New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-11-15
ART EXHIBITIONS.
THE VERESTCHAGIN PICTURES SEY-
MOUR HADEN'S ETcHINGS AT
THE GROLIER-THE UNION
LEAGUE CLUB.

THE GROLIER-THE UNION
LEAGUE CLUB.
In the Aston Galleries at the waldorf-Astoria
there is an exhibition of forty-four paintings by
the Russian artist, Vassli Verestchagn, which
John Fell O'Brien will sell at auction the
evening of Wednesday. November 20. num-
| Der of these We seem to have seen before in
Paris, and few of them in New-York, but the
collection as whole is new to this city. 1t
embraces some large studies of mountain seen
cry some war pictures made in Cuba and the
philippines, and lot of Napoleonic illustrations,
these last, in fact forming the chief part of the
| show. Considered simply and solely a
painter, NJ. Verestchagin leaves a good deal to
be desired. He wants beauty, purity and trans
parency of color; he wants more fuency in
draughtsmanship, skill in composition,
and, above all, he wants charm of style In
short he wants so much from a strictly artistic
point of view that anything like critical admira-
| ton must be withheld by the observer But NJ
Nerestchagin has unquestionably achieved a GER
| tain Legitimate repute; he leaves an interesting
impression. and the explanation of all this lies
in his possession of qualities to which
not refuse need OF respect
The nightmare horrors of the Emperor's Rus
and reused his sympathies. In representing
them on canvas he may fail to give fine
works of art, but he gives us, the other
hand. some grimly impressive illustrations
Take. for example, the large painting entitled
''Vive FEmpereur! Taking of the Great Re-
| doubt at Borodino" The trench in the fore
ground. with its horrible burden of dead and
dying soldiers, and the plain in the distance,
which the troops are scattered, painted with
q hat hold md Sti
the emotions. II this is crude picture, it is
impressive as a glimpse OF war. And, indeed
whenever NJ. Verestchagin is working in this
vein he gives his designs vitality anecdotes
which they lack artistic productions. The
queer and hopelessly commonplace treatment of
snow in "On the Great Road The Retreat" re-
calling the scenery in some holiday pantomime
amuses only for instant when the tragic
aspects OF the scene, expressed with sincerity
and force, drive everything else from the mind
We cannot deny either. the dramatic signii-
canoe of a picture like IN the Oustensky Ca
thedral," with the vivid light it throws on the
practice Of the invaders in stabing their horses
within sacred walls; and there are other studies,
like CAPTURED or 'Incendiaries." which are
equally arresting But the moment NJ. Verest-
chagp attacks theme lacking obviously dra-
matte qualities. and requiring for its effective
treatment some subtlety of light and shade and
IN
Advance or Retreat?" is supposed to exhibit
Napoleon in moment of great dubiety. and OF
considerable historic meaning, but it is nothing
more than dry interior study. gloomy in COM
monplace way, and with absolutely nothing in
it 10 suggest the deeper elements Of the sub
! tect. The same judgment is inspired by the
other Napoleopic pictures having the same gem
eral aim. Coarse and opaque in color. turgid In
| execution. all these works convey the impress
sion of a with interesting stories to tell
but only successful when the story tells itself
by virtue of the sheer plcturesQueness and
drama in the facts It involves, The Cuban and
Philippine pictures are even weaker than those
in the Napoeonic series. perhaps because the
artist has hit upon particularly effective sub
jects. An exception might Well be provided in
| the case Of the Battle of San Juan" which is
entered in the catalogue. but this canvas will
not be placed on exhibition until next Monday.
The exhibition of Hadens etchings which
held at the Grolier Club last spring was
confined TO about half OF his work The second
half may be seen at the same place. and
while II includes fewer masterpieces than were
shown in the previous exhibition. II is sufficient
ly rich In superb examples to make the occasion
OF very great interest. Plates like "A Lanea-
shire River show this great eteher's line in its
best estate: the monk Praying" is one Of the
best OF Haden's few figure pieces. and in the
"Harleeh," TO cite only one OF several mezzo-
tints here. the student has a perfect example
OF the masters felicity In the employment of
fascinating method. But what this second
hibiton is especially to be valued for is not
much It's inclusion OF especially brilliant
plate or another as its illustration Of the broad
qualities OF Haden's genius. Even in his later
| etchings, and even in the least important of
these. may discern his power and insight as
| an interpreter of landscape, and the strength OF
his line. a line profoundly eloquent of his skill
| and Of a most personal style. The collection of
| which we the second half abounds in
| rare states and fine Impressions 1t is. always
at the Grolier. most judiciously arranged. and
no student or connoisseur of etching should fail
| 70 visit the exhibition.
For the first of the monthly exhibitions at the
Union League Club this season the committee
| has relied upon the generosity OF the dealers
| with the result that the pleasant little gallery
! is filled with some twenty-five thirty popular
! pictures by Continental artists. It is rather
miscellaneous gathering. The best things in it
| are landscapes The spacious Coast View" by
| Daubigny, is a good piece of broad, and yet, in
| passages. very tender painting; there is glow
| ing autUmnal panel by Diaz, "Fontainebleau
| Forest; a canvas full of cool light and deli
| cate color, "Maison du Poussin." represents
much; and while one of the two specimens of