New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1903-11-19

defined portrait Of 'Loetier the violinist" in the
severely simple portrait of General Leonard
Wood" and in the harsh but powerful portrait
OF Peter a B. Widener." we discern in wonder
fully differing mood. but in uniformly authori-
tative force. the fist and most interesting por-
trait painter Of his time. An American artist.
recently deceased. who likewise has place of
honor with several canvases, Is Alfred Q. Col
lins. He, too, iS uneven, and the fact is not
altogether 10 be explained by the presence of
works left unfinished in his studio at his death,
but always when MI Collinss work was good it
was uncommonIy good The vigorous portrait Of
Mr. Thomas B. Clarke and the full length of
a lad in blue give keen sense Of what we
lost in the death of this sincere artist. Some old
friends by other American painters reappear in
the show-Mr Thayer's fascinating Miss
French" the portrait with horse in the back
ground: Mr. LathroD's Mrs. A H. Spencer" so
broadly painted. with so fine note of style; MI
Chase's picturesque full length Of Whistler and
his sunptuous Miss Content Johnson: Mr..
AIexander's vivid and romantic portrait Of Mrs.
Thomas Hastings. Mr.. Dewing's two essays in
exquisitely poetic characterization. the Mrs.
Stanford White" and the Mrs. Devereux En-
met" and through a long list There are.
Of course. too. many new canvases by Ameri-
can painters-Mr. Frank Millet. Mr.. Alden Weir,
Nj Richard Hall, Mr.. Carroll Beckwith and
others. A number Of modern Frenchmen figure
in the catalogue-M Besnard. with a kind Of
brilliant snapshot Of Senator Clark; N. Dagnan-
Bouveret. with two Of his delicate, subdued
studies. and painters like Carolus Duran. Ben
jamin-Constant and Leon Bonnat with typical
Salon pieces. The most brilliant Of modern
Italians. Boldini. has two portraits in the col
lection. one Of Elsie de Wolfe and Fauvette."
herc nd
c-ful portrait Of Mrs. White. not hitherto pub
licly exhibited. which in color is almost a mono
tone but which is fairly dazzling in the vigor Of
its brushwork. Lenbach and Boecklin stand for
the German school. NJ. Madrazo for the Spanish,
Mr. Zorn for the Scandinavian and Mr.. Won
Glenn for the modern English. In addition to all
these paintings there is room full Of minia-
lures and drawings. and Mr.. St. Gaudens shows
a number Of his beautiful portrait medallions in
bronze with which q relief by Mr.. Millet is also
exhibited
In our rapid survey Of this collection we have,
pe-fo-ce. confined ourselves 70 the salient
hibits. There is much that remains unnoticed
which nevertheless deserves attentive considera-
ton. for not only have the owners OF good pict-
ures freely lent their treasures but the COM
mittee Of selection has done its best TO keep out
worthless things. While some mediocre can
vases have inevitably crept in, the average is
exceptionally high. This would be important in
any case, but It Is particularly gratifying in an
exhibition devoted 10 portraits alone, which,
through its simplihcation OF the artistic points
at issue should be peculiarly useful in affording
instruction as well amusement. 1t is i'm
possible 10 ignore the purely social aspect Of the
show Many viii visit it with a special interest
in the personalities involved and this legitimate
pbase Of public curiosity does not exclude mat
NJ raef
when his portrait of man or woman is exam
inAd bv those WHO know the sitter. for not all
the talk in the world about art for arts sake
can do away with the fact that in portraiture
Characterization the human interest, is Of prime
importance. But there is larger view 70 be
taken az such a gathering Of paintings as this,
in which the old and the new schools are con-
trasted II is profoundly interesting 10 see each
Of the two in bulk as IL were, 10 study the gen
eral method OF the present in the light Of that
which ruled IN the past
The subject is one for long chapter in art
criticism. but we may note briefly the leading
motives in portraiture, constantly Characteristic
Of the old masters, which modern art has not
deliberately abandoned. but which II finds. ap-
parently. very difficult 10 achieve Simplicity.
repose and enforced pictorial felicity. these are
the things which painters once brought to por-
traiture as a matter Of course, but for which
We now seek through scores Of paintings with
out finding them. except on rare occasions Let
the visitor to the exhibition we have described
take as his touchstones the two masterpieces
mentioned above, Van Dycks Grandson and
Rembrandts STANDARD Bearer with some such
example Of the earlier English school as Rom
news Countess Of Clare" and, subordinatins
questions Of detail. compare with the broad i'm
preston that they leave upon his mind the
broad impression left by any or al Of the mod
ern paintings, taken singly and finally taken to-
gether This viii carry him very near 10 the
root Of the matter But he will defeat his own
purpose If the experience leaves him heedlessly
dissatisfied with the world in which he ives
Other times. other manners. With the Work OF
& man ike Mr.. Sargent. for example before Us
II were but foolishness to conclude that the oif-
ference between ancient and modern art is inc
difference between good art and bad IL is the
difference between two civilizations. TWO points
o. view The most Interesting reflection Win
which We leave this exhibition is one on IAe
fidelity with which the old masters expressed
the spirit OF their tine. the fidelity with Which
men like Mr.. Sargent express the spirit OF our
own. Modern art VIII only revive sinplcity'
raro-e and enforced pictorial feiicity' ana pOl
,beaa things into portraiture as a matter OF
curse when modern ufs finds simplicity ana re-
pose.