Evening star., 1905-10-14
A R T N o. E s.

Seldom in this country does one have the
opportunity to see paintings of such no.
table character the five which were add
ed this week, through the generosity OF
their owner. to the Corcoran Gallerys al
ready important loan collection. They are
Rubens, Rembrandt, a Nicholas Macs
van Orley and a Lawrence, and for the
commercial cost of any one a moderate
sized modern collection could in all proba-
bilfty be purchased. Their value from the
art standpoint is, however, greater than
can be estimated in dollars and cents, and
while less tangible is unQuestionably more
potent. Their worth is measured not mere
ly by their singularity or their painters
fame. but by their rare intrinsic merit
Produced with the exception of the Law
rence) during or before the close of the
renaissance, they stand for the height of
achievement. and manifest in themselves
most patiently the meaning of great art
The Rubens, which centers the group, is
large canvas portraying the Holy Fam
ny." The Virgin is seated with the Christ
child In her lap; beside her, to the right is
st. Elizabeth, and behind her, half pro-
tectingly stands Joseph. The grossness
which typifies some of Rubens figures is
not observant here for while robustness of
health is indicated, refinement of feeling is
with equal clearness, expressed. There is
mary; something very tender In the evil
dent interest of the aged Elizabeth and Jo-
seph. All attention is centered with GER
tain reVerent emotion, upon the Child, who,
In apparent unconsciousness, clings in baby
fashion to His mother. 1t is the theme of
which the world never wearies-which will
appeal for all time to both the great and
the humble-but it is, moreover, most bril-
nantiy set FORTH The color scheme is rich
and luminous, the distribution of light and
shade peculiarly happy. Without inquiring
into the technique, the impression is charm
ing, and without definitely following out
the lines and masses the eye rests upon
the canvas with unalloyed delight That
it is more than well painted goes without
saying, but without presumption one may
point TO certain passages which to the art
lsta and student display unwonted skill
such. for example, the rendering of the
aged woman's head-the treatment of the
Virgins gown-the bold modelling vet SUBJ
ordination in shadow, of Joseph's figure
1t is impossible to praise such painting
as the Rembrandt portrait, which hangs
Immediately to the right of the Rubens;
such achievements cannot be estimated in
words, and before them the critic can mere
ly stand with uncovered head. Not only is
this Rembrandt, but Rembrandt at his
best. From start to finish II shows COM
plete mastery of material and an ease of
expression which only the few have at
tanned. The subject is a not-too-comely
man of middle age, wearing a broad-brim-
med hat, and. over his black suit, lace
trimmed. linen collar and cuffs. The lines
of his face are clear cut and sensitive; the
expression of his countenance mutely ap-
pealing The Dutch type Is unmistakabie
but beyond this definite personality is
portrayed which admits of intimate COM
prehension. 1t is undoubtedly as much a
psychological study as likeness of the
man. The background is an arched door
way beyond which a corridor runs trans
versely. The light is strongest back of the
figure. but the shadows are neither deep
nor marked, There is abundant space and
air on all sides. and while the outlines APP
parently obliterate themselves in shadow
they are more than satisfactorily explained
Every detail, in fact, has been painted with
the utmost care and precision. and yet SO
perfect are all the relations of color and
tone that no part receives over emphasis
and the substance OF the pigment Is for
gotten In the effect.
The Macs. which occupies a position to
the left is the portrait of prosperous
Dutch burgomaster. heavy featured and
1usty with health. AS a type II contrasts
sharply with the Rembrandt. but in matter
of execution it is almost on a par. Flesh
and blood could not 1t would seem, be bet
ter represented. The flesh has q pliable
quality, the whole figure vigorous vitality.
The personality again dominates the like
ness, and the boidness OF the painter has
been made to accord with the self-suff-
cheney of the man. And yet certain pas
sages are rendered with surprising subtlety,
and the dash of technique has no part in
the result. The placing of the head against
the background, and of the hair against
the face has been skillfully done, while the
manipulation of the plain white collar, the
idle hands and the leather gloves is pecu-
uarly notable.
The Lawrence portraits likeness Of
Lord Abercom--is fine bit of color and
a clever piece of technique. There Is an
animation in the pose which finds rele-
want expression In the turn OF the head
red background curtain. blue sash, white
watstcoat and dark coat are admirably
interpreted and pleasingly combined. ana
signify not only docile. but q ready
brush
The last of this notable xroup Is the
earliest Of the flve paintings, 3 skadonna