The sun., 1901-09-14
PRINT EXHIBITION AT THE
LEMON Library.

on view for another month gives on" tho
opportunity OF referring GO tte many inter
esting feature II has been specially ar
ranged with view IN the holiday season
being ~ a popular character and pleasantly
disc'lrsiv., While az the Same time Offering
scope for Soms serious study. " ~ an
exhibition of port rats of no particular
period and arr ang"d Va no sort Of sequence
hut selected partly for the interest attach
ing "a the per-ouascs represented ana ne
cause many 81 the port rats are such as tho
public are not likely Ia bc familiar WIN
and partly "a interesting examples of IN"
work Of certain artists. either httl" or well
known. They arr for ths most part taken
from the very large and valuable collection
Of prints presented TO the library 10y MI n
y Avery.
Thus II is an exhibition Of many mon and
diverse manners There IN portrait, Tor
example of Winfield Scott by + d'Avignon,
published at tho Avgnon Press, s2s Broad
~ay, Ia 1850. which. ~ far a. concerns the
treatment Of tho head l. a notable reminder
that very excellent work was beng done
in this country at that date and presumably
finding "A Tnarket IL IL conspicuously
at1Ne tho average OF commercial work
produced anywhere There arc many
charming little cngravings by Is Durand,
one Of them portrait OF Philip Hone a
Mayor Of New York, and Of I. johnson =
etchings. several very fine examples.
head Of Theodor- l. de Winnie II a notable
| one lighted in most interesting fashion ana
! full Of suggestion "f culnr But even hnrt
| IL the well-kpOWr port rait Of Walt whitman
with the head turned slightly back over
the left shoulder and the whit" heard stream
Ing 10 the right How wonderfully the
| hair and beard are represented Not only
| IL the luAuriunt MAJ" of strands -'Igg"sied,
| but a.-p the play Of light which passes
/ through the mass aud loo-cus ~ and seems
| tD make It huo,aut. Again, how tuh of
| alacrity ant kudlinc~~ u ia" glan"" ot tho
| eyrs' The expression ~ the face and.
| inde-.d the whole impression ~ th" p"r-
! snnaiilV are 30 Spontaneous Hugge-u"n
I and -pnuttu'pusue--- a summary ~ ~"
! individual not 80 much enforced ~ sug-
gertcd and With freshness ~ manner
/ that speaks Of enthusiasm IN a." artist
/ and 81 unoousDinu-rs.-s ou ~" par ~ ~"
subject -th"-, ar" ~" qualities which como
near To representing ~ hA' - desirable m
| n printed portInit We hook for them lees
| a. an engraving after an oil picture. bu' in
an etching or lthngraph eNp-t =" hnd
/ them They form, indeed, th" NcrV rai-on
! d r,ra for selecting ther-'' particular mediums
| OF oppression
! t. aupr-ra'e the value - this presence
| one might cNaminr first Of all tho mhograph
| l"ah 81 -Champncury. 10y A L"gros. and
/ t.eu compare Nth IT, impression on ONE
/ sell ,lat prpdur'i ~ Hem l"ipft's Cam
I bet "a The FORMER - cNc'uted largely ~
I diagonal lines which do not follow the
/ d.re. 'ion ~ tine lines aai c7irye- - the
/ features. and. ~ fact. aT" purely arbitrary
| meau, 81 suggosting ~" formS and planes
| Of the face Nr' 80 flll ~ character - the
| result that on" fcel- sure IN" portrait -
/ absolutely ,NaIaDtertrtIc. la I"for'r
'Gamhcttl.' however, every plane aud
| feature - 'he head and coat j. cou-cien-
! tiuu-iv elaborated with hatrhiugs and cross
! hafrHirgS and tie various liu"dl devices
/ 81 ino elgraver. until sense Di iaugu" ~
producrd ~ the eyldcnc" ~ 30 much labor
And after all. the port raft has n" sugsosti"n
| Of incvItabicu.ss II ~ pro-aic io th" last
/ degr,r ouiV remarkable for ind"ihi'sabl"
! craftsmanship. Mur~pvrr. It IL lifc--i1e,
surely a most undesirable thing IN an "'ch-
| ing. ~ itself do-' nIrtive of all feeling -
-ugg"-, i,-nc~s and spon'an"itN, for the
! siy. Challenges comparison With The fact
] Instead tf dllufilk vs. away lI''lA NV '"N
to the artists vivid impression Of II.
Alu-pn was made T." the diagonal lins~
| in the -Champnrury7 - l"gros We
remember that ~ this matter IA" artist
! has h.eu influenced hv Mautegua, especially
| hy tho lsttsr- huc work NJ" s'-1Ir"- th"
main forms - hi- composition Nv strongly
! defined outlines which stall make hold
| pa'i cru. and then introduces th" diagonal
shading. lc~s FOR thc purpose - modelling
| than 81 rendering certain int"rm~iia'e
| local tones striking "Naiup." 81 l"gr"s's
| adaptation ~ 'hi- method can b" seen M a
larec etching of cardinal Manning, wher"-
IN the contours are thick and dark. while
the eApanss.- 81 the face and costume Ar"
graycd m parts 10y finer struk"- IL" harsh
n,s- of outline and the mg Jump from dark
| o. grav may be d,s'ourcr ing AZ hrs', and
oue ~ disposed 20 f-el that a small head II
Cardinal Newman. hv Y Johnson, hanging
alongsidc, IL n lar more pleasurahle work
But Iegro- has the credit ~ caring les
| than mo-, great mast eTS for the particular
| qualities ~ lis medium lie does not have
| rvcour~o 20 etching on one occa-lon and to
| photography on another for IN" rurp's-' of
| extracting from each It's fullest possible
resrurc,fun"-s He us~s .lth.r 70 sub-
! servo the higher intention, Mhich l. 70
express ~ forcihly as possible IN" strong
impression hs has received from the sub
lect before him. And, certainly, when
you study the Manning from thus point of
view. OF the ''Champa"ury" or the head Of
TennySon. you lp-ooine conscious ~ an
intensity of personality in th--" portraits
that makes the sagnifcauc" ui many other
excellent ciching- OF mhographS seem
petty by comparison. Tn" '1rnnySon.
for example. may We'll h. compared with
Ra lions treatment of IN" same subject
that L. placed hV the aid" ~ n, hAJen's
protrai,s are delightful 80 real, 80 freely
handled. ~ artistic ranking high IN achieve
ment and very satisfactory as human
studies. until they are compared With work
- searchingly Hn..lvDed and profoundly
| synthetsed a. lagro-'.
Much n-sr-r 10 the lstter In these quail
tiles Is Gavsrni. this, extraordinary versa
tile genius. thrilling to tho iinser tips with
the setgasi ~ his time Vet how he
reins himself ~ and concentrates hls sym
pathics t~nd~rlv and quickly while study