The sun. [volume] (New York [N.Y.]) 1833-1916, 1903-03-08
EXHTBTTION At THE AMERICAN
ART GALLERIES.


ings, water colors, porcelains and books,
Representing the property Of various e.
tatss. The series Of sAlss at which they
are to be dispersed commences on Tuesday,
March 10.
So far a. the pictures are concerned. some
Of the most notable features are the col q.
lection Of water oolors owned by thu late
Clarence King, the selection Of Monets
made by the late William b. Fuller and
very remarkable Diaz. The latter Ia an
unusual example, representing . strctch
OF marshy ground with q clump Of oaks
on the left, the scene being Illuminated
by the cold, ftful Light that struggles
through Q turbulent sky In which masses
Of gray cumulus are piled. There y q
grand stir OF movement In the clouds.
solidity and impressive calm in the ground
broken UP with patches Of water; through.
out the whole picture. which Is Of extra
sine. magnitude Of feeling. q gravity very
solemn and poignant. 1t represents Diaz
for the time being closely conscious Of the
inAuenoe OF Rousseau, 'the master Of al
Of U.s." az he used to call him. For the
moment he has let his own bright spirit
20 gay and versstile. catch the deeper
his wonderful versatility. with an i'm.
pressiveness Of result that In quite extraor.
binary.
1t Is unusual to see at one time 10 many
wsll-selected water oolors. Their COL
lector was evidently susceptible to tn.
special charm Of this fascinating medium,
and in his choice was guided to those artists
who most effectively realize its distinctive
possibilities. Accordingly We shall nnd
here q good many examples Of the modern
Dutchmen, who In their common aim Al
qualities Of atmosphere and transparency
form practically school Of water color viii
out much question the finest of the century,
unless we prefer that little band Of brilliant
aquarellists who circled round Fortuny
They looked for vivacity and sparkle, while
the Dutchmen, almost without exception,
are attracted to the infinite nuanoes Of the
gray day. There is, however, at least,
one exception to this in the warm, sunny
AT the Seashore.' by B. T. Blommen.
which in its general treatment Of Q some
what similar subject recalls the large oil
painting that secured him the gold medal
at the Paris Exposition Of 1900.
Among the best OF ths must character
istioally Dutch pictures are the sheep
Feeding and bringing Home the Flock
by Anton Mauve, 80 cleverly reminiscent
OF the aspect of the scene, 40 little stated.
but % much suggested, while full Of the
beauty Of delicate tonality. A true, but
in a harder vein, is Mosdig's sHshine
Boats Unloading which gives moro Wv
idly the character OF the scene and IN afxnos-
pherio qualities than many Of his large oil
paintings
II is interesting to compare the Mother
and Child by Israels with The Sister,
by Albert Neuhuys- Both are intsrior,
excellent examples Of the respective
pain,sr., and The younger nan has been
sidering the bent OF his mind he could not
fan 70 Be. But he has . robsster feelins,
not to BE- ct down merely TO his being
younger; he sees his human SUBJECTS, = 4
were, in the round, while With Iraals thsy
take their place IN !. sshsns e .smospAsr.'
Thus. according - you ase moved By faCts
or By Imagination, % you VII gtve ths
preference 80 one OF other Of these plot
pres. Not but that both arO recoedb 81
fsst. and nelther 10 without imAgtnaAton-
vo aHSns Sssss 1S Ss1. sss W@
Qi7), Johannas Bcsboorn Q1(. Dv Chsttel
Us, ito). oeorss PogssnbsSf 90, p ?.
stortsnesossr as ~ and J. Il. Ws'a'ae-
, OF early Enslish work tSsrs sre sz.%plss
(i7s), David Coz Il and y, and Of contsm..
poraries a charming picture BY Alfred
Parsons, sThe Valley, and Q WY tm-
prsasivs Lion and Lionsss,' By John n.
Swan.
Mr.. Riilsr's life a. 4 collector. he began
to buy a. early a. leeo, when he was still
the posses~or Of Q fine collection q Bar
hison and early Enslah pictures. When
he had parted With those he devoted him
self eXolusiv ely to Monet, purchasing with
n, only y such ssrv; ~, e,
he could make OF them companions. Thw.
at his death the entire collection numbered
only eleven pieoe@, hut thsy are extraor-
dinarly choice onss. Ihsy have, too.
an immediate rsAeonAhlsDeas Of appeal.
that I should think would render them
acoeptshle even to those who have not
given any particular study 10 this artist.
work. Surely, no one who has experienced
the eIhilaration produced by the aspsst
Of rocks end blue water ruined With wind
and rscing with the tide can fail TO catch
Isse- Sunshine Also h should seem hard
indeed to re~ist the fascination Of Dawn
n Antibe~.' one Of the lovelisst in this
group. Al least It's loveliness Is Of q kind
that v very readily Appreciated, an enett
over the water when the air above Il A. II
.bRhtly warns boverr In dsi ATTEST mis',
through which the opposits town shows
ike come scene Of tbs imaginAtioa, hs
subtlsty Of expression and Of color y In
but, doubt. N 10 extraordinary
"A In the delicate differentiation Of phA--.
u nature In the thrss winter views upon
he beine.
In the Near Arssnt~ul- Winter hos
watsr and shorss alike seem numbed! II
10 one of those moments when nature sp
psars TO be- indeed illustrating. and the
lev Axurss ON the road do hut ihoreAss The
,enss Of ssnsrA inAniInation. On the
ahsr hand, IL y tlss sshilsraiion VI winter
mai oIs tssls la 'Near vethsuil- Floating
|oss Not, IL 10 true. tbs brtskly kesn ssn
Istton u ons ~ aH ovn winters. but the
posssr, more satuctivsy sttrvtns iInpuss
n shs ssa.on In nosthsrn frshos. u 10
sssy delloais In oolos. bot IA uin feg>c
Ials bshind W. oomps,aon 70 the 's1ns
- Olsoons This ons. the 6~ans nssf
viosiinS las.' V surIsAsiisr
s,Ilssls la tbs sssnssosni toAAiity " tho mis-
ILss hangs osef The middls ysies ard o,
i.a-ss 10 bluI " gUsassofk tlss obi"S
VI tl.s OPPOSITE shoss sbd. indesd, tbs sli"
It.rlf II ss~ the lasl pao,ufo thai NJ
fullss l.ouxhi No lad sseg u dupN li'
sisii to t,lfols ln tbs suininss, hal Dc
aT.d IL, Ls.itslsd, aosns k.si.s sttl'Ds. D.
= "a 4. .lls axl.ls..i (s.f Al Isa lsys lsffle