New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-17
ART EXHIBITIONS.
MR.. W. II. FULLERs COLLECTION

The Fuller collection has been FOR soma ve,..
well known in New-York but when Il was placed
on exhibition tho American Art Galleries ye.
terday Il brought a great surprise With It IN n.
shape OF a painting By Thomas Gansborogvs
which no one had imagined was IN tho country
n is a portrait the famous "Blue Boy" Or rafbs,
one Of the two paintings which bear the same TIA
The Other one g. 81 the possession % the Duke 0.
Westminster. and is tho version best known % the
word The present canvas has led q changefu
but traceabe existence. ard. while rs aYtasn.
tcity IS unquestioucd. there is room Tor much A.
gument as 70 rs chronology ". Fuller handles
the matter AZ some length IN an interesting Mono
graph. which Is circulated g. the galleries and
not unwlsely BE- caves TIC crucial ro.1' wher. ~
found r. The truth is that tse priority O, n.
Westminster version or o. Tbs ono has never been
definitely set,lcd f. IS hard % sc- that ever can
be settled and the only serious point iet tcr con.
slderaton b. whether one is better painted
picture than ns companion. On Ribs head TIE
question of priority might mean everything Or
nothing 80 arts. worthy n the name Vlo
ualn,el 4 picture twice would make tle second
edition exactly Ike the Grst le might make It
better. Tfc ngh- make 81 worse. d. The c4se %
9TH. Blue Bow" a. - imposs.1's 20 say which o.
the two versions Is the better or without placing
the PAINTINGS side By side. That course "a oay..
orery not avalablc We are thrown back .p0ns
,,rside-atlon % the intrinsic merits " ST.. fl-er
canvas made without reference t, ta" mors
famous example On London
C,insbororgh Is sad TO haze painted This pE.
trait Of Master Jonathan 8lttfa. 500 81 ra
,.,.-,orq.r i1 order 90 POKE thar picture a
which blue pr.domina-.d .o'-d be- made more
b-autf.i than Sir Joshua Thought possible Tbs
,.r.rd ma 90 without .s.-Tata foundation 4,'
fact romans that tne portrait Is 'o-r DE- i9'e
q work n which Gacsbo-olga seeH- ~ --,s
forced tie note 70 D..ca beyond ta2t " "a
r,,oet characteristic moments. We refer. ~ '5Ir's
to the col,r Tao trrrgl -..p " 10 ~
usual arm and graceful .s.., weakening H1ex.
nocte llv ~ one important Doiat-ia 'ae band hoi.
ng the ha--bu, detao..1 taf heHre i'ln ~
background visa cons inmate precision and Y.l.-
leo TIL. cr,ira g. slender and elegant The tics
is rloaslnc IN feature and wclf 70 t- -l.'s
r. The transition from the rudy So" 20. '- cA-e"
70 the pall.d uuhealthy brow were not s5ms"aA,
d.soonccruug. The o4 .srol"a l' s"-.-".. "s+s-
n az 20 bring the fr.re v.vliiy 30 -ne f-'at over
-. blue habit % Master B--tau The .g1, pay'
exqlis!tely. revealing Dd.usaoIt -s" ''@..''5 "
tta handling Of textures S.n-,i.rf .-'@,s
d, ,big picture Perhaps s an even no'a
mastery and eloquent management oi .-- "sa'
one longs 10 see tie ae!ra ae'ia.F oa."-a u
atmosphere T. stands o-t We i,'- ''-'e Z"
matter OF sh.! th1n u Lte' moro as " N'-'
s.,rd 70, q, srrange cement az curtains than p ~
&c, n r.ti-s vt u !s Unu.s-ak1t.r s~alr-
ef. beartif..' In spite II Tie morbid zones oi 'he
Co.,. and the eombreness OF parts G., ne BACK
g-o,,ra r il beaurf.. as a picture ana as 81 *
anula Of Gainsboroueas sty.e n !'s pest estate
THAT he auctuated IL techn!ca. charm IS sao'a
nv The paintings which accompany 4"s %
BOY" The portrait of Lazy lNn7s' o. 800
b, i,s ,av1v ami restricted scale o.; co.oF, IS
,t.,rar q, eYecl than The B.ue Boy and 80
f.,,irg also is less forcioe. Yet tas Q.ct-te ass
- ,,.,iI,r dali,ecv note ;hat IS rot. 70 rs way
- 10 SURPASSED by The Blue Boy u tas fo''
,r,it Of The Countess Of Back.ns1ania.F''
again the spirit Of the work seems more -A'-''''@
villa the vitality OF u f. lower tAe'e a'r '''--'
ural faults M the treatment % -"e s"o~'-7'1' 80
-. General effect IS lighter. less ar-s--- 1n4 -
-tr.1g The PORTRAIT OF an Ottcef' Is spa'N'
a. If,,i. canvas but IL wants the breath WEIGH
! p. - ne di.cerned In al rs compan.oas y" -
o,ber hand IN strong contrast 10 me -@'"'7'7s-.
