Evening star., 1905-10-14

fore the year l5l2. Showing some 81 the
conventionality OF the primitive paint.
ers. 1t Is still wonderfully literal-and
remarkably decorative in motive. Hard
III outline. II is lovely In color, and while
faithful to details Is intensely spiritual
in suggestion. The quaint landscape
background. the excellent drawing, the
Madonnas pose and expression. as well
as the harmonious coloring, are all to be
specially remarked. Widely diverse, all
Of these pictures have one trait in COM
as they are. they stimulate rather than
discourage endeavor, and great as they
are. they address themselves both to the
unlearned and to the wise.
X u
In the v. g. Fischer galleries there Is
always an interesting display, but the
attraction is now enhanced by the addi
tion Of some recent purchases. Chief
among these is a large canvas by Sir
Joshua Reynolds, a fanciful portrait OF
the Hon. Mrs Beresford. painted as a study
for his famous picture of "The Graces deco
rating terminal figure Of Hymen,"
which is now in the National Gallery,
London. The larger W Z shows not only
Mrs. Beresford, but h. two sisters, the
Marchioness of Townsend and the Hon. Mrs.
Gardner, gracefully festooning garland
around statue, and against landscape
background. 1t was DeQueaCneu TO the
English nation by the Earl Of Blessing
ton, but the studies from which 1t was
painted, highly esteemed, have, up to this
time, remained in private ownership The
one which Mr.. Fischer now exhibits is
perhaps the most suited for single pre-
sentation and forms disconnectedly
pleasing composition. The lady, who is
both young and comely, is pictured rest
ing partly upon her knee with arms out
stretched and face upturned. Her gown.
which is Grecian in Its simplicity, Is the
color of dull copper; her hair, chestnut
brown, is seen tossed by the wind. The
lines of the composition are delighfully
fluent; the color uncommon1y rich and
resounding. The landscape background
is broadly treated, yet exceedingly ef-
fective, and the whole Is charmingIy
luminous and atmospheric. 1t is "a free
rendering, purposed primarily study,
but for that reason undoubtedly more
spontaneous and appealing. In addition
to this there are among the new arrivals
q famous Gainsborough landscape, The
Bullock Cart" an uncommonly brilliant
and finished Turner, Boucher panel,
both characteristic and renowned, and
mastery portrait of a lad by Janson.
painted after the manner of the 10th
century Dutch school. These are but a
few of many. The galleries are filled not
merely with notable paintings, but also
with art objects of rarest value, OF type
infrequently seen outside of public mu-
seums There is, in fact, no other place
in this country where similar display
can be found and while the object Is ad-
mittedly commercial, so long as the ex-
hibits are open to students and others
specially interested, as well as to would
be purchasers, a benefit accrues to the
public and the city itself is enriched in
due proportion.
That an article on Washington as a Fine
Art Center should have found inclusion
in the volume prepared as a souvenir or
the American Bankers Associations meet
ing here is thing of no little import; and
that 1t should have been written by one
who not only grasped the situation, but had
the ability to set it forth with clearness
and brevity, adds much to It's weight. 1t
is one thing to enthuse and another to con-
vince That the national capital should be
a center, If not the center, of the fine arts
In this country, it is easy to say, but to per-
suade others to the belief is less simple
task Mr. Glenn Brown, the secretary of
the American Institute of Architects, who
was chosen for this work, has marshaled
to his assistance interesting array OF
simple facts, which should it would seem,
If carefully considered, carry with them con-
viction. Writing for fnanciers he has put
his subject on business basis and concise
ly related what has been and may be done.
He has told of the need which called forth
the park commission, and of its work. He
has suggested that means toward an end
would be the establishment in this city of
headquarters by the various national art
associations, and has enumerated those
which have already taken this initiative.
He has shown how the federal government
could be the principal agent for the dis
Semination of the refining and educative in
fiuence of art, through the character of It's
buildings, parks, statues and paintings,
and has intimated that with the compile
ton of the new National Museum definite
place might be given to the fine arts. In
conclusion, both as corroborative testimony
and reasonable encouragement, he has quot
ed a part of the speech made by the Presi-
dent last winter at the dinner given by the
American Institute of Architects, which
ma aNifested the fact that the administration
was in sympathy with any movement which
had as it's object both the beautifying of the
national capital and the ethical uplifting of
the American people. Mr.. Brown urges
nothing, but writes temperately in hope
full vein and for this reason most helpfully.
A special campaign is to be made this
winter against the tariff on works OF art
On the Goth of last April a meeting was
called by the Copley Society of Boston of
representative American artists and col
lectors for the purpose of considering
whether the time was ripe for the making
Of a formal protest, and in what manner
such protest could most effectively be made.
The meeting was attended by representa-
tive men from all parts of the country, and
the outcome was the formation of Free
Art League" which has as its president,
Bryan Lathrop; as its secretary, Edward B.
Warren, and Its treasurer, Holker Abb
bott The board of control consists of Hal
sey c. Ives, Robert w. de Forest, Thomas
Allen, Edward H. Coates and Daniel H.
Burnham, and as it's advisory counsel, My
ron E. Pierce of Boston has been retained.
The first meeting of the league will be held
at the University Club, New York, on the
10th of this month. and at that time
course of action will be determined Mr..
Pierce was in Washington this week gath
ering data, and there Is no doubt that every
effort will be made to bring about the de-
sired reform. Japan and America are the
only important countries which levy an i'm
port tax on works of art. Supposedly this
tax is for the protection of native artists,
but for many years 1t has been the artists
who have most vehemently protested against
it. Poor paintings are comparatively so
low in price that the 20 per cent ad volorem
duty does not keep them out, whereas 1t
prohibits largely the importation OF good
works of great educational value 1t is safe
to say that should this tariff be done away
with many American collections which are