which is to be sold at the American Art
Galleries next Friday evening some time back In The
.even,,es The fact would be sIrmised from the
character OF hs pictures few OF them are very
fine: pictures which as fresh ana interesting To-
dsy as when they painted Tine reg, now seem
old-fssnoned illustrating taste Wnlch mas nal lts
day For the sake OF the re" u's sdie VIII DC
eagerly attended.
Chaplin has been frequent name III Cd 'a'os'e' "
American collections but only once In a long TINE
has Il slgnIfed such beauty as belongs 70 ihe
Bather" little panel which MI iyie' s''u'"'.
bought at a time when the artist was o"e""s az
fectonately upon kis canvases' ihs'eau VI '''"'"e
them out mechanically as was later the case upon
many occasions. THE Bather' mas an Oh chap'A"
reserve all OF his quiet elegance; but 1t nas hhef
and more tender feeling than went into MS average
pieces; and the small scale Of the panel 100, s's
It a charm which he DID not always secure. les
one OF the best things in the collection IL inspires
some wonder as 10 the reasons for MI Tyiers nav
ing purchased a number OF the other canvsses mere
displayed How could he have cared 20 possess tne
street scene By Beraud for example when ne was
pleased with this Chaplin? Catholciiy does not ex'
plain II. One is beautiful picture. the other Is
bad one. But this Is enigma which IT Is, after
ALL useless to speculate about. The main point Is
that Mr.. Tyler knew a good picture II he did NOT
know a poor one. The cattle piece by Tfoyon may
have nised him through the mastery painting OF
the animals-pain,lng which makes the landscape
look particularly lifeless and the fresh. vigorous
patches In the big COrot. the Landscape and Lake.
may have caused him to overlook the shaowness OF
the canvas as a whole. But ne found In the Moorish
Children" OF Daz picture that Is without dualih.
cation a brilliant example Of the masters mellow
color and poetic fanny, and IN the "Ante-Room OF
the Duke OF Alva" he hit upon an example OF Zama~
co.'s which represents the painter at his high-watef
mark This picture by the lamented young Spanlard
c,n IN in he heyiay q hfs gives
feet idea of the manner in which a man may com'
bine dignity with consummate fnesse, II he but
takes thought 10 the task Zamacois studied With
Meissonier. He cultivated the polish and deicacy OF
that master in miniature. But he never lost certain
strong breadth which gives 10 such a composition as
the present far more impressive reality and
wider range in color and light and shade than any
student of the Meissonler tradition. saving always
Meissonier himself, could ever hope secure.
The only other painting OF a major quality II
this collection is the Leaving the Cathedral" By
Isabey. Hundreds of paintings by this master. OF
attributed to him. exist in America, and some OF
them good. BUT, Hike the Chaplin, this par.
tcular work belongs apart. in a small class. II
has the purity of tone whictos rare in the Isa-
beys that most often seen. and 1t has the
lucdity OF composition and drawing for which Il
is also useless look. except in instances.
handful Of pictures may further be mentioned, with
1.-THE Young Pedler." by Mr. J. q. Brown at the
head. This Is tiny panel, painted so long age
1866. 1t is like a sketch Of Edouard Frere's
only much richer and more solid In quality The
remaining productions OF merit by Verschuur
J. H. l.. De Haas. Pasini Bouguereau De Dreu'
and Van Schendel
The American Art Galleries are occupied also al
this time by an excellent collection OF GrienHta
suda. of Toxic. and by two large decorative panels
by DiaZ. The latter interesting through incl,
size II was unusual for Diaz TO paint on such
a scale. But like the large composition shown a.
the Avery Gallery not long ago these two design;
leave undimnished the spectators loyalty 70 Dia;
| IN his less ambitious moods lie cOuld nov Eril
being graceful in this Spring" and I'm this Au
tumn." and in the landscape OF the latter picture
he was, to a certain extent, the Daz OF some OF
his most characteristic studies. But while he ha'
put some mellowness into the flesh tints OF the
Spring" he has left those OF the Autumn" la
| mentally muddy and neither OF the two figures
! has anything Ike the elasticity. the reality. which
! belong 10 Diaz his best. on the whole, they
| leave a tepid impression. The pictures are ~
| Diaz and therefore they interesting. They
have a little OF his color. and therefore they
| in measure. beautiful. But they are unmportaA
works Just the