New-York tribune., 1910-02-05
ART EXHIBITIONS
Mr. O.. A. Hearn's Collection at
the LOtOs Club.

York. A private collector. Mr.. Geoi &c -
Hearn, has filled it with paintings anu
various objects Of art, making yer! III
formal ensemble. The paintings are niosIs
old masters. and the few of modern orieiA
that are included have been selected WIN
solicitude for their fitness REGARDS 'oie
Distributed among them on the walls OF
displayed in cabinets. there are sreat
number of old and modern ivories. ana. IN
addition. Mr.. Hearn has lent several me
Barge bronzes and couple of examples oA
that powerful sculptor, Constant'n me
nier The result is an uncommonly Adn'
some and interesting room.
Gainsborough and Reynolds leac the 'it
masters, the former with that Versioi' Vi
his famous Blue Boy which aHoIoe
peculiarly beguiling illustration VI '
courtly style and feathery brush"oi ~ '0
latter with two charming portraits Oh leni
infne sitters, Mrs. Barnard ana AaoF
Stanhope" There is a Romney, 100, the
lovely Miss Hollingsworth, IN winch i4i7
poetized elegance is rendered the more ap-
peaIing by a beautiful sobriety and luiiieS'
of tone The example of Lawrence Miss
Barring is a light and gracelul poi at'
refresbinglv free from that sickness which
SO often afflicted him. Besides these poi
traits Mr.. Hearn shows us a glorious
lAan
massive performance, and, in turner
..P,itzsIsn Chanel Arundel an eXarnPie
Of the great Victorian master at once eA"
centionaliv solid and restrained ana eXcep-
tionslly luminous This is, in fact, one oL
the most charming of Turner's. eXhlol'iie
nowhere auy forcing of the note FROM
the seventeenth century Dutch school we
have an interesting Landscape oy fioo
bema and an admirable Portrait OF
Gentleman by Jan Victoors, and, pE '!o
way, the two specimens of the mooeih nv
land school, d Coast scene pS
Maris. and a Landscape and Sheep o'
Nauye. DELIGHTFULLY."- show how these Nortn-
ern nainters Of the nineteenth century p
served the sincerity and strength Oh 'iie-
countTy's old traditions. But aihoH9 t'
earIy pictures here by Continental alusts s
tba +u,o that are most arrestins come 1roin
the South.
II is q privilege 10 see 50 good an exam.
nIe of Cuardi as MI Hearn
That eighteenth century master mas nau
ta+I,arod mon hin, an astonishing number
NJ patntinss. remarkable chiefly Tor q lili.i
Glitter which he rarely allowed hllllSeii'
The light in his most characteristic "olh'
as in the present instance, Is very so1'A5
,Iiff1sed It sparkles here and THERE ooN
with no pyrotechnical effect. In thls pl0.
ure toe, you may observe at once 'le heiiN
ness of his touch. the exquisite oua''S III
his brushwork, and the supdued resoi'''A
which he knew how to give to niS tones 1t
is altogether a bewitching canvas, one
which bv itself would make sauSI9lAis
little exhibition. The other southern plCt-
IRE to which we have alluded is the Flsnt
Into Egypt of Francisco Coiiahtts'
seventeenth century Spansrd, whose rank
TI~ifh h.3
yelasouez, but y no had abilities little
more than respecta BILE. No doubt the great
tree in the centre of this composition sill
houetted against fairly light backsrouhd'
& a shade too hard and too dark, put time
has presumably had something to do with
the or,s CITY of the color In this part or the
work. and in any case. one is bound 70 ad-
mir. the large and bold manner IN "hlcn
the artist handles his natural forms. IN
the luminous distance, toe, with It's SAVIOR
OF italian influences. there Is genulnelF
artistic if not very strongly indivldualized
feeling. Decidedly. it is good TO see so ea-
cellent a souvenir of that group of Spanish
painters, far less gifted than Nelasquez,
but not unworthy of him. whose repute the
oupser Beruete has lately sought to re-
esta b1ish. It would be pleasant 70 hear
that Mr- Hearn. who is always making
gifts to the Metropolitan Museum, had de-
cided 70 add this historically suggestive
painting to the long list which we owe to
his generosity.
His judgment as a collector, 1t may be
added. is exceIlentIy we'll disclosed III the
remaining pictures comprised in this eX-
| Libirion. They include two beautiful Amer
! ican landsca pes, the Wood Gatherers' of
| George Inness and the "Adirondacks' Of
! ina ginative naturalisnl, and along with
these he shows George FuIler's Quad
| room" one of the high achievements of
! man whose originality in respect TO form
! and color was only equalled by the grave
! distinction of style enveloping his work
! Lastly, but with the cordialeSt appreCta-
! ton we would make mention of the figure
/ piece wild Roses" by the Scotch painter
! j. !. Cameron. This is performance Of
! great tenderness and beauty, winning in
! sentiment, and with touch In the work
| manship significant Of j forceful person
ality.
The worries, which fill good deal of
space, leave rather mixed impression, in
asmuch as they range from early periods
OF sometimes naive but always very honest
( execution TO modern schools content with
! a merely facile manner. The effect would,
d
/ later pieces had been withheld. AS it is,
! there is much to admire in this collection,
| much to interest in the really sculptural
| exploita ton of a medium enforcing upon
| the craftsman very serious limitations. To
begin with ivory sharply defines the scale
! on which the sculptor must work He
1 must work, if not precisely in miniature,
| at all events within narrow boundaries.
! Furthermore he can hardly hope for that
| freedom and subtlety in modelling so in
! dispensabl BILE to plastic art. On the other
! hand, it is amazing 10 see what breadth
! can still be his, how far he may go.
| whether working in the round or in relief.
! in the effective manipulation OF form. OF
course, too. he has rich opportunities for
! the exercise of decorative taste and in
| genuity. IT is hard to say which are the
! more interesting of the pieces in this col
lection, the statuettes or the daintily
| carved reliefs That the scope OF worker
! in ivory is wide regards subject is made
! yiyidly manifest by Mr.. Hearn's objects.
/ The presence of "A number OF beautiful
! combs reminds that the artist has es-
/ pecially employed ivory to utilitaran pur-
( noses but he has made ii also of value
/ sentations of religious types and scenes.
! and moreover, he has repeatedly designed
| historical illustrations. Closely to examine
the great mass of work brought together
is to he la