New-York tribune., 1908-04-25
ART EXHIBITIONS
The Work of the Late Daniel
HUNTINGTON.

toOh lTom the scene painter WIZ uoH
distinguished part in the development Of American
art. He had begun his career at a time when the
tradition OF the eighteenth century had lapsed ana
that OF the nineteenth had still be beaten out
The study Of technique for its own sake had not
become popular lmpressionism was unknown
The artists OF the day practised methods which
long since became outworn. But the salient figures
of that generation. standing. as il we're. between
Gilbert Stuart and Manet. say. or Whistler. ie''
their mark through their stsadfast cultivation OF
the golden qualities of sincerity and truth MI
Huntington was faithful those qualities down 10
the day OF his death; how faithful may be judged
from the memorial exhibition Of his works which
has been arranged in the picture gallery OF the
Century Club The collection OF about a hundred
canvases, illustrating his from 1886 to 1906 sheds
interesting light upon the history OF notable
character. 1t includes landscapes, few figure
compositions and number of his best portraits.
The last mentioned works quite properly predomi-
nate for. while he active in more than one
fed Of art, it in portraiture that he was most
productive
Mr.. Huntingtons experience in his earlier period
raises the suggestive question of environment and
association When he went to Europe in his young
manhood the romantic school OF France had only
recently been launched, but though he studied for
time in Paris his poise in no wise disturbed by
the elements OF artistic revolution in the air Rome
and the conservatism dominating the painters
there harmonized with his Unborn taste and con-
frned him in the resolution form his style along
sober lines The romantic motive interested him
1t interested Delaroche Scheffer, rather than
it Interested Delacroix. That is to say 1t was
related. for him, simply and solely to the object
portrayed not to the treatment to be given that
object: II was matter Of observation. rather than
of feeling His attitude is clearly reflected in the
Italy. dated 1S43, the carefully drawn portrait Of
a handsome model You feel that he has responded
to the appeal OF an exotic theme. that he has ad-
mired the grace and picturesqueness of his sitter.
bl1rh ha doae att -arla INV a
mental qualities upon his subject; color and hand
ling restrained as in one OF his portraits OF
staid Americans 1t is interesting to reflect on
what Mr.. Huntington might have made Of his art
If he had been thrown amid such influences as
would have irresistbly tempted him to let himself
go in the exploitation Of romantic themes. That
he had the requisite emotion is shown by striking
little sketch, The Birds Nest which he exc
cuted in 1858. the best thing in the exhibi
ton. So charming is the color in this. grace
fully decorative is the touch that one pauses in
wistfu mood the thought Of the pictorial tri-
umphs the artist could achieved If he had
chosen to follow up the vein here exposed 1t is.
however. a vein Of hghtness. OF vivacity. and at
bottom there was a gravity about Mr.. Hunting
tons art which was, perhaps. Interchangeable.
In adhering to the more formal spirit which is
well exemplfed in the Philosophy and Christian
Art Of 1868, composition executed in reverent
emulation of Titan. he was true to the broad
drift OF his nature Form and color were not by
themselves inspiring 10 him II was essential
that they should appeal 10 his intellect well
as to his senses Mere pattern had nothing
say 10 him. he looked for character. for the ele
ments that go TO make living human interest
That is why his portraits have weight and vital
ity. In some of them. done when he still
young man, there qualities which suggest
kind of gusto for the fascinations OF technique
The suave brushwork. as precise as it is subtle,
and the fresh carnations in the Guy Richards
Of 1S45 and in the portraits Of James F and John
r. Ruggles. done in 1880, disclose the artists
easy control over his instruments and hint at his
enjoyment of his task. Something of the same
swing and freedom may be noted in the few por-
traits here like the Prof. Joseph Leidy.' which
remains unfinished Mr.. Huntington could be free
and elastic when he chose. But time went on
he seems to have placed more and more restraint
upon the nervous force he brought TO his work.
and TO have executed his portraits with austere
thorpughness. He studied his sftters with the
keenest soltcitude for traits OF character. and
corded these traits in terms OF the most careful
craftsmanship and modelling II something
was lost thereby-a certain breadth and fudity
Of touch-he gained in solidity and force.
This little collection has the interest which at
taches TO a company of remarkable personalities
Though the portraits Of women have their merits
the portraits of more impressive
Distinguished types like Professor S F. 3. Morse
Professor Louis r Agassiz Mr.. Theodore Roose-
welt (the father of the President). Mr. Albert
Gallatin, Mr. Gulian C. Verplanck. and the artist
II4LiSe4L dIe p4dCtO US not only with vivid
reality but with peculiar dignity that testhes In
subtle fashion 10 the essential fneness of Mr.
Huntngton's temperament. He was called upon
10 celebrate many of the representative figures
OF his time, men and women whose carriage and
demeanor were governed by attitude toward
life more serious perhaps, than that which is
common to-day They knew nothing about the
fashionable decorative portrait of which we make
so much. Mr. Huntington could not have painted
it for them In his fidelity to bis generation and
ms ha
our own time. could not spare but he achieved
a simple veracity for which he must long be held
in honor. r.