The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1906-02-18

Celia Mechlin in Washington Starr
Senator W. A. Clark has loaned to
the Corcoran Gallery Of Art ffty-six
extraordinarily interesting and valu-
able paintings from his private collec-
ton, which have been congregated in a
single room and formed into a special
exhibit. This in art circles will doubt
less prove one Of the most notable
events of the winter, and to students
and art lovers 1t will afford uncommon
privileges.
The exhibition was opened by pri-
vate view, to which the vice president
and officers of the senate, the senators
and their families, members of the
cabinet, directors of galleries in other
cities and many prominent art collec-
tors of the country were invited.
About a year ago Senator Clark
loaned to the Corcoran gallery twenty
five-recentIy acquired-canvases and
these form the nucleus of the present
collection. a collection which ii has
been said few museums could dupll-
cate. It's value as II now STANDS Is
estimated cOnSerVatiVely at SIOO,OOO, but
its intrinsic worth far exceeds It's com
mercial valuation. It comprises not
only modern paintings, but works by
the old masters. and it boasts rare eX-
amples of the several great schools.
1t has been well selected and nicely ar
ranged. Each picture seems to be a
unit fitted into q large, coordinate
scheme. The general effect is harmon
icus and pleasing, and the single ex-
hibits are of rare and of lasting inter
est
A large portion Of the collection was
acquired at the time Of the great
Preyer sale in Vienna. the senator sup
pIementing his own knowledge at that
time by the expert advice of DR.. Bre-
dius the director of the Amsterdam
gallery. A number Of the modern
works were purchased last winter,
when the J. ". Kaufman collection
was disbursed in New York, and sew
era1 of the important recent accessiOns
were procured through Mr.. Y. @. Fisch-
er of this city. 1t reflects unquestiOn-
ably the taste and judgment of the
owner, and while there may be among
COnnOisseurs discussion and disagree
ment as to the merit of single eXhib-
its. collectively it will be conceded by
all to maintain an unCOmmonly high
standard.
Portrait by Rembrandt.
Interest viii necessarily focus upon
the portrait of a lady by Rembrandt
which centeTs the south wall. This
alone should create a sensation. Not
only is it the work Of a great master,
but an exceedingly fine example In
il the last word has been said. the con-
summation OF painters craft arrived
at. 1t might have been differently
done, but it could not have been bet
ter. Nothing remains to be asked
every demand is satisfied. The Dutch
painters, it has been said, were given
TO Tealism-were reprOduceTs Of nature
and it is true that Rembrandt here
presents living reality. The woman
he has pictured literally stands before
the observer in IifeIike semblance. Her
personality is more insistent than her
mere person; she becomes instantly
vital and creduIOUs to the observer
Who she was no one knOWS-pOSSibly
the painters sister-in-Iaw. Saskia's
own sister, some say. But her name
and identity are Of little consequence.
The face is typicaly Dutch, yet very
individual. The eyes are frank and
seeing, the mouth firm, but sensitive.
The features show much character
and yet the expression is inscrutable.
1t allures and at the same time battles.
According to the accepted code, this
lady is not beautiful, and yet she
charms. She is q human document to
whose pages one might gladly turn
with TeVerent regard. If all this while
1t has not occurred TO the OnIOOker to
admire the art Of the painter il is
merely on account Of its perfection
Every suggestion of medium is lost
every trace Of labor ObIiterated, and
Vet with what cOnsummate skill is il
done! Every detail is truthfuIIy inter
preted; every value properly related.
The woman stands repOsefulIy at an
-TTrHGH hand q,
fan. the other laid against the frame
Behind her Is a brOwnish wall. around
her air in abundance. The light is To-
cuscd on the face, the outlines of the
figure are lost against the background
The transparency of the shadows too
should be noted, and the gentle merg-
ing of light and shade. 1t is a work
most mastery IN its supreme simple
ity. It does not discourage effort. but
rather inspires il by its own success
and by its apparent ease Of expression
such paintings are not only a delight
to the wise, but liberal education to
the studiOus- They do not need to be
CNplajued-they manifest themselves.
Work of Sir Joshua Reynolds.
On the east wall in a position of
prominence, is TO be found a portrait
Of Mrs. PradO." painted by Sir Joshua
Reynolds It is a three-quarter length
-
fully resting against a wooden pedestal.
In color IL is peculiarly charming: in
brush work most accomplished The
gown Is a white material daintiIy flow
cred, the outer garment a brown pink
edged with eTmine. Trees and a bit
Of dull blue sky form the BACKGROUND
and help TO enhance the harmonious
effect. Here, too, definite personality
has been rendered, but in this case ii
has been subOTdinated TO the motive
Of decoration. Il is not Mrs. PradO
who appeals TO the observer, but the
painters artistic arrangement of color
and skllful welding of lines. Regard
less of subject, it charms the eve and
gratifies the senses but for this reason
il is none the less worthy.
4 little incident in connection with
this painting is we'll worth relating.
Mrs. Prado. 50 the story goes. was q
South American, the wife Of wealthy
London merchant. Horace WalpoIa
was her friend and neighbor. and II
was he who persuaded her to have her
portrait painted b. Sir Joshua. One