New-York tribune., 1903-01-19

fers the vivid effects Of noontime in Sussex and
the warmth and richness of grain ricks 1t is
long reach from this realm of light to the
soInbre land of shadow where Mr. Peppercorn
works with grim earnestness. but il is made by
few steps IN the journey around this de-
ightful gallery. where Goethe's saying is adopt
ed as motto: 'The head cannot understand
any work Of art without the aid OF the heart
The Winter Exhibition at the Rova1 a~a@e-v-v
which Is opened for private view this afternoon,
contains nearly hundred worAs lent nom
public and private collections The first gallery
is enriched with masterpieces of English land
scape painting. There are several Gainsbor-
oughs, one Of the best being owned by an Amer
ican Mr. Hamilto1 Mccormick, and represent
ing the passage of cart with garden produce
over g steep bridge. A farmhouse fringed with
trees is on side and the picture is full of at
mosphere ano blue sky. There is landscape by
Sir Joshua Reynolds prove how badly he
could paint when begufled from portraiture, and
there are several OF ConstabIe's locks and works
by Turner, Richard Wilson. Patrick Nasymth.
Peter De Whit. George Morland and John Sell
Cotrnan. In the second gallery there are three
Turner's. The Modern Italy owned by the
Glasgow Corporation. being the best one; and
there are two portraits by Sir Joshua Reynolds
among the Crones Hollands, Wilson's and Bon
fngtons. One is the Countess of Powis in white
dress and large hat pulling a long glove over
her left arm. and the other is Mrs. Mordaunt,
with veil falling from her hair over her shoul-
Gers. Two rooms are filed with works of John
Brett. Henry Moore, Vicat Cole and Ridley Cor
bet, and another has miscellaneous selection
OF paintings by Linnell Cox, Landseer, Miller,
CaIlcott and Etty, with two interesting por-
traits-half figures Of Viscount Melville by Sir
Henry Raeburn and of Sir Walter Scott in
brown coat and buff waistcoat, by Sir John
Watson Gordon.
Tie characteristic feature of the winter show
is room devoted exclusively to Albert Cuyp.
There twenty-eight pictures. representing
every branch of his vivid art-landscapes with
glimpses Of the sea, historical episodes like the
siege Of Breda, evening scenes with windn1ills
or cattle. the painters own portrait, the entry
Of Christ into Jerusalem. skating scenes,
marines with sluggish craft, and field pictures
with peasants driving sheep. It was in England
that appreciation was first shown for Cuyp's
pictures. and a large collection can readily be
made in London from the private galleries. and
when this is done his admirable management Of
colors and skill IN reproducing atmospheric ef-
fects are invariably disclosed. The largest room
IN the Academy contains a remarkable muster
Of old masters. Mr.. Pierpont AIorgan's Rem
brandt, the vigorous portrait of Nicholas Ruts
Is so overpowering in its vitality and realism
that nothing else can be seen at the outset; but
gradually a brilliantly painted Cardinal by
Guido REM makes his presence felt, in company
with Ruth and Naomi by MdTi.lo, portrait by
Franz Halls and two paintings by Rubens- The
long side wall is rendered sumptuous by Van
Dyck's portraits, Tirtorettos Nine MUSES. in
Olympus snd Veroneses Venus and Mars; and
on the cross wall are two Of Sir Antonio More's
historical portraits. the Earl Of Essex and Queen
Mary. The religious works in the centre have
e 6e1a a,,E1 Lost 1rf of -f7nfr
side wall opposite the Veronese and Tintoretto
caprases are four lovely portraits by Sir Joshua
Reynolds and Romney. All the schools and
periods are sampled in this wonderful. room,
with its treasure trove from the best private
galleries in England l. N r