The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-12-17

or individuality. Mr.. Beckwith has always
reminded US Of a Bonnat. who studied art in
America instead Of Paris. Merely a fancy,
this, and not suggesting for a moment that
these portraits are lacking in dignity, skill
or sobriety.
The lovers OF modern Dutch and French
art will have their taste gratiied by visit
ing the galleries Of Arthur Tooth, Fifth
avenue and T~hirty-ffrst street. There are
two water colors by the veteran I~sraels,
rather loose in drawing, though charming
in tonality, and without that note of forced
sentimentality which is a magnet for the
Israels public. One, an interior of poverty,
with the figures Of an old man and woman
seated, Ia a worthy example Of true pathos.
The lighting is magical, subdued, pervasive.
Harpignies, who will be. at his present rate
Of Improvement, al extraordinary master
when he is a centenarian-like Hokusai-
is represented by some characteristic trees,
with a Rousseau-like luminous background.
There is a cool, modest Lepine, suggestive
Of Boudin, a view OF the Seine near Saint
Denis that is very appealing in its air OF
fidelity to things seem The Weissen-
bruch is not for a public that adThires
prettiness; its theme and CONGREGATIONS
are unobtrusive, even commonplace, il it
we're not that the tonalities are so subtly
exploited. An enclosed yard. over the back
wall OF which is a delicate irradiation.
Nothing more. Yet il is mastery. Gerome
is shown In a watersoape, an Oriental set
ting, suffused with the atmosphere OF the
East. The painting is fat and monochro-
matte; the invention is rich, il the actual
execution is tight" There is a fine,
melancholy Cain, a lovely Jacobus Maris,
intimate, restrained in feeling, and in its
every articulation instinct with the mystery
Of gray nature. Fritz Thaulow, who OF
late painted 80 much and 30 mediocre, is
seen at his best, and a noble best it is. A
| poetic de Book, an excellent Henner, more
Venetian than the Venetians, and two
marines by Clays make up a very attractive
ensemble at this gallery. Nor must a can-
vas by Anderson Hague, one Of the Glasgow
men, be overlooked. Indeed, It holds its
own with any Of the Dutchmen; it is indi-
yidual in treatment and conception-a strip
Of brown sand, a choppy sea full Of brownish
green reflections, with a wave here and
there crested white. The air Ia salt and
damp; you feel it blowing you full in the
face. A certain spacious open sea mood is
a characteristic Of this canva
The Erich Galleries, 4e3-465 Fifth avenue,
are showing French art just now, seventeenth
and eighteenth century art; Mignard. Wat
teau, Greuze, C~hardin-an interesting and
unusual specimen-Nattier, Lancret, Largil-
Iere, Vestier, Poussin-a baptism Of Jesus
and others. Lovers of sheer virtuosity
will visit Mr.. Erich more than once to gaze
admiringly upon h painting OF certain
brilliant passages In a portrait OF Nine
Du Barry by Drouais-Francois Hubert
the n The little selfish head, with
its frivolous, i-nconsequential . eighteenth
century expression, is not half so attractive
as them uff and fur the lady disports. The
muff rests Upon a polished tablets planes
are artfully d~elineated; the tone is a sombre
vet lucid black. The meditation OF black
into black is a noteworthy achievement;
and the transpositions of the furry cerise
order which the Du Barry wears at her
bust and neck, with the faint echo on her
plump chin, are problems successfully
solved by a painter who loved painting for
paintingTs sake. The portrait il negligible
compared with such ardent materia lism.
The Photo-Seoession still holds forth at
Mr.. S~teiohen's studio on Fifth avenue IL
h could only secure the nude photograph
bv Alvan Coburn of Bernard haw posing
as Robins ~Penseur' public interest would
be- nightly stimulated in its new school,
And much more 80 IL the portrait were given
its real title, d Ia Mallarme: "L'apres-midi
HUN Fauna