New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1906-01-04
ART EXHIBITIONS.
,fodern Orientalia and Works by
Trio French Artists.

r7rnnsnE, in f2Ct- TO nearly ID NASN@
iaIe r resembles certain others which nav
iteN ssnoses Of at the same place. in that IL mas
49,, slowly formed by single connoisseuL toI
~ ,1 delectatton. but has been put 'oseet'~ -,
4x,stness house business enterprise
% +b.ss carved or embroidered objects anu 'le
s.Tr,res which the American Art Assoclal'oli 10
g. one estate or another in recent years
T ,s fixed. But the Messrs YamanaKa na.e
- something TO give their show speclal ~.
Tbev have filled it with things lHus0
,se new industrial movement IN tne sc, 49,
- rathe- from scores OF the exhibits a laii 'uea
,i-s+ in which ths Orient is seeking 10 get
s-.-sn6 more into touch with the N7s~ nc
.o+,ent observer. looking only. 20 the lHtA
if,t+ies NJ much that is brought forward on inns
stor nav easily sigh for e day on which the
o7oa orttst might &c brought TO realize that
80 Is East and West is West. and never tne
- shall meet" when 81 is more syIrlIa'Ie'-
- considered this exhibition takes on d very
sirerent significance. -, - ~.
-tt,o,eI ,er.od through which the ORIENT Is
,,g For new and vivid light on the suoJec'
=, the student consult The worries gay a. mo
&c, Art Galleries They are examples OF
,rsor3inarily deft carving. 1t is oouoIuI :. 49,
-. ever arises In the West capable OF nlaIlipu
mas ~. heau+iful material with half the shlli
hIcb tbs Japanese 3ourneymen scniPtols -,
-, m nossess as 9. matter OF COURSE d.
- If these pieces are signed, anu Att0' -.
- =. eunnosed to stand for an enorl 10 dCLno'o
Hl1t 80. e+r7osphere: and that, we venture 70
a.. ,s one Of deliberate intention 70 please sl -
-aiance The repeated ennployrn ent OF ctiiie
.odsls the constant appeal 70 lie $50 ,,
-et,r,ent serves but to rank these
$50 hits OF genre as artistic naanuIacluleS -
CO. CO. o. market TIE ancient tradition OF the
Tsst fostersd originality and gave 70 ~ q 80
- orl en- original stamp. Lhlags are 80
a. Modern Japan IS abandohns 'h9 -.
,oetbods Of the past. buL ~"
in
- e-o,o these ivories 10 the Luxurious klihohos
..+s3re or 70 the rugs which M me O'f'l9s =
: -. large galleries. Something 70 niss'hs
s.sraa Of exousiteness, as there Is q degree =.
,on5or which NO know TO oe cherac'e'iSlio :
~. old enrSroiderers. and which tner success
..i,Iy fan to reach. The rugs fall snort OF com
-. beauty Of color At the same tIne me NO.
s already 20 so far that It Is falr g assume .l
.bsv viii 20 ever much further n uiie'z
80 80. Great deal if not all. Of the manual de&-
ne. ~ q needed What IS TO come is the de-
,nr,sDr Of taste which Will make the blenolne
- Eastern end western ideas instinctlVe- y uii-
dsrstsnd that the designers Of the kIhloHoS "a,
orgh+ With practical foresight, 10 adjust !heli
--o6uctious to our conditions OF costume 6eliaps
- etyor+ treZ are making IS IN the nature OF
b,rdican 5igtracting them from the irnIneTnorla4
MOOD Of the Japanese worker But 70 see now
-1,,cb thew have accomplished In daintness o. oe-
stsn in delicacy OF tint and execution Is y !ia'e
80 ii1,sliest hopes Of what may ultimately reach rs
80 +ra Fast: not cllrios but objects bringing the
snen7ent Of art the regular channels OF trace
MEANWHILE the lover Of the Oriental spirit N arr
If the decorative garment or article OF fuIhl.ule
sbould be glad OF the opportunity when Is oHe[eu
br 80 many of the things in this sale only ~ one
department IS he likely TO find It dnlcult 10 mt
nron q really satisfying bargain We refer 70 lhaI
embracinE pictures and screens IN needleWoTh anu
cut velvet few OF these are plausf0le enough.
The herons and reeds in No Ses. the ducks SHOWN IN
a similar environment in No. So. and the figures
forth in No S62 The Dance or
Cenroku' offer Sufficient proof that pictorial con-
osutions can be charIninglv embodied with the aid
Of needle and silk But The great majority OF these
paintings may be dismissed as more curious man
sr+jstic The owners OF the collection would have
been better advised II they had withheld the pulk
of Them exhibiting only q group OF the best specl-
mems and waiting for greater progress IN what re
taks to be veritable school Of needle workers be-
fore attempting to exploit the work here.
Al the Knoedler Galleries there is exhibition
Of utneteen paintings BY a Frenchman whose art
Is 100 uttle known in this country. the late Henri
Fanttn-Iatour The comrade of Whistler in the
days when both were unknown 70 fame, the IN
innate Of rsvolutionists like Nanet and Monet,
this possessor Of delicate. distinguished temper
aueut formed himself IN his art on none OF MS
companions but from beginning TO end cultivated
q quality which recalls in its singular poetry the
bloom Of the flowers he loved 70 paint The snow
a. Knoeder's contains one large Portrait OF q
Lady" and one littls composition with figures;
the rest are al flower pieces. We wish that sons
OF his pastels could have been included. and that
room could have been found for a group OF those
enchanting Autographs in which he wont TO
illustrate the music Of Wagner and Berlioz or
the poetry Of Victor Hugo and Byron. These adj
ditions would have rounded out the portrait OF a
remarkable artistic personality. But let US be
thankful FOR what the faUes provide. The portrait
3ust mentioned gives en- excellent impression Of
his sincere and thorough going method. little
wanting IN nervous force. perhaps, and In that
conclusive rightness which prOcains the born
portrait painter, yet a genuinely artistic methoo
vthal one with sensitiveness IN II. and q beguil-
ing dignity. Ia Toyageur tells less than We
would Ike 4 TO tel Of the imaginative feeling. the
ssressingly sersuous yet pure touch which Fantln-
Iatour brought 10 the delineation Of picturesque
forms, L may be taken for our present purpose
simply g chapter heading, as fugitive souvenir
OF a part OF the artists history which may per-
haps he richly illustrated another time. On the
other hand. the flower pieces are numerous enough
ana represents tive enough TO give as good an loea
as could be desired Of what Fantn-Latour vas
like when h was altogether At his best
Il IS hard ID choose, but from among these "a
ways successful studies We would more partlcu-
larry select No. II 'Gorse and Hawthorne NO.
L, White Border Pnks'. No. Is White ana
Pink Roses. and No. 5, 'Pompon Chrysahtile-
NUNS as disclosing MS art in all its fragrant p
lection Il IS 2 peculiar art. For all MS lhoe-
pendsnce of their individual manners Fantin-
Latour was too closely in sympathy with the mas
ters Of his group to paint without something OF
that breath which characterized them all HIS
portraits OF flowers hover between concise defini-
ton and the synthetic handling indispensable 70 q
colorists desired eject You would say that he
had set our To give separate petals separate values
IN pictures Ike his "Pompon Cnrysanthemuns, II
1t we're not that on abandoning the close scrutiny
which suggests this idea ana studying the WORK
a little distance. you Immediately perceive the
large freedom with which the artist had welded
his brush. Al one moment he appeals to you
through the loving rnfnnteness Of bis research into