The sun., 1908-02-21

During q pause In the ceremony he asked
In loud, distinct voice: -What are Keatsr
Now, II any one dared TO ask what are
Yeats3' the answer would not be so slow
in forthcoming. II there not John Butler
Yeats tho father, q painter and an r. H. A.G
Il there not William Butler Yeats, poet,
ny the grace Of God, mystic and playwright
Then there 10 Jack Yeats tho younger. a
Dublin artist; and several feminine counties
TO be heard from, all situated ON the Yeats
family map. Nor dOes tho elder Yeats
suffer a. did the father OF Felix Mendels-
Bohn, who was, no said wags, the son
Of hls father (Moses Mendelssohn, the
philosopher) and the father Of his son,
the composer. John Butler Yeats IL a
cultivated Irishman who had made his
name In Dublin and London as a portrait
painter before the advent Of his son,
William Butler Yeats. On the whole, the
ZangwilliRn conundrum transpoeed 20
Yeats can only be answered-an Irish
eCho-by saying: "A rarely gifted family
The elder Yeats has been here for several
months. executing portrait commissions Of
well known New York men and women.
He brought with him some Of his across
seas xitters. A portrait Of George Moore.
the distinguished novelist, who delights In
setting social Dublin by the ears with his
paradoxes and writings. is for the present
writer. who has seen him. admirable alike
In likeness and craftsmanship. The gold
has not yet fed from the mustaches and
hair Of Mr.. Moore-that gold which Manet
loved to paint. Manet made a pastel Of
the youthful bohemian Moore in Paris.
which is a horror OF tangled impressionistio
whiskers and matted thatch. The novelist.
who was at that period a poet, has a hun
cry souled expression. He IL still reading
BaudeIaire and Huysmans. In the Have
meyer private gallery there ls still another
Manet George Moore. The picture is a
masterpiece. It is called EN- bateau" and
represents golden George in the role Of a
conqueror and a yachtsman. He steers a
boat. He is In nautical getup. The young
woman sitting near him Is impressed. as
well she might be.
Mr.. Yeats has painted the mature Moore,
the world weary psychologist OF disillu-
stoned souls and memories Of dead lives.
It is head and shoulders. The eyes are
invincibly gray blue. and there Ia an air OF
repose that comes when a man Is a rich
landed proprietor-which Mr.. Moore is.
black and white, in which genre Mr..
Yeats exCels. IL a swifter. more rhythmic
performance. It il extremely Mooresque.
Sketches OF Lady Gregory. of J. NJ. Synge.
Of the young Irish poet and dramatist
Padraio Colum (-Pstrick" in the hateful
tongue Of the Ssssenach) and Of numerous
prominent people in art. literature and
science are in the Yeats portfolios. Par
ticularly hfelike IL one OF Prof. Edward
Dowden; while the portrait in oils OF W. B.
Yeats Ia not only paternal tribute OF ad-
miration but also an excellent example OF
keen characterization. The head OF Simeon
Ford IL as yet unfinished.
It may have been only a coincidence, but
it chimed in with our strained optics when
the Montross Gallery last Tuesday opened
a twoman show, as Macbeth's q vaIiaat young
men vacated that gallery on the same day.
Birnam Wood went further down the ave-
nue. to Dunsinane. Dinna ye hear the
slogan4 It's Dewing and Tryon pictures
at S72 Fifth avenue until the end Of the
month. There you. may rest your eyes
on the subdusd tonal harmonies ami deli
cate figures Of T. W. Dewing and d. W.
Tryon. As the French poet, Emile Henne-
quin, hath ii; Let all that is be no more.
Let glances fade and the vivacity of gestures
fall. Let US be humble, soft, slow.
And perhaps existence will lose some Of its
harshness." Only three Dewings, but they
rest the eye after the blazing fireworks of
the newer men. No need to dwell upon the
feminine type Of this painter. She is lean.
but she wears an air OF distinction. We
may not feast our eyes upon her clavicIes--
which are never to be overlooked-but at
least they are arkstocratic. Dewing's women
ait or lounge elegantly In a subtle twilight.
making few gestures, dropping at inter
walls languid mOnosyllables. Consider "The
Print" lent by John Gellatly The cham
Der in which the two ladies are seen is per-
haps the section Of a drawing room. The
floor is shining. The chairs rest on its
surface. One of the occupants regards a
japanese print which floats from her arm
to the ground. The other looks on. The
atmosphere is high bred. 4 JapCnese
simplicity charactsrizes the surroundings.
One ornament rests on the door. Over the
mantel there is a mirror and in it is the
image Of an open door. most truthfully
indicated, though at first a little confusing
to the eye. The empty space beyond this
open door, with it's Intel, is clearly shown.
Incidence. yet not of an obvious sort. is the
keynote Of this curious and decorative COM
position. Its artihciality is~ purposely
achieved. The women are Of the Brahmin
caste-not 30 much We're de We're as cultiva-
tors Of Maeterlinck and lovers Of Whistler.
To suggeet this Stimmun0 OF leisurely in
difference and still keep the spark Of vitality
alight 10 one OF those little triumphs Of
DewingIs. As to the low yet never monot-
onous color scales. dainty tonal involutions
which dow and fade into an enigmatlc
neutral background, all these and his Green
and Rose" and q portrait are familiar Dew
ing. The beautiful ornamental frames were
designed by Stanford White.
Tryon's pastels, nine in number. inter-
sperSed among the oils by DR.. Montross.
artistic optician. are worthy OF study. The
painter has evidently Travelled with his
material though it may be admitted that
few traces remain in the result. No. 10.
asTwilight, with lovely weaving tree forms,
a lonely spot with a tender green fore
ground; No. ~. a Sullen sea and blue lead
sky; No. 10. -Morning"-the dawn comes
up like a lamb. Above a smothered Grim
.o,, ann dfar thara In a braaL Il, tb. =.