New-York tribune., 1901-02-24

Hans Meminc is one OF those Netherlandish
painters of the fifteenth century, who combined
extraordinary naIvete with great artistic gifts
Like the Van Eycks, he at once attracts and re
pels His designs have the quaint archaic flavor
which touches ones sense OF hGmor and almost
In the same moment appeals to ones serious
sympathies. MIR. Weale. in the monograph on
hemlinc, which he has just contributed 10 the
series on the Great Masters in Painting and
Sculpture" is too enthusiastic over his subject.
"Memlinc's figures OF Our Lady" he says, by
their exquisite purity tenderness. and mild, in
tellectual majesty alone realize the character OF
the Virgin Mother revealed 10 US In the
Gospel; indeed know painter Of any school
who surpasses him, whether he represents her
bending in loving alteration Of the born
Saviour, sitting in calm. dignifed humility,
supporting His tender limbs whilst He receives
the homage Of the Wise Men, or, again en-
throned in majesty surrounded by angels and
saints" II is hard TO understand why Mr.. Will
hanson, the usually Yigaut editor OF the series,
did not eNpunSe this nonsonscal passage. The
Italian masters reached purity" and ten
derness' in the painting Of the Madonna TO
which no artist Of the Low Countries ever at
tanned and not one but many Of them possess
distinction Of which Mela!inc is wholly in |
noccnt. The books in this series well illus I
trated, however. and with the plates before him /
the reader need not be led very far astray by /
Mr.. Weale's ill-considered panegyrics.
Moreover, il Mr. Weale is not impeccable |
critic, he is at all events a useful historian His
account Of Memnc is sound as to its facts and |
these are very well arranged. lie may err now |
ana then On the side Of partality, but neverthe-
less he renders good service 10 the cause of art |
inasmuch as this is a popular handbook and
Ough; 20 revive interest in Mcmlinc among |
those who are ordinarily apt to neglect him The /
list Of his works. even when expanded TO in
clude those OF which the authenticity is ques-
toned, is not a long one. The paintings are
widely scattered, too and the uninitated travel |
Ter easily oycrlooks them. once they are known |
and studied they cherished in the memory. /
Memnc a capable designer, and though |
M Weale eXaggerates the value Of the evidence /
10 this effect which exists in such panoramic /
schemes as The Passion Of Christ" at Turin, |
IL is impossible TO deny the excellence of the |
composition in the simpler pictures. like those
In the triptych in -. Johns Hospital at Bruges.
His color is nearly always brilliant and har
mCnious and the polish OF his e-ecution some
times gives his paintings the radiance Of a
1eWel
gle new series published under the general
title OF The Artists Library promises to be in
teresting The text in each Of the two volumes
We have received runs 10 less than fifty pages.
All the Illustrations, Of which there are about
ty2o dozen in each book are placed together at
The back. They are mostly halltcncs Of good
quality, with one or two photographers thrown
in for good measure. Press work ana binding
are both substantial ana in good taste. As TO
the t@xt, il is in:pressionstic and personal rather
than historical Mr T. Surge Moore, in his
"Atdorfer' constantly verges on the dithyramb-
&c. We sympathize Eith his pleasure in Alt
dorcer's laudsca pc se:tint nt ard charm Of style,
but justice could have been Gone to both with
ont The little literary hOurishos in which Mr..
Moore apparently likes 20 indulge. Mr.. Roger
T. Fry, writing Of Giovanni Beliini, shows far
more scholarship, and writing with more re
strant and Nycler sense Of proportion, is
therefore more helpful. His study Of the great
Venetian is, in fact, first essay, brief but
closely put tog her, and with much in il Of fact
and Interpretation that should serve the purpose
OF the serious student. Other volumes in the
series viii be awaited with curiosity.
Mr.. cyril Davenport's Canoes" the latest Of
"The Portfolio Monographs" is chiefly to be
commended for the first Of its four chapters.
This, describing the materials used for canoes
and the processes employed la cutting them, is
as clear as concise and at the same time as fun
as the most practical Of readers could desire. ,
!. The rest Of the book is taken up with "A terse
! historical survey OF early canoes and glass
}. oastes craco- Roman, Medieval, Renaissance
md later canoes Mr.. Davenport is wisely criti-
49,, "A al,