The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-08-19
ARR ExHIBITIONs 1N LoNDoN.
The New Art Centse-AR Austrian Artist
who ID q Presidents Grandson.


LONDON, Aug. $50 many noteworthy
events have occurred In. the art depart
ment OF London this summer that It has
omissions may o DO briefly remedied,
but first 1t must be pointed out that the
ever increasing number Of good exhibitions
indicates the truth Of Robins observation
that London Is becoming the chief art
centre of the world.
When Robins rerna rks were chronicled
in The SUN a couple OF years ago several
American artists fred of letters Of protest.
Yet there are still no signs to show that
these have arrested the normal progression
OF centres Of influence, from east to west,
with the sun. After all. London 10 on tho
cay to New York, though It 10 perhaps
rathar much to expect the muse to leap
the ia riff barrier without resenting 1t.
John Quincy Adams seems q curious
ma me for an Austrian artist to possess.
It is signed to a large painting called "The
Death Prayer in the Poorhouss of voien-
dam, Holland" which is shown in the fine
arts section OF the Austrian national ex-
hibition now being held at Earls Court.
Four gray headed men and two old women
ere grouped about the foot of O shrouded
and lighted cof1n, their heads bowed In
prayer. p
The author OF this picture; executed with
simplicity and sincerity, is q grandson OF
the sixth President OF the United States.
He is a n~aturalized Austrian, resident in
Vienna; a leading member. Of the Artists
Association Of that city and Of the Salz-
burg Art Union; and o delegate to this
Austrian exhibition.
Az many as ten associations OF artists
take part in this display, and there Is 90
much merit and wen originsli that one
regrets the show Is not held else where.
Nobody goes to Earls Court to see pictures;
music, colored light on dancing water,
sparkling wine and cigarettes. Incidentally
there is an exhibition every year, but to
look at it stamps you as a provincial.
Works by Flemish and modern Belgian
painters form one OF the series Of excellent
exhibitions held at the art gallery Of the
Corporation Of London; at tho Guildhall.
The pictures 60 back to the fourteenth
century, to the days Of the brothers Van
Eyck, the fathers Of oil painting in so far
as they brought unsatisfactory methods to
perfection.
Very serious and conscientious artists
we're those old Flemings, working not for
the public but for a small number Of highly
cultivated individuals. The notable painters
we're members Of guilds. and the in
spectors of these guilds had the right to
enter the establishment Of any member and
seize any materials that were bad, such az
panels with knots in them and gold; silver
and azure Of inferior quality. Any soamped
work rendered it's producer liable to punish
ment.
The first gallery is given up to the works
OF these old painters and their followers;
eighty pictures, chiefly lent from English
collections. Then come forty works repre-
eenting Rubens, Jordaens, Van Dyck, Halls:
Teniers and others, and in a third gallery
are the moderns, about 100 pictures.
Three exhibitions Of German art have
already been dealt with at some length in
THE SUN. French art; II one excerpts the
Duveen show Of Of eighteenth century masters
and the numerous works to be seen at tn,
International and other annual exhibitions,
has been seen chiefly in the form Of one man
shows.
Early in the year the fine Millet drawings
from the Stats Forbes collection were
shown and sold at the Leicester Galleries.
Some Of these small studies in black and
white were priced at 81, 1000 apiece.
A rather poor lot Of Barbizon pictures
followed and presumably found purchasers,
this bringing the slow dispersal Of the Stats
Forbes pictures practically to an end. The
executors considered them worth about
81 900 ,oOo, and they may have realized more
than hall that amount.
gnies and Jacques Blanche have
also had shows at the Leicester Galleries;
and Mt present are to be seen there, besides
a collection Of English water oolors, thirty
three pictures by Boudin and Albert Le-
bourg. Boudin Is the Corot Of the sea and
shore. II is difficult to understand why
his broadly expressed; delicate, beautiful
work is not yet fully recognized.
Boudin is at least as big a mar as Daubigny
and when he is as widely recognized his
work will probably have much the same
position in the market. Now q fiji Boudin
can be got for about one-tenth OF the price
Of a fine Daubigny.
Lebourg, somewhat famous in France,
Is not really Of much account. He has
stuiiei Boudin, Monet and others to some
purpose. but had they not existed he would
have studied somebody else and been
quite different. It Is work Of the hand
and brain, but in no way Of the heart.
Among other visiting Frenchmen are
Fernand Desmoulin, in art a disciple Of
Monet and in life the friend Of Zola-he
had his windows broken in that cause
and Augustin Rey, ar architect employed
by the Paris. R~othschilds, among others.
He spends holidays depicting Swiss noun
tains in water colors ina manner suggesting
both a street poster and a japanese color
print, yet often escaping the special excel
lences Of both.
The exhibition Of the Faure collection
Of paintings by Monet has been mentioned
inTHESUN and the work Of one less famous,
NJ. Jules Cayron,' who came to do portraits
Of ladies', has been described and illustrated.
1t remains to be said that he has un success
tou. Constantly he goes to a frame maker
and talks French; and though the frame
maker knows no French, he guesses that
more frames are wanted. He Is right
every time.
Sem, the caricaturist, has also been here;
not to show but to observe. He q to
Ascot races and said Of the British aristoc-
racy: =