The sun., 1901-11-10

last. Their cases also had been keenly
diagnosed and met with the skill Of an artist
who did not care TO extenuate, nor on the
other hand had fallen under personal sub
lection 20 the physical attractiveness, but
set down what hc saw and surrounded IL
with the elegant atmosphere that was IT,
salvation In real life. II is here that be
compares 10 such advantage with painter
like Boldini Sargent has instructive re-
inement. IL would be quite InIusshia
for him TO have any feelings toward his
subjects other than those of a true gentle
man; and, though he may represent IN a
lady full favor of the modern spirit, la
never allows the modernit, to exceed the
limits Of good taste, For the same reason
Sargent's pictures. though many ot Inen
have a restles-neSs of their own, seem
quiet alongside Boldini's. The latter makes
a motive of nervous tenuosity, and his
pictures, IL seen frequently, become wiiv
In suggestion and defeat their own purpose
Of being vibrative. but Sargent's, controlled
by fine sobrety of feeling, another
phase of his unfailing taste and tact, retain
their suppleness. Their actually ia all
the moro convincing because It j. not the
motive, but an incident
Yet, even SO, this actually is Of very
different quality from that reached by
the old masters. | lave In mind an IN
evitable comparison, suggested by his
portrait of Mr. Marquand in the Metro
Dolitan Museum with one by Titan o.
4
Velasqucz and Rembrandt in an adjoining
gallery. In all these latter there is a
gravity Of feeling that is not alone due
to the subdung effects Of time. while Sar-
gents portrait, even apart from the sleek
fatness Of the brush work which age will
mature, is the product Of a habit OF mint
altogether different. II lacks the intimacy
Of the "Wife" of Franz Eal,. the penetrating
depth of the "DOge Grimani," the Qlie'
assurance Of Nelasque4's pom Carlos aid
the intense sympathy of the kembraud'.
though the la, two are only moderate
examples Of the masters. Instead, II
reveals certain assertiNencss in its assur-
ance, an intensity of nervous force rather
than Of intellectual or sympathetic efuIt,
a brilliant epitomc rather than n profound
study. 1t has not the pernarenc of
feeling either i'm its characterization or
method, that suggestion of perennial.
stable truth. which, So far as We can judge
from the past would ensure Il place
among the great old masters of the future,
Among the masters We may feel certain
that Sargent will be- rCckoned, a. having
been one of the most co lspiCuous figures Of
his ago: but his vogue Will rise and dwirdla
according To the amount of interest felt
for the time being in the age which ha
represC nted; il will scarcely have that
iuevitabloness of conviction, which, when
on,e recognized. mus abide. If this fore
cast is correct, the reason il that Sargent.
reveals In his portraits elevation Of mind;
he has the clear eye OF the philosopher
without his depth and breadth of vlslon
he has possessed himself of his age and n"
age has taken possession OF him. He
swims on It's sea with strokes of magnificent
ASSURANCE but with n vision bounded by
the little surface waves around him, he he's
not sat above upon the cliffs, quietly poI-
dering it, wider and grandar movement.
So, the intimacy revealed in the great
ma iOTty OF Sarponts portraits Is OF mat
degree and quality which passes forint!macv
in the polite society Of to-day, a conform
ability 10 cert ain type- Of manner and feel
ing, with interesting l'ule accents o' IL
dividualitv that shall distinguish without
too keenly dinerohtiating traits Of sly"
rat her than Of personality. Sometimes there
is even less than this. The subject would
seem 10 have got upon the artists nerves,
interfering with the usual poise Of bis con-
prehers'on: So that as in the case OF 'he
Miss punham," lac seems 10 have allowed
himself 10 bc sidet rackrd on TO some looJ-
lire OF her tempe ramert Occasionally he
touches q deeper laNel, OF intimacy, a. IN
the portraits o: Herschel. MIR. Penrose and
Mr. Marquand. and ofterrimes in children
DortraitE notably in that Of Homer ~.
Gaudens But for the most part, believe,
il is rot the personality OF the sitter that
at racts vs.. NO much as that OF the artls,'
which he has seize upon the occasion TO
present q u-; personality o9 ineNhaust hla
facets aud Of a variety ~ expression thai,
for the time being AZ least creates M ill-lo',
of being all-rufrcicnt. What contra-' b"
presents 10 Whistler, with whom he share,
ihe honor Of helng among the very 'eW
distinctly notable painters OF the present
day. Sargent with his grip upon the ac'ua
Whist l.r IN lis search FOR the sulersensl'iN"
siruifcarcp ara bee direct ait!poie- 900
motive Each -'Rried WITH u 'u-iltdb'c coil
sciousur-s Of SuTsINr'N 20 me hNeidg
r.t !. FI.4F
on. side nf his character q man ~ The world.
ha- iu his art Withdrawn hIm~0f it'" =
so.llied reg ON Of pu't ~, Sargent almost
raclu-.. la dcDgAi"! liz Imagination WIZ
IA, -..emugs and slows ~ things aud VIZ.
their maicria' significance.
l. the reason for fli- merely ha' sIco"'-
claimed lin early and that hr has uot u"e.
aLle to extricate him-"li from th" . i'.
90 that deeIrT one, r''
able la many trtI-i-, that 'h"lf a''I'
Tar-nraIItv b. th. direct aui''hr-i- - i.a
i..,-,raIrv by which they are CHuuHr.
luoWu Geo the Vur.t' btherVl-'. .H..
man with li- 90 ut ..rE WFui"-
Inc puu.r Of 81 hru-. 'n.. s'7"ul- loaded '
IIght rather than with pgfur'f. vn. .-
sIuIlung fufos or tender -uggr- '', ..'.-.
nf -lpf,--i.n what might D. u.J ia.' I'd. foo
had h.. followed the i"ul e mo r....
tuud rtoroI NlJu 'ul.ui'. s'|'h" ".i '
f,nfi,rf NYmsihinE. dWu'H'--
d8ys'lug thHu he pr rai'r, hu' tnHIr
t.|. muIu W,r1"fluurlv rpFg''- 'IfH. Oh. "
tIsIlur'ly creative A. 81 b. H"..'
.tu.iirs ui NDnIoH, rYr' ar N''" .. ih
Nfrtuasfr pIn.r bearer UrHlHI.I| '. ...
frIls rpIut - Sargent 90 iI. 90.
t,s- ~ fancy sIurH b." dove. .iH.| f '
olmpi'fsly in 'h" study - ''iiH'ru % ~
arfrrr- m Fsfl.r. ''a.HHi' o..
IN, klrs TIC frhI'l .f.
i.i- smiauid"ry ~ Agia sHa -.a|.. '.f
b F.Us o. huIlAII co." tlH.I.sr lf'
fI...I .tIfN ttkafHf.. az. Hr.. #.....HHI ...