New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-02-06

~Hcn' by The way, # may be said in ali courtesy.
% mas not get even approached Probably Sehor
soroHa himself would be quick to recognize the
But there are undoubtedly points of difference
1 oe1"een this Spaniard and the Frenchrnen whose
PASSION for the open air is likewise his own. HIS
u1 .sr1ansnip IS closer he follows form with a
more subtle, and. above all. more flowing
.ouoh' Inc odd thing is that he charms. gives you
me sense Of a certain personal quality IN his
oi@"lns' 1or all that his style might be roughly
oescrloed as mora Photographic more scientific,
[ 1,0i 4rue1lc- Look. for example. at the Sea
iNSii mo go. picture OF a boy and girl lying
IN wet sand with the water lust touching their
Iess me boy wears noting old straw
nat with wids brim. The girl wears G bathing
OtesS or some thin material and this, saturated
with water, clings to her body. II would be i'm
possible to beat the sheer technical proficiency
SHOWN In this painting. and. has been said there
- an ooo SAVIOR Of individuality. Of style, be
ePprehended- fused with the clever brushwork-
II Is with such motives as the one here de-
scr1oed that Sorclla Is at his best Over and over
again he paints his young hathers, scampering
along the sands, EMBODIED in the towel brought by
nurse, Just plungng into the waves, or as in
one beautiful example '-Swinnaers' Clo ga show
ing their 1.-the brown bodies In the very element
itself and taking therefrom a beauty. The
painter has not brought TO this country all of the
pictures he showed IN Paris, and the absence Of
some of the larger ones IS especially 10 be re-
GREETED. but he does not altogether neglect 70
show what he can do when working great
scale He has brought over the Oxen Ready 10
Beach Fishing Boats. Valencia (No. 31s1. the
picture with we'll filed white sails bllowing above
the boats and cattle, which is known everywhere
through reproductions It admirably illustrates
his bravllra 1t is picture painted for the salon
that is, nevertheless not Salon picture lhat
is 20 say, Sorola makes his hole IN the wall
boldly arrests your attention yet puts not trace
Of sensstionalsul into his work His drawing is as
sound. his is well managed, his spirit Is
sincere when he is making one OF his srnalier
studies or even painting one of tnose numerous
little snapshots which form fascinating little col
lection by themselves You would say. on ooser'-
ing the uniform authority Of this painter, eXerteo
alike in q great show piece" and IN casual note
Of movement and color. that his resources couo
never fail him: but II must be confessed thaH win
all his gifts, he still has certain clearly deHned
limitations Let him work in q flood Of sunlight
and he is at his ease but ask him 70 paint nature
n one of her tenderer. poetic aspects ana no
is not so sure Witness such picture as tne
View Of the Palace La Granja" CNo loll, or LOT
that matter eny Of the Landscapes which are set
in q slIbdlred key HIS science does not forsaAe
him He paints his ground forms tuthfulIy efiousi
But he brings no emotion his task. no suoueIy'
and TO note this in his landscape work Is pres
entity 70 note il elsewhere with even greater regret
Az nortrsit PAINTER Senior Sorolla Is. one may
be sure q master OF the likeness There are many
specimens Of this side OF his art IN the eKhlotloh
and in every one Of them you are impressed oy the
Ar-1ness with which he models head, the n1rnote-
ness with which he passes swiftly over the features
and above all the tremendous vitality VIII = tloi
he invests his sitter. But while his grasp Oh form
snd his sense of character be demonstrated IN
tb.Ss heads sud while he may paint the bodies OF
his man and women with understanding the "sn'
Of sunlight seems 10 react upon his temperament
and 70 make him cold deprive his style OF most
81 ,o- all Of its elan Furthermore, his PORTRAITS
show even more than his open air picture
these are by devoid OF significance III INC
rnattAr-tha* while his color is true II neVer pos
s.sses q fine quality About nothing that ne paints
does there hang the charm Of oeauufu suIla0o
He uses his pigments not sensitVeIS, nov WIN
loving feeling for them, but with KIND OF nru-
telty His pictures, especially when seen IN suon
large numbers as this occasion. have an almost
binding effect They do not beg1he. theE oazzie
to- b-4ng z4vfdly, into the foreground the fact
thar sehor sorolla IS not imaginative painter
not q man Of dreams or Of complex emotions Hs
Is simply a rrarvellously equipped technician Dom
- -a,,t human beings breathing and moving IN q
world OF light and air. In this capacity ne IS
tyne Of deep interest those who care for ths
raInter's craft and his exhibition is therefore 70
he welcomed as one OF the leading incidents OF the
year in art