The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-06-26
SEEN IN THR WORLD OF ART
a PAINTER or GENIUS m NEW
YORK BUT KNOWN 10 FEW.


gave N all the sRpl' was quoted BY a
painter the other night az the Painters
Club. What made him think Of Brown
ing was not the terrific hsat. he bhndly
explained 10 the three or four msn sitting
az his table In the ierrases. but the line
swan across his memory when he had
recalled the name % Arne salmuassm
a. a green meteor. seen far out az ssa
for moment, DROPS into the SatsFy
void. Who In fhe name OF Apollo was
Arns Salnuassmp was asked. The painter
at up: There you are, you folloWs'
he reared you all paint or Write or
spoil marble, but for the history Of your
art you care not a rap!' Yes, but What
has your Arus ThinRUmajig to do with
BFoWning's Waringi- 'Ouly this,' was
the ErVImbllng reply; ii is a similar case.
"A story. q story We all cried and settled
down for a yarn: but no yarn was spun.
The painter rslapssd into silence and the
group gradually dissolved. We sat still.
hoping against hope.
See here we expOstulgted. really,
you should not arouse expectations and
then svAde the logical conclusion It's
not fair i didn't care TO explain 70
those fellows. They are too cynical for
my taste They go 10 the Holy Of Holes
Of aFt TO pray and come away TO SCOT.
MatsriAliam rather. ~ you call Il, realism
ia the canker OF modern AT. Suppose
Il told you that here. now. in this noisy
Tophet Of New York. there lives q man OF
genius (Ns Il there ever was q woman Of
geniusD who paints like belated painter
from the RsnaissanCs1 Suppose | said
that could show you his work. wouldn't
you say was crazy?' He paused. A
young genius. poor. unknown. On.
lead ~ 20 him. Sir Painter. and We shall
call you blest He IL not young, and
while the great public and the little
dealers have not heard Of him h has =
band OF admirers. rich men leGgued in
conspiracy Of silence. who buy his pic
lures, though they do not show them 70
the critics We reiterated our request,
Lead M 20 himl- Without noticing our
opportunities he continued:
HE paints Tor the sake Of beautiful
paint, he paints A. did HOkusai. the Old
Man Mad-for-P Painting. OF like Fren-
hotter the hero in Balzac's Unknown
Masterpiece He Il more like Ralzao's
Frenhofer-is that the chaps nameg-
than BrowninE's waring. He Il the Lost
Master. a FrenhoGer who has conquered.
for he has a hundred masterpieces stored
away in his studio Lost MASTER
We suffered. "A hundred masterpieces
that have never been shown 10 public
OF critic. OH never star was lost here
but Il rose ATARI Yea. and be quotes
Browning by the yard. for he was a close
friend Of the English poet and Of his best
critic, Nettleship, the animal painter.
now dead Wont you tell his story
commercially and put ~ out Of our agony7'
We pleaded. NO he answered. I'm
take you TO his studio The evening
ended in a blaHs Of fireworks
Next afternoon We found ourselves in
Greenwich Village. IN front Of a row Of
old fashioned cottages covered with
honeyPuokle You may recall the avenue
and this particular block that has thus
far resisted the temptation 20 become
lofty apartment houses OF business
palaces. The painter met ~ and con-
Quoted " westward until Ne reached a
warehouse. gloomy. out Of repair. yet
solid despite tho tear Of time. We entered
the wagonWay. walked across a dirty
court, entered a dark stairway. climbed
three flights and paused before a low door.
do you hnOek.' We were admonished.
and prOcseded 70 do 20. Approaching
footsteps. rafting and grating Of
rusty bolts and keys.
The door was slowly opened. 4 big
hairy head appeared. The eyes set in
this halo Of white hair were positively
the most magnificent We had ever seen
sparkle and glover M a human oounte-
nanOs. II hon were capable Of being az
onos a post, prophet and an exalted ami
NAL. his eyes would have Possessed some
thing Of this strangers glance. We
turned anKiously 70 our friend. He had
disappeared. What a trick 10 play At
such a moment! who do you visit
rumbled a mellow bass. -Ams Saknus-
SEM We timidly answered. expecting
10 he pitched down the stairs. -Ah. .
was the reply. A silence. Then Come
in; please don't stumble over the can
vases We followed the old man. whose
stature was not a. heroic NJ his head;
and va did not fail u stumble. for the
way vas dark and paved with frames,
canvass and a litter Of bottles. paint
tubes. easels. TIRs. carpets. wretch
edIy preserved furniture and the hOtsam
and jetsAm Of an Old style studio. We
were not sorry when We came into open
snace and light. We were in the room
that concealed the loss masterpieces,
and there. hhthely smoking n ciRaretts.
was our lost guide the painter He had
entered by another door. he explained
and without noticing our disoonsertsd
AR he introduced ~ 10 the man Of the
house. In sheer daylight he looked
younger. though his years must have
bOrdercd upon the Biblical three score and
ten; but the soul, the brain. that came
out Oi his wonderful eyes wero a. young
a. yesterday.
sIaht be q corker?- irrsverently de-
mAnded our friend. He is not even a.
old a. he looks. lie doesn't cat vegstA-
bleu. he drinks when thirsty anything
he can got and smokes day and night.
And yet hs calls himself an ideulist.
The old painter smiled. suppose |
have ben described a. Waring 70 you,
because | knew Browning | did vanish
from the sight Of my friends for years.
but only In Tho attempt TO conquer paint.
not 20 achieve kingship or money; but
when I rsturnsd from Italy ! was q