/ f.ce there is hand In this poFtF@.- "''-" 80 0"
how beautifully GainsborouSn co-.- "-t7 PN'.'-
-, ,o-4 &, "Th- Blue Boy y b. n2l cared
do So The landscapes by Ga4iSo''o-e" 80 80,
! q, ouality. In The Edge Of the common -
- a,,raor,,rary richness and BREATH A"e 20
-. b,,a,ad with the synthetic power a. .s'1'
s,,,,s+ naintinc years later when the n@'@'1''.'
e.iool had established itself, and the a'@'ss-'''
10 .rue and clearly expressed Inc la'e' 20
.,o, Davs IN England" merits the same ems
o-r, nr,tse II Is d beautiful landscape ~" -
- - ITCH color But In Coins .
MARKET" there IS decided drop the tesA'ss' 10.
.-,.o,,s force Of nature IS gone lAs s.--As'
{ % - ma
-, .,,,os- -e,eats the ripe, strous note o. 4-'
r1gs NJ the Common" but misses Tie @s' ''-..
- tr,onl and modernity when me "----''A--'-
canvas reveals. ,-.-.. ., ,,,,
Rs,ore passing 20 IRE other laHas~aPes 80 -.
..lI.,,,o, which make UP its bulk. Ne may p4-''
~ ..-s, ,,,r-ralts by Sir Joshua Reynolds
- 90 ~ tta-s THE hon. Mrs harrington
49,. arc M, Inclined 20 llns'r long l. = s"s7"
-,,efil but rot striking eNainptr -
1o,nnanions. however. are exceptionally $50
,,g "1he Duchess OF AncasteF. l"--y 80
Tough II may be In some % us tones is "'.-A
bv all OF the great English painter - '..i
a. The Mrs Knapp" you ma that i--"S 'e''s-
-, ,re.tv nearly IT'S highest power. u "o-o y
- - ex,ec.rate tie value OK This portrait .
~ ,,,..s,r,,ion n witchery IN art Inc me-
ms he,utiful over her Sir Jtsa-A "-'7 49,.
o51i.loral distinction of his art l's re'".'-.--
blrh-bred reu0se and ease I-eie -
dazzling about ,his canvas Beside "'"'' p,
SIR Joshua 81 would look air. Isi "'-'"f s.e.,
mai IMPRESSION would be false ,a .A,A' 60 60,
~ true charm of color and ''y''' '--
soec!men OF English portra'iAie. s..,,, at
7, &c nevertheless .n respect 20 laNoS.1p' $50.
.n,, the Fuller collection is m'si .-S.-t D.,
Students hear much Of the relation % they
France IN natter Of AT in t.e .'7' 49,, con
49,. ,oi4 NJ the importance ~ B1n.H5-." 1-- -,
az .. .,s or,e, ~ 1900" they .earn DO" .-ss'
,,.r their colleagues ar1 SUCCESSORS '.''' -,
,,.,, a., ~ ,be great romantic movement j.
r, antictpatad Tho landscape -'".' .,-,
SIR Fuuor's collection presents so'--' ..~4 W..
evidence He has Two examples '' .., ,,,s.
sor.s classic art % show how i.'-'.. .... eo-
,,,,l and vet h0w lry Landscape -, d., hv
< ~ trsatb Of IKE was brea'.'- '"'0 -,
40, -. Then follow the .a"ls'"'
ca,nsborough. TO which ~e "''1 ..o M.
- 49,. ..rtoi, extent. but apnf '''..- @
- s,,raords OF later tme-An- "',- ga,
90 .', go, Immortal Constable. u - "-'