New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-01-25
his steel. BoldinI is the nrs, of them. the Boldir

MS STEEL Boldini Is the FIRST OF them. the Boldini
whose portraits have recently attracted attention
mere to the style OF his maturity 1t Is the style
which he was cultvating In the sixties and there
aoouts That is represented In the Stewart collec-
uon IL liz original. yet II is akin to Fortunys.
JUST as Martin Rico's style is his and never
theiess belongs In the category with that OF
ms moro renowned countryman. Boldni painted
The Rest in the Studio" for example In just
such a mood OF satisfaction with the daintiness
Oh oress and the coquetry OF pretty model as
fortuny often had The mastery execution In
TINS little water-cOlor has in it the fire OF n man
working out OF his own inspiration. Elsewhere, in
the highway OF Combes. a-Nille." or in the
Pond In the Forest Of Fontainebleau," or in the
studies OF scenes along the Seine there are vivid
oiue skies. with tumbling white clouds which go
very naturally into company with some OF the
Spaniards sunny skies. and in the dexterous
handling. in the delicate. minute touch. you recog
nize the influence Of Tortuny But the flavor OF
the work is original. especially where the senti-
ment OF the landscape Is concerned. Boidini re-
Veais IN his river and roadside studies sweet
ness and freshness rather surprising when the dry.
staccato character OF Of his early work is
remembered. "Cichy Square Paris" T. the work
OF man who seeks the pictorial value Of hard
facts. The landscapes positively have a vein OF
poetry. thin. but stll pooticai. and. save for the
100 closely Analysed pebbles In The Beach at
Etretat" and the PARTISAN street scene 10 which
We have just alluded. his interesting body Of
MANHOOD
the charm OF suave elegance OF sophisticated and
yet very winning feeling
Rico holding his own. as we have remarked Is
also little Disappointing His water-colors verge
on spottiness. But in spite Of the spotiness there
Is an amazing strength disclosed by these sketches
and In some OF the oils notably the Avenue Jose
phine Market. Paris" the exquisite delicacy OF
handling which Fortuny raised to its highest
power j. recognized In considerab bic force MI
chei another Italian offshooi OF the tradition OF
Fortuny is brilliant IN all three OF the pictures
by which he Is here represented. but nc has
metallic which is too much in evidence Ma
drazo. the brothe:irlaw OF Fortuny. is curously IL
Illustrated. on side ne may be studied in
large picture Of "Plerrette." the kind OF picture
that he paints to-day with great popular success.
but with smaller effect upon those who remember
his earlier productions. or the latter there arc
TWO in the Stewart cOlection-"W Woman and Par
rot" and Woman and GuitaI"-which show how
well ne applied the lessons Of Fortuny In
these he has bold brush work. flashing color. and
vitality. How could ne ever have consented TO
abandon the lines OF art laid down in these pict-
ures? The two cafe scenes by Roman Ribera con
tain some clever workmanship. but they SHOW that
the key invented by Fortuny s. not adapted TO
the treatment OF bald prose. some touch of light
Is needed These cafe compositions
are veracous bat hard: they want spirit
gayety. charm. In the Head OF I'm
by Hernandez, there is some smooth. fluent
modelling. and there are some defty ndHNicu
flesh tins In is airy semi lerlic way TINS Is
striking specimen OF modern Spanish art by
Zamacois a Spaniard almost much lamented as
Forfuny. there four pictures. Three OF them are
distinguished by the polish and microscopic fel'Y
Of execution which he derived from Meissonier one
Of them. "For;uny's Model Is broad. vigorous
sketch for which In its freshness. warmth and uith
We would willin sy give its three companions There
: a "Buffoon" by ARGOS. Spaniard who recalls
Zamacols which IS fun o. good color and drawing
BY De Nttis. the rare and delightful Italian there
are TWO admirable little landscapes couple OF
drawings stand 20 tie credi; OF Nerge and Morelh
respectively. men from whom II Is odd that MI
Stewart did not secure more important works
facle Roman water-coor by the Italian Maccari and
an effective little oil study by the Spanish Benihure
complete the array OF pictures by Southern artists
all OF them linked more or less closely TO Fortuny
or the productions from French and other brushes
". will speak upon another occasion. In traversing
the Southern works We have indicated the chief
source 81 NJ. Stewards fame As a collector. he
was a man Of sound taste IN other fields. az VIII De
shown but in that which WIS presided over by
Fortunv he wreaked himself with mos enthusiasm
No other collection like his has ever been formed
There is not likely be another like IT, Its dispersal
early next month ION February and 4. at CHECKER
ing Han constitutes OF the most Important
artistic events OF tho time.