New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1909-02-06
ART EXHIBITIONS.
Seao- SoroIld's Paintings at the
HiSpdHic Museum.

-~r1fr
80 fellow artists would ultimately DO 10 aston
=. the world They maintained that Joaquin So
-oua 2 painter then still in his young manhood.
.s eoing sooner later 20 revolutionize the
-bool 10 which they belonged and TO win European
me At first II little difficult 10 under
-.,s this enthusiasm A picture by him, much
a. voS7,e at the time. the called Another Mar
,,a-tte-' (Which is now. by the way, preserved IN
8 LOUIS made its impression rather through its
-sfhos than through any special qualities OF tech
t-ue Later. certain open-air studies Of his pro-
-ssed ID explanation for the emotion OF his
.-se-ds They showed that he was achieving
s-ks be mastery over effects OF light and air. and
.bst Re developing also great adrotness a
5-=frsrnan- Since then Soroilas progress has bean
rhenonenal and It interesting TO observe. at
4hs Isree exhibition which he opened IN the
f.eo-Ees Petit gallery IN Paris. about three years
SO that he had more than fulfilled old expecta-
,,,rs This exhibition repeated a. the Grafton
galleries. IN London. and present the artist Is
making similar appearance IN New York Three
hundred srd fifty Of his paintings and studies
hung n the handsome building OF the Hispanic
so-ie+v Of America For q moment there seems
% be something incongruous about the introduction
NJ 50 intensely modern type into halls ordinarily
dedicated the quietude OF scholarship But true
s-t will II into almost any frame. and Sehor So
-ola e true artist II is. indeed. good 10
his work Under the auspices Of a body founded TO
stirulate interest IN the best Spanish traditions Of
81 periods
soroua's importance a figure in modern
s,arish art is appreciated II the student
considers traits Of his salient predecessors
With the death OF Goya, IN 1928. Spain babe fare
yer 70 an artistic vitality which IN fact he alone
had Kept going for long period Even Goya had
M, ftfullv revived CLEANS Of that fire which had
burned with steady glow in the art Of Velas-
ruez II he produced mastery portraits and
% brilliant piece Of painting the famous nude
IN the Academy Of San Fernando. he also produced
rgsntiries % negligible material His genius vas
violent and cratic The cult for his sstirical etch-
trgs IS easily comprehensive and there canvases
n his amply 5ustifying the designation OF Goya as
TIE last the Spanish old masters: but II is mis-
take 70 place him among the Ersat creative geniuses.
znd il is especially important to note that he found
ed no school The Spsnisrds following him were.
n tell the truth rather mediocre company. paint
ing in dull academic fashion The first man OF con-
sAouence TO rise amongst them vas Mariana For
tunv who for time was unable To shake Of their
sss5e-i-R influences The present writer. once
making pilgrimage % Barcelona in order to study
some IF this painters earliest works, YES gr1eV-
r,sl4 disa pcointed for his pains But tvo forces
contributed give new impetus TO Fortunys great
Eifr ~ manual dexterfty. He privileged 70 fol-
lovr some military operations in Morocco. and at
the sane tine that scenes Of action soke his eer-
zas he ike his friend Regnsult- taken captive
bv he Sun. The other source Of growth 20 which
n xss Indebted acquaintance with Par1sian
methods Of painting Heavy emphasis IS oIten
rasoad UPON the French character Of his art ana
~ 1eons-d Williams in his introduction 70 the
-sraloE7,e Of the Soroila exhibition, repeats this
error As matter Of fast while Perjury Is pretty
PrFissrl2e1 N such paintings OF
The Choice of the Model" he IS obviously ms
e-.rssr self in his Moorish studies, and what is
more when he migrated 10 italy he exerted upon
rs co,,ntrvr1en there an influence promptly taken
into The veins Of Spanish art and not yet expelled
Fo--,,-v ~ss 6 t,pe Of what IS ta1nilia-ly known
IS 6is bolioa cIeverness He manipulated his pig
-nents with thu skill Of conjurer taking RABBIT
out % : hat He could paint. when ne chose 70
d So with considerable breadth Give him an ola
-erloz- vail AZ Granada in blaze Of light give
hin some scene under th= blue sky Of Italy. and u
h happened 20 be n the mood, he could hanole
tie subject in mastery fashion There are IN ex-
fse1ce TOO many small studies OF his. oasheo OF
n MS sketch books o. on convenient panels 70
preserve hAeting impression. which clearly snow
that he vas not mere producer OF 3eVeler WORK
q brio-g-broc. in paint However. II was ms
=isht-of-hanc that appealed to the men who gain
cred around MIN in Rome, and that they maze
POPULAR the~- and in Spain Sitting, hsuratvely.
a Coyas feet, he had caught one OF that master
least admirable rnannerisus trick OF ingenouslE
rlsrf-F 2 high light where IL would be most ei-
fao-iz. and since he missed his models essential
lar7enass and power. he passed on TO his disciples
only a rneretricous and rather dangerous device
prod gious quantity Of Spanish art was presently
81 a-glitter To the credit OF some OF us makers
= !, said they had talents strong enough 10 tn
unrh over She besetting temptation PTaolla- IoE
example was quick TO perceive that man cannon I'VE
BY brIco-brGc alone, and his individuality pusned
is WAY through the web Of hHgree and sparkle
z-bich Fo-r-nv had made so bewitching. Yet
FradIla remained Eharer IN his clever country
rnsns love Of detail. Of picturesque costume ana
Sc On snd this prediction caught any number OF
other Spaniards in its net. N1negas is perhaps
The most conspicuous Of these but long list might
y ra5s OF men who were bound 70 give to any
miscellaneous exhibition Of Spanish art a general
sir Of artificial light used 10 bring out the sheen
OF rich sturs and metals. Of pictures worked up
Fl the studio rather than based upon frank contact
with nature A rnsn OF genius, following q lestu-
mate inspiration might turn this motive OF tech
meal legerdemain TO good purpose as the laoe
Daniel Vierge did in the formation OF his brilliant
style q pen craftsman. but in the field OF
Painting il certain 70 be superseded soroha
has dcne more than any other Spaniard Of his time
70 put Il IN SIS proper place
There are other revoiutionists in the school. and
two u them, Like Zuloaga and Anglada- have
Won high repute but neither of these painters pro
dDoes that is. the saying goes, of the cen
ire " They see nature es through a very aroitrarly
fabricated ven. ADglada blends the note Of the
Salon with that Of Goya and leaves an impression
o. article norninaiy different from. but at bottom
akin TO- that OF For4uny. Zuloaga is capricious
~ one moment in the simple portrait Of Spanish
type he VIII make you feel that he is sincerely ny
s To emulate the directness and the pure tonallty
g felssqusz. Al another he wakes the SUSPICION
kaat hls ain IS entirely Fictitious that he is build
nag Nd schsne Of form and color from the outside
using his figures so many theatrical properties
eno painting them in the same mechanical mood
he Is the DE- force; and though that
oeed necessarily spell anything undesirable. Fl
means, in MS case. work that somehow falls TO
carry conviction so-ollas strength lies m his genu
theness- He does not follow either Fortuny or We
issoGeZ He faces nature and endeavors TO put her
truths upon canvas precisely as he sees them
Hnoeavors' IS. perhaps. hardly the word. II there
ore thing more than another suggested by his
exhibition Il Is that he paints a picture as a man
Sight write note-setting down what he has TO
az with positively appalling fuency and aplon1b
ne has here picture or girl in white al BiarTitz
grk painted in full light. She is using smell