New-York tribune., 1906-11-13
ART EXHIBITIONS.
...,,rs Rembrandts and Some
v,., American Water Cofors'

,-,s sesth his art has upon moro
snos N".,o, been subjected TO pecuharis "a.
thsn one -, He has had his blind euIos'S'sr -
sotng ST.. ~ has had his critics, too ana ~
course ,,rlilxely that he may oeiore io"s
not at al u-,o.,,ve with none Of his ouantes'
!, the right per spos.rtes. At the present mo-
GOOD or p@", h,s PAINTINGS provoke differences OF
rnent ns-S his etchings II IS another matter
op:nion. ~ =, are strongly reminder ny an eN-
,acf OF W. -.,od At the wunderlicn Gallery. IL
hs'noH "a ~ mates which were oTisihalE Pu4
COMP - tb. late Queen Victoria aho, "s "e
oisseo - .--sng. were sold at that tine % hii's
noieo u purchasing them the present oN me- :
ho".-es collection OF hisA ANeiaHe 1 =,
ootaine- examples far above the average ia
with oe' - a. ..erest,ng 10 look at the show Win
eBshe, ,u the arguments raised by Nh'suer'
thos.,. unon the extraordinary Nta-Iy oi i''S
one -ork How fresh Il is! HOW Flch III l'i1s
t'0ne plates that are as familiar as any
heauS rs known for years reappear IN Hhe lli'-
fnS' - end again take the coniolsseu' NAf'''''
s.hsns easy to grant The writers aoo1' So'''e
s Pt,-vss their foolish hysteria, so long as one
,et,rn 10 masterpieces IKE Inc
90 ,noorlparabe 'Ffnette
u-s ,sst named plate the full length study OF q
i- .o,es in her day. has a varae not orten
oa". bv Whistler the value OF the human DOC
hm psrbsps he was not conscious OF the fLli
Sn,s..,,. SnE.. ~ his subject No doubt he was con-
fs5 only with the charming pose or the noael'
.eo ~ her voIUminous skirt, ana the iich
=. ~ tone to be manipulated IN the treatment OF
A~-,ooas But 'Finette" Is alive, and IN her
y -. .tcra lives the spirit OF her Paris. one
PI,, ..f,tlv in the character Of the room. With
F m. =. the window, and in the glimpse Of the
nash,rors Whistler's technique was never more
.s,ly . than in this performance. but we never
-. .tinc without looking through the tech
-. 70 the heart Of the subject and TO the subtle
80, ,hst seems somehow 10 be there expressed
se7suous beauty which the artist felt has
.I,,sIv human tinEe. He got actually in spite
i,s,usslf in spite OF his preoccupation with the
-. -, ~ form ard color. The same merit comes
rsJslv I'm The Dyer" which is shown in what
~ ~ ...slorDe calls the finest impression known" ."
-. h.rA no quarrel with the description. Never
=. seen this lovely Venetian study IN love-
=. y,.rs,or. The printing IS beyond praise, giving
:. n. wonderful foreground f warmth ana trans-
,-s,cv which would ordinarily seem 10 be almost
ts,ors the reacn Of the etcher. We miss this
.,b ,r The ir1pression Of ''rhe Traghetto' that
s,bibted: i IS beautifully pure and clear. but
:. = colorfil as We have found il In some other
.,,rcs Ga the other hand, clarity. clean per-
s,on Of printing gives 20 the present example OF
me Bsgssrs" the fullest possible charm-we feel
ss- in lust such a firm printing does the plate
zach the perfection desired by the artist.
-Ais collection of whistlers. extended by some
.,,r,ples left by the late J. II. Hutchinson, per-
rits g comprehensve survey OF his art 1t illus
rstss the earlier French and English periods, the
Venetian. the Brussels and the Dutch excursions,
sss IN fact all of the phases Of that genius which
vas never more completely ttself than in the field
=, swift summary observation. A number OF the
s,es, OF the portraits are here. the enchanting
.BIfi laiouette" the dainty Fanny Leyland," and
as picturesque ''Becquet." The romantic charm
:, Venice. the simpler effects OF the Thames all
q the different notes that he struck, may be stud
ss n their best estate. We welcome the exhihi-
.,-- rs Importance for collectors is obvious hut
We think even more Of the chance II gives TO the
student 10 come once more TO close quarters with
aose virtues Of grace and strength, Of delicacy,
dstyle through which Whistler made hts fame as
a. etcher secure.