New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-11-24
ART EXHIBITIONS
II Noble Group of Portraits by
Fan Duck.

"oeious discipleship in the studio OF Rubens.
The second embraces his FIVE years ~ fer
IA" labor i'm italy. largely governed by
his enthusiasm FOR the STYLE Of Titan.
Then. after soma backing ami dIling in
flanders comes hrs settlement in England
as court painter - Charles T. Hts English
Solouru. ~ al events in Us earlier and
middle stages, found him in The pleutitude
Of his powers From il dates the great
portrait OF Charles now in the Louvre. which
= probably tho most brilliant example %
mere court portraiture in the world But
Van Dyck was from his youth an artist
OF astonishing ability. and he was never
more interesting than in his Italian period
indeed the work H. did then possesses a
special charm and has special value. IL
IN this period which il chiefly illustrated In
a remarkable exhibition now open AZ the
hnoedler gallery. Tbs consists Of nine por-
traits. generously lent by Mr.. Widener and
Mr.. Frick, good TO see at any time. and
particularly welcome Just now when the
exhibition Of seventeenth century Dutch
masterpieces at the Metropolitan Museum
mas heightened interest In the art Of the
Low Countries u IS suggestive 10 turn
from the dramatic and psychological pow
ers Of Rembrandt from the fortnight real
ism and technical virtuOsity Of Halls. 10
the man who superimposed upon his Elem
ish heritage OF truth and force a style all
grace and elegance The opportunity here
offered is too. Of unique import Five Of
the portrii ats come from the great Genoese
family for which they We're originally
painted one Is from another Italian source
OF kindred standing. and the remaining
three we're until recently in the collections
Of British noblemen- They are authentic
pictures. OF hign rank in the long list OF
Van Dyck's works. and they are well pre-
served.
The two Flemish portraits. those OF the
Tainter Franz Snyders and his wife were
long separated. the one being preserved az
Castle Howard and the other az Warwick
Castle and the sentimentalist may ind
pIquancy in their reunion at last in the
home OF an American collector. Mr. Frick.
The student Of painting will have little time
for reflection on this circumstance. being
absorbed IN contemplation OF the young
masters almost incredible aplonb. OBJ
TiOUslv the influence OF Rubens still fingers
in these two vivid canvases but just as
obviously Van Dyck is already the ''olc
hand" modelling his heads with equal ease
and knowledge. getting their structure with
ali the energized simplicity % HIS senio-
and expressing II with sUave touch all
his own. He is not vet a wholly cOnsum-
mate type. Al a later date with the ex-
traordinary feeling for the beauty and
character of hands that he was 20 develop.
he would no. have given the fingers Of shy
0ers's left hand the appearance OF a set OF
talons. and rather iabby talous al that
Fur one scarcely thinks 4 second time %
this detail. one comes back. instead. -
the wonderfully modelled faces. and 70 the
handsome. half transparent blacks in 1hs
costumes In the prime essential Of Dor
trairure. Van Dyck has here Enthusiastically
come info his own Why. then. DO We new
eIrhe'ess discern in tie italian examples a
more compelling charm They evoke III"
personality OF the artist in richer and NOR
characteristic aspects While he was feel
ing his way toward complete emancipation
from enc influence % Rubens. he was still
subject 20 what Ne can only describe a. the
pressure Of place and time-he stiU dwelt
in a world % material things. He was rot
only in -. but sufficiently Of ii 70 paint the
-'Snvders" with abundant sympathy on.
the Italian portraits point 70 a change ~
circumstance involving rho most drastic
developments Of temperament
Van Dyk was sensuous. but refined a
lover OF beauty who vas also a man Of
taste. When he left Antwerp II vas not
simply because instinct told him that there
would never he room there FOR both RuhenS
and himself nut because he craved = more
gracious environment. and experiences
such a. hts native land could nor supply.
He needed Southern warmth the polish
~ Italian manners. the stimulus Of
great and profoundly fastidious tradition
what these italian eanvases OF his more
especially cal is the expansion or his
artistic genius under precisely tho couG-
tions for which his whole nature had heer
poor Impression ~ his fellow couutrvmen
among the painters who were gathered
IN Rome when ne reached that CITY. He
could spare their good viii What he
suted waS tie right patron. the dlStin-
gulshed sitter. stately background good
things 20 waaT-or 20 eat-snd altogether
p sense Of physical and mental well being.
let him have these gifts % society and
The glow OF Titan 70 keep the artistic
hear Of him warm. and with own native
abilities he would work out ms DESTINY
happily and maEnifcently. He did IL at
Genoa ana painted. among many others.
the superb portraits now assembled n New
York
lie was born 10 paint great mobiles. AMI
more. II anything 20 paint the O-ande dame
How royalty. with what strength and with
what repose. and with what courtIy dis
Ir.ce and dignity. you may see clearly
enough IN the March Clan Vinceuzo
.mperiale," % this exhibition. portrait
full Of character a. well as a beautiful
niece Of technique But one seems to draw
Z little nearer 20 Van Dvck. 70 feel more
poigUantly the significance Of his release
from Northern coarseness and his pIuug.
into Italian suavi-v as into an inspiring ele-
m@nt when one turns 10 his portraits of
reSpIsn4eut Genoese ladies Resp. -ndent is
the only word that bents his Marches
Elena Grinaldi WIFE % Marcnese Nicola
Cartaneo.' To give the lady her fuu title
as Van Dvck doubtless loved 20 do SAVIOR
ius every one OF I'm" eloquent syllabIes The
tai T-t.re - PLACED upon a terrace IN d
dark robe. accented by ace run and red
ss.rora lions A. tho wrists. Classical arcri-
lecture enframss r. on the right A. H..
Ma-rh.sa energies from her paIace "a negro
mage N Lswuv clothes hast Ems t0 protect
her with 4 parasol that makes a blazing
note OF red n the scheme. Sine disdaius the
landsrap. which nils thc distance The
li-ht that falls upon her fair face sharply
bringing out IN. ridge Of her aristocratic
nose. exposes tie calm detachment OF a
lighborn woman who is posing for her
PORTRAIT and Is content To- know that she
is armed AZ every point and needs To make
no Effort Ga order % impress the beh0ld.r.
FarhaTz w. there +r-r -