New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1898-02-05
ART EXHIBITIONS.
THE ETCHINGS OF MERYON AT THE GRO.
LJER CLUB MR. DAINGERFIELD'S

Tho best preparation for a fruitful Study Of the
Merycn exhibition al the Grolier Club Is careful
/ scrutiny Of the portrait by Bracquemond. which
| hangs at the entrance TO the gallery. II shows
Meryon have been a man OF strenuous and mel
ancholic temperament a man from whom exactly
sucn work might have been expected as that which
he gave 10 the world the outcome Of his rambles
In Paris. II the outcome OF his Imagination az
well as Of his purely visual studies. Hence 1t Is
much more than an accurate presentation Of arch-
,ectural monuments It is also Interpretation Of
them, and one through which there runs tho
strangest and most aurng vein OF originality and
morbid feeling. THIS seems, perhaps 10 be carry
ing the hypothesis too far. Architectural sketches
seem hardly the things 20 be vehicles for the
preston Of morbid ideas. But Meryon justlaes the
paradox II would be hard 10 say Just how he
does IT, But the macabre element 10 which re-
fer Is nevertheless unm,stakable in his etchnss
Alone among productions % their kind they have
distinct psychological quality.
Perhaps the best Illustration OF this quality might
be found In the plate which at first glance seems
the last ore In which 10 look FOR h. We refer 20
No 65 Rue des Chantres, Paris" a design which
I'm respect TO mere charm and grace is perhaps tho
most satisfactory thing Meryon ever DID Yet the
note Of gloom is vaguely present; the air in this
fascinating design IS the air OF tina, ny ster.ous
Paris in which the etcher's mind loved best 70
wander His best pieces are from ancient Partisan
subjects and over the company OF picturesque
/
sum UP all the and 70 dominate the collection
Neryon seems 70 have recognized IN this eerie
monster the genius or his Paris he to have
portrayed II not only with sense Of It's sculp,-
ural qualities but with a feeling FOR its living
spirit, This griffin Is not dead. but wears in
the etching all the air OF a seatient thing living
horror Meryons genius is disclosed IN the power
with which ne kept the equilibrium OF his art IN
disturbed by this haunting note OF imagination
The note was always present-in even such an ap-
parently llghthearted plate az La Gaser.s do
Notre Dame the deeply bitten shadows enforce tho
indefnable soemnty which the etcher could not
help importing into his work-yet II rarely shook
his nerve nor caused his vision 20 hesitate tho
essential points in his composition The needle
traces each line with unerrlng precision. and tho
most poetic most imaginative pictures Of buildings
that art has produced are also the most
exact the most natural and convincing. II may
POSSIBLY be asserted that they are finally among
the best exempars Of hard, uny.edins line. This
would be a superficial view. Meryon missed that
sunernne grace which whistler has made so ravish-
ing in etching. his line never won the subtle plant
yitchery which Whistler and HaGen both have left
70 be recorded among the major achievements OF
the needle in modern times But his line Is not
hard It IS only strong direct, forco!e' ana
handled with perfect passion for the elements OF
structure and Of bulk mass weight, in architecture
We fancy that architects who study him well must
love him not alone for his vivid pictorial character
istics but for his evident understanding OF the
beauty in the plain facts OF building
Beauty Is not too strong word 10 use IN alud-
ing TO such plates as No. IS, "L'Arche du Pont
Notre-Dame 1850" and No q, lie Pont-au-Chanse'
vsrs l7s4" The subjects not obviously p!ctur.
esote but the discerning critic Will feel In The man.
ner in which Meryon has handled the broad wan
surfaces in both designs quality OF m!ngea
strength and delcacy which is Irresistible ih''e
heavy walls IRE etched with the breadth Of
fE,L. a..ar yhar 4ls
most impercepuble. is remarkably eloquent Ths
fact is that whether in the outlines or the masses
of his material Meryon felt always sense OF .!ie
and a long FACADE which In other hands would De-
come merely commonplace Is In his plate 'aas
to linger for It's peculiar beauty. NO. d. 10
Pont-aI-Change." offers &c Sc in point me i0a'
OF the vast building is handled with skill that as
srres amazing variety OF effect. On rtre occasions
the tact which the special quality exe!nplhed ~
this plate, forsook the great eicheT compare WIN
lie Pont-au-Change" that other much moro p.c'ul.
esoue design No. IS. "Partie de Ia Cite De PARIS
The s,cond plate may be more picturesque tlah ens
first but the artist has been in doubt as 70 whas
a sbouId leave out and has ended by etching every
de.au in the scene before him. The result IL disap-
pointing one goes back to lie Pont-au-Chanse"
or TO "L'Abside de Notre Dame de Paris. or TO
GA MorSle" or TO the "Tourelle, Rue de rEcole 90
Medicine" In these masterpieces there IS not
supernuous line Meryon at his best was spar'ns
If his touches. The final impression o. his art Is
an impression Of almost austere simplicity The
enchanting panorama OF old Paris that he gives Is
indeed enchanting romantic. but II Is fuli OF o!eah
and chilling airs There is certain suggestion OK
grandeur about these honest, strong designs. ana
underneath the grandeur there is a hearTenaihs
sadness II Is curious legacy to have LETT 20 pos
terlty pathetic and yet beautiful. an art whicn DO
gins by repelling the observer and ends py casting
over him a spell which never again Will ne Do Ado
to resist.
Uncommon significance attaches to the largo re-
ueious painting. The Child OF Mary" which Nr
Elliott Daingerheld has placed on exhibition d ''
Klackner Gallery. This artist has had the eoa'As'
70 paint the kind OF picture that we are toio over
and over again the people do not want ne IS !" ~
congratulated upon his brave indifference 10 '''
feeling attributed 10 the public. and II IS no' un-
likely that he will md himself after all very
warmly supported No approaching the picture
svnpathetically could fail to be impressed by ~
sincere and lofty character. Il may De sa'a a.
once that II Mr. Daingerfeld has fallen snort OF hS
aim anyhere II is In matters OF technique AZ
nicture OF the Madonna and Child this is unusually
impressive The design is simple. stately, ana ho'
roticeablv conventional The Madonnas attitude
"a she sits enthroned. her back half turned 10 ue
spectator does not follow any excessively taihNa,
composition Of an older time and While the Se's,"
scheme recalls the architectural grouping OF Wv
Gid masters It is So handled as TO light and co'r
that the final effect IS ndubitaby fresh ana s'o"s'
Mr. Daingcrfcld has pa SOM rich' warm eo''' ','
~. canvas and he has enhanced the eject OF wv
co,or nv the breadth OF his nanship but III
hath these things he leaves a l,tle 10 be des'reu'
We wish his color were purer. and had tehoo''
subtler quality We wish his hrushworA "eo
smoother more suave and, above all, more o.s-
t,nguished. more Indicative OF an individuai s"1e
The canvas now seems obscure IN places ant
stringy in others We point out these defects nov"
aver with no desire 10 give them undue pronl-
nance The total effect of this noble work IS ho'
seriously damaged. Mr.. Dangerheld has trsasea
great theme with dignity. feeling and power ne
Numbering that fact. We need not dweH upon '"e
technical blem'shes which this picture gives US roa
SON 70 suppose he will eventually overcome Ana
art 10 taken. u Tor