New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-11-24


! ,os into his portrait of a young Cavendish, he
! Is shrewd enough to allow the boy genuine
! frolic Gainsborough Romney, Hoppner, Rae
! burn and Reynolds took the greatest pains with
their color schemes. costumes and backgrounds;
| but how careful they were TO conceal their art
and to concentrate attention upon their subjects!
How obvious is the stage management at the
New Gallery. How aborously has the Hon.
John Collier contrived his color effects in the
portrait of Lady Buckley with flowers on the
table 10 match the blends of the gown! How
deeply concerned Mr. w. G. Won Glenn has been
TO have the right key in the dress of his PINK
and white lady and to strike the highest note
In the flowers, The color schemes become even
more theatrical when one passes from the north
to the south room. to find an expanse of red gown
i'm one portrait and in others a study OF gold
hair against blends of green; a strange medley
of white scarlet and blue in ladys costume
with the victims pink fingers casting hery
shadows; a green turban with blue, red. yellow
and pink underneath and the full blaze OF
scarlet opera cloak. One could not hnger lohs
in this torrid zone of vivid color. If Herr Franz
Won Lenbach's portrait of Prince Bismarck
burIy figure in 5'1e with yellow facings, had not
been lent by lord ROsebery to fill the place Oh
honor; or if there were not quaint Corot ana
!, Mr.. Moscheess well painted portrait Oh inc
Prince of Monaco on one of the walls
In the large west room there is fantastic
group of nine paintings which reveals the deN-
terity and humor of the hanging committee
The centrepiece is Mr. Watts's blue eyed Mar
chioness of CRANKY, with clear PRONE oe-
liciously painted against wavy blue oach-
ground and with gold in the sash ana nralulHs
of the costume to match the gold in the halr'
If this portrait with its facility of expression
was overpainted. the Whistler to the lett OF IL
did not lave a single unnecessary stroke or pig
Of Ia
dull reds in coral lips and sleeves, the delicate
modelling of head and chin and the soft light IN
the languOrous eyes. is characteristic eAaiilpi7
| of reticence and economy of means. On 'he
! other side of the hale and hearty marchlohess Is
! Sir Edward Burne- JOnes's weird portrait OF i
child with dark eyes fine flowing hair pale lips
! and hands meekly folded-an etherealized little
| Samuel in which art writers now find 1t diff-
| cult to recognize the promise of Mr.. Phlhp
| Copovns Carr of the Mermaid Society Three
pictures more unlike than these portraits by
| Watts Whistler and Burne-Jones 1t would not
| be easy to put together, and they are hahkeo Oh
| each side by Mr.. Mancinis staggering impress
sionisn, in portraits of an old man with Jumps
| of blue and splashes OF yellow paint, ana OF d
| red checked boy holding bunch Of MOVERS
! with a puddle of white paint where the collar is
and a long ribbed streak of gray for a chair
| r1ng on each side this remarkable group ends
| in a most prosaic way, with Mr.. Hackers por-
| trait of an alert carefully dressed man with n
! monocle; Mr. Neven du Monts painting of Mrs
| Tiarks in which everything is sacrificed TO q
| color scheme of mauve and white; Mr.. Glaze-
| brooks fussy portrait of Mrs. Harrod and Mr..
! Schafer's profile of a woman with large snowy
| neckpfn in which external features are Jot'eu
down without hint Of personal character. on
| the opposite wall there is large group of Franz
Won Lenbach's portraits, with unpleasant tones
| in ladies' faces
dazzling glitter in the teeth and CLASSY stare IN
| the ewes but with robust strength In the BIS
| marck Moltke and Kaiser Wilhelm l. 1hese
great men of the empire are exhibited as they
appeared TO an artist of ordinary talent but not
! as they might have been idealized for Germanys
| ValhalIa by painter Of genius
Apart from these two groups there is a long
procession Of mediocrity on the walls of the gal
| lery Sometimes the subject interests when the
art fails 70 please as when the author of THE
| Dolly Dialogues" is painted in frock coat ana
| high hat with cane and gloves, but ordinarily
the visitor hurries by, repealed by crude COM
| position and reckless experiments in color He
1 must pause in front of Mr.. Watts's portrait or
! Sir Leslie Stephen, for that is a work OF down.
right sincerity and truth of color, and he may
| linger near Mr.. Blanches portrait of the Dow
| ager Lady Colthurst for the sake of admirins
! the dexteritv with which the costume of black,
/
WhistIerite reticence and instructive perception
of the value of tones commands halt in front
| of Mr. c. H Shannon's portrait Of two artists
| and al the other end of the gallery Sir James
| Guthries portrait Of Mrs. Manfred Jardine has
| impressive dignity, and Mr.. Lavery's picture OF
| the Hon. Mrs. BurrelI has stately simplicity in
| the management OF grays. The collection is a
| large one and unfortunately it s fairly repre-
sentative of the English art OF portraiture
! it is now practsed; but there are few signs Of
profound knowledge of human nature or of the
| resources OF technique, and when there are
| proofs Of close observation and command OF
| means, there is a lack of earnestness-a ten
! dency to match pigments and to paint with the
| wrist instead OF the full arm The visitor, re-
! membering how reluctant he TO leave the
great ladies at the Agnew, turns away from
the New Gallery in respondent mood without
| lettering in the central hall to glance the
statuary by sculptors so Industrious as Derwent
Wood, John Tweed, Arthur George Walker and
Basil Gotto. Portralture ought surely TO be
a nobler art than it is, when the English tradi-
| tons are so glorious, and when the National
Gallery, with its magnificent series Of Rem
| brandts, Velasquez's masterpiece Of psychology
the bust Of Philip "; Van Dyck's Cornelius
| Wander Geist, Andrea del Sarto's portrait of a
| sculptor, Titian's Ariosto, Bordone's Venetian
| lady, Moronis vivid figures against silvery gray
! backgrounds and the marves Of English pictl-
rescue portraiture in the eighteenth century is
an nexhaustible source of inspiration for paint
ers who love their art. IN F.
MISS GOULD RETURNS FROM WEST.