New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1904-02-27

painting. No one would dream OF asking that
the Butterfly should have been an eagle, that
Whistler should have been something totally
different from what he was. But this exhibi-
ton embodies kind Of challenge. It shows US
Whistler for the first time actually at fun
length. so 10 say. and It compels Us. as we have
never been compelled before. to consider just
where he stands. at just what point IN the heir
archy he is to be placed. 1 do not see how any
candid critic can escape the conviction that
the point is much lower than he expected TO
find IT. Take. for example. the nudes We have
all heard a great deal OF these rare productions
OF his and Of The revelation they were to make
OF his extraordinary powers. As a matter OF
fact, there is nothing in the exhibition 70 show
that he had any power at all IN the mooeliing
OF the nude figure. On the contrary, II Is pam
that this last and most searching test OF an
artists capacity left him defeated and saving
at most, an engaging note OF color from tne
wreck The pictures which were to show him
in a new light as a colorist, which were 10
prove that his scope embraced harnonies much
more sumptuous than those generally associated
with his name. are also disappointing These
things only 20 to confirm the idea Of Whistler
as a PAINTER who could not deal with the nude
and could not be vivid IN color because he DID
not know how, because he wanted knowledge,
force. grip. the fortnight brush Of the man who
knows all the secrets Of painting. is brimIning
over with vitality as well as with skill. and can
not only solve Z problem Of form and color with
ease but make the result actually live and
breathe upon the canvas. The thing that
whistler does at hts best is affair Of life
receding steadily into a dim perspective and
leaving. as Il goes. a delicate impression woven
OF fran form and OF tone almost vaporouS In
its subtlety.
There are two or three early works here done
enthusiastically under the tonic influence Of
Courbet. but while they have the distinction
which Whistler could not but give even to hts
least successful paintings. they show that he
not wholly IN sympathy with the spirit Of
one OF the most robust naturalistio painters In
French history-they are not. at bottom, char
acterfstic For the pictures deserving OF that
epithet you have to turn 10 the marines and
nocturnes Of his prime done after be had found
HIS own vein II Is interesting 10 note how the
saving grace OF nature sometimes crept into his
works and made him, In spite OF himself. not
only an enchanting but a faithful interpreter
OF her charm The Thames in Ice" and the
Westminster Bridge are not only fine pieces
OF color fine illustrations Of an exquisite style
they are authentic portraits OF places. they have
IN them the light and air OF life itself There are
other pictures here OF which one might say the
same thing. especially pictures OF the sea, and
certain tiny panels on which. while aiming
merely at an effect OF color. the painter
grasped a scene IN its larger relations and made
his report on f. not only beautiful but true.
In the majority OF cases. however. Whistler
vas content 20 be merely enchanting. merely a
magician using truth a point OF departure
for the evolution OF a scheme OF tonality which
seems. IN the last resort. as though & had been
invented by him with practically no reference
to actual phenomena. He did with nature what
49,. =
OF his when once they had given him q sug-
gestion.
In pOrtraiture he might seem, On a superb
cisl scrutiny Of the canvases here. 10 have been
moved, on occasion az least by a different i'm
pulse. His Little Rose OF Lyme-Regis'' is
very human little creature and The Master
Smith OF Lyme Regis" Is another instance OF HIS
rare willingness 10 study his model In a merely
natural Iight- But the bulk OF his portraiture
belongs In another category. 1t means figures
generally in dark clothes. studied against dark
backgrounds. and used as pegs wherein 20 hang
sombre harmonies OF tone. The harmonies are
very beautiful They are pure and simple. and
they are worked out with such subtlety and With
original a touch. they are so distinguished,
that IL is easy 10 understand how this master
OF delicate effects has been the despair OF his
irnitatOrs. 40 one else IN modern art has ever
done this sort OF thing so well But never be-
fore this exhibition was opened cid II somehow
seem so necessary 70 ask Just what this sort
OF thing is worth. II is worth much In
Whistler's hands. he makes It so fascinating.
that almost We are persuaded OF its being one
Of the great things IN art Almost but not quite.
That, I believe. is The fact which is most likely
TO emerge from the discussion OF Whistler which
this exhibition is certain 10 cause. The show
clarifies the situation; IL enables US to walk
around Whistler's art, and 10 see II for what it
IS and in increasing public understanding OF
him II will co the best possible service 10 his
fame. 1t may even rationaI:e. 70 some extent
the deliverances OF those naive acolytes who
have been making him ridiculous by setting him
on pedestal which even much greater man
might find enlbarrassingly high. Thai he was
a great etcher is an old story so old that 1
say nothing OF the prints here. save that they
include a number OF beautiful Impressions. To
speak at length on that subject or in regard to
his delightful Autographs would be beside the
point IL is whistler the painter who is IN the
foreground on this occasion Whistler the maker
Of super-refnec portraits. OF dreamlike studies
or piouant notes OF land and sea and sky,
and IN these II is not greatness that he reveals.
but hayward genius. instructive style and
charm R. c.
YOU CAN INSURE
a,-.-ssse,,cufs getting proper classincations and