New-York tribune., 1901-01-19
ART EXHIBITIONS.
MODERN PAINTINGS AND JAPANESE
CURIOS MR.. SHINN'S PASTELS-
MERYON-MONET AND MANET

The American Art Galleries are at present occr.
pied by two collections. One Of these belonging 70
Mr.. Thomas Kirkpatrick. is composed chiefly o.
modern paintings. with sprinking of canvases
attributed early English and Continental mas
ters. The other is made up OF antique and modern
japanese porcelains. bronzes ivOres and other ART
objects belonging to Mr. Cesar Cesaroni. Of San
Francisco. Among Mr. Kirkpatr1cks foreign pict-
ures there two interesting examples
Arab and Hound" small panel by Gustave Bou-
LANCER is perhaps the most satisfactory of them
all. But there is nothing of notable quality in this
part of the collection and some of the pictures like
the Little Girl in Blue given TO Henner and the
Still Life catalogued by Vollon, of dis
tinety inferior quality The old masters wisely
eatalogued as ''attributed' TO this famous or
that; they make unimpressive group. The first
rate things In MIR. Kirkpatrck's collection the
works chiefly landscapes, by American painters.
These include some charming productions of Messrs
Minor Murphy Chase. Dewey and others, with a
capital harbor scene by Mr.. H. w Ranger The
Cesaroni collection is unremaTkahIe, but contains
some interesting pieces The sale of the latter
begins on next Monday afternoon and continues
through the four following days The paintings
will be sold next Wednesday and Thursday even
ings The galleries will then be filed with the
modern paintings collected by Mr.. George H. Tyner.
of Holyoke.
The urban sketches with which Mr.. Everett Shinn
first attracted attention TO himself in New-YOrk
exhibitions rot very long ago. held the promise OF
work for which sharp LOOKOUT mas Deen Kept IN
some quarters The promise Is partly. but only
partly fulfilled in the collection of fOrtysx pastes
of Paris types which he now shows at the gallery
of Boussod VaIadon & Co. Ii Is fulfilled inasmuch
as his style has been strengthened declaring itself
with authority in every one of the drawings The
artist has vision of his own; he wears his man
ner easily and naturally; one feels that ne has
conclusiveIy found himself" and VIII go on doing
better and better things along lines on which his
grasp is stronger than 1t was. But we cannot hep
feeling also that he is little too much In love
witt, this manner of his. that he more readily
makes a clever picture than true one. Now and
then he Is not only clever. but illuminating Ihe
Milliner's Girl. Luxembourg Gardens tnterprets a
type with accuracy and breathes the very spirit OF
the place. But directly beneath IL hangs sketch
called ION the Boulevard which is fatty incredi-
BILE both in It's rendering of types and in its at
rnosphere IL gives neither the forms nor the sent-
ment of a Partisan boulevard. There are too many
pastels like this in the collection and the ex-
pIana ton would seem 10 lie not only in Mr. Sh1nns
disposition to exaggerate his notion OF what
street scene ought look like in picture, but In
the weakness OF his drawing. His figures are too
loosely put together; in the effort to convey his
heetfng impressions by means OF deft suggestion
Mr. Shinn fOrgets to treat the human FORM with
the respect it deserves-presumably because he has
not vet acquired full knowledge of the subject
Degas by whom it seems not improbable that he
has been influenced, would show him that 1t IS not
enough to catch piquant pose in sketehing
ballet dancer. the ETenCn master makes even HIS
most fugitive study of such model cOnsummate N
draughtsmanship and modelling. as sound in anat-
omy as in pictorial charm. Mr.. Shinn is at pres
ent working on the surface When ne mas Pehf- ne
paper and make those that are left more faithful
70 tne tacts OF t! rs tp3I,j,Iaiitv and
skill far they go these pastsis are genuineS
artistic in feeling.
The Importance Of truth in art is aptly enforced
by the collection of Meryons etchings-the collec-
tion formerly owned by Sir Francis Seymour
Haden-whch now adOrns the Wunderlich Gallery
There has been no more imaginative artist in the
whole history of etching than MeryOn; but no
etcher. either has surpassed him in the sheer eo-
quence of truth. The famous plates of La Pompe
Dame ''Tourele. Rue de TEcOle de Medi-
cine" and la Galerie de Notre-Dame' are brim-
ming over with the psychological interest that at
taches TO his genius; but they also marked by
that rigid adherence 10 the truth which ought 20
place practical architects in the front rank of his
admirers The distinction OF this collection resides
I'm its inclusion of divers peculiarly important
states and OF some extraordinarily beautiful i'm
pressions a number Of the plates. like those IN
toricai Interest The collection as a whole how
ever. has value showing Meryon in every
state it would be pleasant to see it in the print
department OF the Public Library.
Circulars are out for the wenty-third annual eN-
hibition OF the Society of American Artists Works
for that exhibition will be received at the Fine Arts
Building on Thursday and Friday, March "A and 10
Vanishing day is down for Thursday, March
2s the reception and press view will occur on the
following day. and the galleries will be opened TO
the public on Saturday. March 80. closing on sat
urday May T. Three prizes will be awarded-the
Webb prize of $3.50 for the best landscape or ma
rne. Shaw prize OF S0 for the best figure com
position, and the Carnegie prize of $500 for the
most mertOTious oil painting in the exhibition by
American artist PORTRAITS only excepted the
picture to be the property OF the artlSt, ana NJ
Carnegie reSerVinG option {Or TWO UdSS dLISl
the award for the purchase OF the picture at the
listed price.
The School Committee of the National Academy
of Design announces the formation by the Aneri-
Numismatlc and Archaeological Society OF a
class I'm coin and medal designing and die cutting
The will be under the direction of Mr.. Charles
j. Pike a pupil of ST. Gaudens and FaguieIe. The
Woodbury. e. Langdon prize of 500 will be awarded
for the best work done at the close of the school
term in May 1901 The foundation Of this class Is
cultivation of a form OF in which the entire
public must feel the liveliest interest
NJ Durand-RueI publishes in a small pamphlet a
translation of an article recently contributed oy
Thiebaut-Sisson To lie Temps" describing an IN
terview with Claude Monet We borrow some
piquant passages touching the impresStonist's re-
lations with his great contemporary, Manet:
threw myself body and soul into the pIein air
II was dangerous innovation Up to tnat time
no one had indulged i'm any, net even Manet who
still very classical and have never torsotten the
contempt that he showed for my beginnings. II
was In 1861; my manner had shaped itself, but,
after all II was cot revolutionary IN character. l
was sun far from having adopted the principle OF
me. but l was beginning to try my hand at par
italy. and was experimenting with effects OF
The jury that had received well at nrst
turned against me, and was ANONYMOUSLY black
Salon.
Still l found way to exhibit. but elsewhere
M he'd m laNlA "a