New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-01-10
LONDON ART.
uo1IDAY EXHIBITIONS OF WATER
coLoRs A DELICIOUS PICTURE
WITH A MODERN PARABLE
THE MIII.AIS SHOW

N, the skylights can be curtained al midday
ard the walls left aglow with color under
clare Of artificial light. The dark and gloomy
sovn. with its jostling throngs and ceaseless
.,,ohe Of street traffic ia left behind at the
,u-nstlle and In moment. without the aerial
e,sh, Of magic carpet. one may he carried TO
,he surnicst corners and bamiest regions OF
picturesque Europe. At the Fine Art Society's
Gallery Il is only ten PAGES from New Bond ST.
:, Venice without Channel passage or railway
,ournev; and the tour Of the Nile can be made
s,d a flying excursion taken into Utopia With
4, The circuit Of a single room without the dis
factions and annoyances OF a mob OF tourists
The best Of these water-colors are by Mr.. A. y.
poussoff and Mr.. F. Wake Cook and they are
might and interesting In spite of cold. prosac
method Al the Royal Society OF Painters IN
Water Colors one msy go from Pail Mall up
single fight OF stairs and find himself wherever
he likes in England or Europe. and at any sea-
son All countries and chimes are illustrated
within the range OF a single large room. and
.,sra are radiant glimpses OF picturesque
beauty
There has been a sacred picture Christ on
che Tree Of Life" by Sir Edward Burne-Jones.
m exhibition at the Sufolk-st. galleries for
..veral weeks. but a more remarkable painting
=, his class has been shown within a few days
=. the Tooth galleries in the Haymarket. 1t is
Y parnan- Bouverets Christ and the Disciples
q. Frnrnaus" and Is now on exhibition for the
S-st time Titan. Veronese. Rembrandt ana
o,he- great masters have painted the scene OF
ne supper at which the Risen Christ reveals
Ein,se,f n the two disciples in the breaking OF
the bread: but the French painter has not oeen
deferred by their pre- em!nence in religious art
,-o,, undertaking the same task. There were
fewer difficulties in this simple feast with two
ec-'ranions than in the Last supper with
thirteen figures and. so far as technique goes
,h.sa have been completely mastered. II IS
work o. singular dignity. mastery IN compost
zion and drawing and harmonious In color.
Tho picture lacks the subtle and ingenious
cNarr1 81 the last supper in which the faces
n, ,ha twelve are .llumined by the radiance o,
80 central figure % a source OF light; but there
q hsau,v ~ co,oring and serenity OF feeling in
the remote stretch Of airy distance behind the
white ROBBED. auburn haired Saviour; and there
,s an expression 90 ineffable tenderness in the
.,oA I, IS no. Titian's Christ Of The Tribute
Morey" revealing strength and menliness. as
well as sweetness and love. Il is the Christ OF
tenderness and love divine. making Himse1
known ny gesture and look as the Master pc
loved The TWO disciples on either side recognize
Yin, &C Ha breaks the bread. and each face has
IS own expression. In one il Is feeling OF
ear,ied surprise and solemn dread in the pres
enre q q surernatural visitor. who is about 10
vanish nysteriousy; and in the other 1t is uh-
affected alteration and serene JOY. The wondrous
story e tod with drectness and power. The
technique * perfect. the color scheme is mar
vellously effective.
on the right Of this simple scene. with its
three ideal figures are woman and chiio WIN
devout faces and pastures. and behind them
man standing in an attitude OF hesitation ana
with an expression OF bewllderment. perplexlty
and doubt These are modern figures, symooi'z-
ing the mental attitude ot the living world
toward the miracle q resurrection, which was
revealed ty the simple power Of love 10 the TWO
d,sc,r,es The woman kneels in simple faith
and The child obediently with her, While the
man with brow careworn and clouded WIN
doubt. remains standing but turns toward the
,o-,a, N Ms earerness 70 share her instructive,
u-oues.foning belief These three figures are
vel drawn and impressive, and their present
dav realism is finely con;rasted with the pure
.deaNsn q the central group.
re na,n,er has anticipated the critical objec-
,iors vhich viii be offered to his bold attempt
~ associate modern personages With the hgures
~ ,hs sacred story In carefully phrased let
,sr he iustiaes his method by the practice Of the
PAINTERS Of the Middle Ages and Renaissance
rAr,od who Introduced the patrons OF art on
,hs.- knees before the Virgin or the saints. he
-.fa~s IN detail 20 the famous picture by Paul
Vero-esa IN the Louvre, in which the same scene
Is rer presented. with eorgeousy costumed ser
vans sr waiting and group Of members OF the
PAINTERS family out FOR walk with ther cHii-
d-er and dogs Whether the old master was
.u.t,y or uuius.y cited for heresy in painting
thai picture tho new master does not wholly
succeed in jus.ifying his own method. IL ms
own work N pagnar- Bouveret appends pic
Tor al parable Of the relations OF modern phlio-
.orhic and scientific thought - he Risen CHRIST
Grd thereby impairs the unity and simplicity OF
TIE original theme. There are two stories IN
pace Of one. and the secondary one has 70 be
studied out and interpreted as Symphonic theme'
whereas the primary one < revealed q single
slanc. The treatment Of the second group is
reverent and thoughtful. but the canvas would
have n@cn stronger anu more Impressive II the
parable had been left out.
In he sarre galleries there are three fine tx
amples = Deutsch's art wonderful IN draperies,
in influences of detaii, ana IN peauty OF nar
be surfaces and textures. with which Mr.. Alma
Tadeua himself can hardly compete success
fully. Il is in the Dutch galleries that what
may be regarded the best school or present.
day arr may be studied in characteristic work
O. the Maris brothers. Here may he seen James
Mariss beautiful Landscapes and marines. with
Their luminous skies picturesque bridges and
windmils and wet sands; and here, also, are
his glimysae o. Amsterdam and Dordrecht yelled
IN mist OF radiant n the afterglow OF evening
II one DO weary II these simple scenes, here
als, are q fov. Of his figure pieces with their
home but eloquent realism This Is art which
Tpens and improves with age. FOR the tones OF
color which seem almost crude wnen the pct
ures are freshly painted are certain TO come
cut in time through the Underglaze Wilham
Ma,is Who is also a charming painter ~ rep'e-
sented here with LANDSCAPES showing catie IN
meadows and ducks beside the green hanks or
ponds and there are good examples OF Natthys
Mars who cares less than his two orothers ior
the prose % Holland life ard much more lor
the poetry Of emotion, expressed IN slnpIest
terms by blue frocked child toying WIN hoWel