New-York tribune., 1900-03-10
ART EXHIBITIONS
OLD MASTERS AT THE UNION I.EAcrrr
CLUB-PAINTINGS OF VENICE nv
MIR. WILLIAM GEDNEY BUNCE

MIR. WILLIAM GEDNEY BUNCE.
The Art Committee Of the Union Leas7s r,,~
has this month secured for the usual exhih,,,o
small collection Of old pictures wide ra,, a,
illustrated-erom the German and Italian print
tives to Sir Henry Raeburn. In fact-and nnc, a.
the list is interesting. The British pictures ncd.
picturesque gambling scene by Hogarth a,
which an animated group is rendered the more A,
rective by virtue OF the lighting OF the scene F-
and candle light both count In this quaint interior
The example of "Old Crome" ''The Backsn,ith.
shop Near Higham,' is somewhat sprawlnz IN aa
sign. but has some beautiful fat color and tbe-
IS good work In the roughly generalzed folazs a,
the background There are three English portraits
one by Gainsborough and two by Raeburn Tba
formers Lady Rodney Is somewhat pallid In N.
flesh ttnts but contains finely painted backgrounds
and some effective touches in the brushing IN n,
the draperes. The head In this canvas Is detached
with notable power and distinctness from its en-
vtronment. Both the Raeburns are admirable the
Lady Beham' for the freshness and purity OF N,
color. the Lady Elibank' for its modern haudin,
the brio in It's style. Save that the Carnations
in the face little forced. this is a charm
ing portrait. Sir David Wilkes Return OF N.
Highland Warrior is a little unexpected amone
a number of ''old masters" He belongs to ,h.
nineteenth century. But this picture is unwel-
come as an example of British anecdotal art Of th.
better sort.
Yer Nicer. of Delft. is painter. and II IA
most satisfying to him in some such interior
study the presented the Netropolits,
Museum by Mr.. Marquand. In such work tha
artists best quality his peIlucid light best an
pretended But the Girl Reading ascribed to him
In this collection. If without the marks OF his
genius. is nevertheless. a captivating panel 90
also Is THE Concert" by DR.. Hooghe and so IA
the similar piece of realism by Jan steea.
''The Musical Party" Two striking portraits given
20 Cranach and Hans MemlinE respectively servo
to Illustrate the polished draughtsmanship and IT,
teligent Characterization of the earlier Northern
schools, and there is group of religious paintings
by old painters of both the North and South
These latter afford the opportunity for a sug-
gestive comparison. Archaic mannerisrns pure
color and simple lines cultivated by all the
primitves- But IL is interesting see. by compari-
son OF the Virgin of the Annunciation." by Tad
deo Gaddi: the ALTAR Screen" by some fifteenth
century painter OF the North OF Italy and the
Virgin and Infant Jesus OF an early sieness
master. with the old Flemish and German religious
subjects how the petistic inspiration differed IN fts
results in the different camps. The expression Of
feeling in the '"Triptych'' OF the early German
school and In the Sacred Trfptych'' OF the school
OF Cologne is sincere. but almost harsh The gen
eral tone IS vigorously poignant In the paint
ings by Van OrIey and Flores the Is slightly
softened but turn the italian examples
TO find religious sentiment handled with true ten
derness. On both sides there ability and feel
ing, but the South had strain OF subtlety Of
gracefulness of haunting charm. which the paint
isolation of the Italians is further suggested by
the Virgin and Infant Jesus Of the seventeenth
century Spanish school. This is also from the
South. but II reminds vividly OF the spiritual
limitations which prevented the Old religious art
OF Spain from having the depth and quality char
acterstic of the italian masters.
While Mr.. William Gedney Bunce's art is not n
frequently visible in the miscellaneous exhibitions,
II Is seldom illustrated fun length in this c!ty
For this reason special significance belongs to ths
exhibition which he has opened at the Clausen
Gallery. II comprises fourteen Venetian studies
One of these, San Marco. Evening Is OF consid-
erabe size. lofty upright with a brilliant sweep
Of sky. The rest much smaller in scale Mr.
BunCe is himself when he confines his work
10 comparatively small surfaces His Venice IS a
city OF many moods. but he IS artist of one.
Whether he IS painting blue and silvery night
scene. as in the Moonlight is working in a
full 10 a single aim That aim is to recapture the
shimmering, purely sensuous effect OF the Venetian
spectacle. forth facts but impress
sion. TO be a dreamer and poet rather than
reast. Mr.. BunCe does not vary his compositions
greatly. The familiar buoy, the familiar coloret
sails the quiet lagoOns and the OF the city
piercing tendery suffused sky. these his
tives, and he employs them again and again But
beautiful Is his color ndivtdualized Is his
style, that every of his paintings has vitality
and value. Venice requires originality in the paint
er who is adequately to portray her. Mr.. Bunce
is OF the original painters we have.