The times. [volume] (Washington [D.C.]) 1897-1901, 1900-10-14

esting place to study art objects, and
make comparisons. though 1t is far from
complete, and some important painters
are absent altogether or represented in
adequately-and this latter fact is by far
the greater misfortune to both artist and
public alike. J. +. kensett, one Of the
most sensitive and gentle Of our land
scape painters. great leader in the six
ties. is represented only by series Of
small. effeminate things painted for
clientele who cared only for pretty
views" These looked best as home or
naments, and never were intended to be
crowded above massive, forcefully paint
ed exhibition things in large gallery.
Kensett had the poets feeling for ma
ture and was in his time a very popular
painter. 1t is therefore pity that IN the
Metropolitan Museum there is not some
large example of his work. like that beau
tiful Lake George" In the Corcoran CAL
lery, for instance-for that is one of the
most colorful and charming American
landscapes ever painted.
With such a picture in the Museum his
reputation would be secure, and the I'M
happy comparisons SO frequent now would
not be made between his work and that
of Inness and Wyant. This same thing is
true Of many another painters work
shown there. The Corcoran has far more
worthy examples than the Museum pos
sesses Of S. r. Clifford, F. L. Church.
William T. Richards, kensett. Alexander,
Murphy Truesdell, Picknell. Tryon, Boil
ton Jones, Smile, worthington, Whittier
edge, and some others less noted among
American artists.
The New York Gallery, however, has
many notable examples of the work Of
1nness and Wyant. Probably the fairest
and most representative showing of the
work of these men to be found in any
public collection is that at the Metropoli
tan Museum. 1t Is most fortunate for the
reputation of these painters that this is
SO, for in time the fame Of the men Of the
past generation will largely depend upon
and be maintained In these two great gal
leries, with the probability of the Corcoran
ranking as the first and most comprehen-
sive both historically and as to the value
and Importance OF its examples. The
Metropolitan Museums art interests are
SO varied, American art occupying but a
small share of its attention, while II is
well understood that the Corcorans aim is
to add to its already priceless collection
OF Americans and make that the distin-
gushing feature OF the institution.
This idea was warmly applauded by the
artists gathered at the Salmagundi Club
In New York last winter and has been
heartily welcomed by artists and con-
noisseurs throughout the whole country.
few years in the future the Corcoran
collection will doubtless be the most tru-
ly national in America.
The Metropolitan Museum has been a
favorite study ground with me ever since
my first visit to the museum early in the
seventies. The museum at that time oc-
cppied small brownstone building on
Fourteenth Street not one quarter the
size of the old Corcorsn gallery on the
Avenue in Washington. Its collection Of
pictures was very small then and con-
sisted mainly of portraits and examples Of
the early American painters.
They were historically interesting, but
there was little opportunity there then to
learn anything of progressive, up-to-d date
painting. From time 20 time since, the
Museum has acquired by purchase, but
mainly by bequest. splendid lot Of pic
lures. The Catherine Lorrilard Wolfe col
lection. with its fund Of 100000, the in
come from which is devoted to the care Of
the paintings and their frames. IVES the
first great bequest. The collection is rich
in fine examples Of the modern French