New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-11-13

dons a monumental painter, an arranger OF
stately backgrounds and pompous draperes
He left that to the steadicr art OF Reynolds
For him a duchess was bewitcbing, rot be-
cause she was a duchess but because she was
a woman, and his grandest women have GER
tain sweetness which testhes above all things
to the exquisite delicacy OF the painters point
OF view and style, TO his gift for scMing what
was most lovely, most womanly, most elusive III
his sittors He is a kind OF rareiicd Van Dyke
less powerful than the Fleming, but on the
other hand, more tender Paint can be used IN
many ways" observes Mr. Armstrong IT can
be used to cypress ideas Rcmlrardts way. II
can be used to render Objects The way OF V"laz-
quez It can be used to delight W. with its own
constitution and 10 play upon ON emotions IKE
the notes Of a violin that was the way Of Gains
borough" This does no, imply merely technical
merit II does not mean that GaiDsborough was
an art fUI arts sake man II HITS Off, rather,
In one way, that quality which We have AT
tribUted TO the artist In another his instinct
for what most enchanting III his subject
Character, n he usual sense OF that term, vas
not what bc sought Nor did he care to be
dramatic What he DID care for was beauty,
ana this, frcghted with sufficient but not too
searching, analysis, he placed upon the canvas
SO eonsummately that II was fused WIN ms
pigments giving and borrowing radiance I'VE
arc all going TO heaven. ana Van Dykc Is OF inc
company" he whispered on his dca'hbe3, to
REYNOLDS The words were fcllcitous There
was nothing earth! il ms art Its spccia' quail
ity IS among the purest, most pocu most Oh
aphanous things in the world When be painted
a landscape he made II rich deer and true
When Nc painted man nc Usual, clear
10, .it nd 81 AIeu he painted the WON
en- who shine most exruistey IN his long gal
lery OF portraits h. used the AIRY shi.i OF an
inpr0y Isator BIS brush seemed h. taiess the
,anvao 70 "a. u q VISION Of beauty "a u by
mag
Nj Arms. roIic's vonsrn, = worth, ~ It's sub
let He is II - true sometime ln'I "usably
dis. ursiNe ana his patriot,srn asionallY
warpe he judgment. TT as ~ praisinf the Eng
lsh school for It's sincerity. h. points with repro"
batio, 20 Guido and fiu'Iciro L. B''nskeIh'
Coytej ana l.ebrun, on The Continent as though
tboy were characteristic "f European art
ins,es,J of b,inl, minor type. AFai '' anxiety
to zali the English icads bID ~ r'riark that
woman at her best ma. been s""i "ltll = deeper
sympathy ano carGss"G - "A irh;'l hand y
our Englsh pant'rs thah ny any - Their
rival tn, later beng ..ad"fN''"o TO Dc
Ri ha' GiriEion" Titan. Lotio M"!'iio ana
sc OH This is natly disInr"nuons NJ Arm
stronr with all Odd forgetfuinoss 81 history,
tacitly ash. that tho Italians should have
painted then countryv om"1 like EnGi'shwonen
IN order TO rival the English artists lie ought
70 know that IN" lind OF Wom"r painted by
Gairsborough o. SiT Joshua wa, Unknown to
the Italians Il The Renaissance. Bat We Will
no. complain unduy of thos. matters nor or the
excessively long and obscure introduction, which
IL a rather supcrnuous disqu siton on what the
author onsidcri u BE- "a definition o. art The