The sun. [volume] (New York [N.Y.]) 1833-1916, 1910-04-03
SEEN IN The WORLD OF ART
a. RRENT ENHIBITS AZ THE
CITI GALLERIES.
Mere AsSu' the Kahn Hats Place In Nri
&c the lSarbiSVns BeauIS of New
Nsrk ~ Painted rs ErRest Lawson
Z Ntllet~shsNlRg italian lniue0eeA-

ANNhrtNnoNtng Nauah bn"oe~~rA-
"A Al lENrlamation denoting great
msTft.sl oT bndily anguish. much employed
hy residents 10 southeastern Europs. alAo
in kaffiTlnnd These sharp cries may h''
considered as hn wing been uttered by w.
during the last week upon the receipt of
a busbs- more or les%. 81 letters; letter.
abusive: letters remonst rating, lettsrr
that implorrd. aud thrsats letters.
Some were anonymous. several bore the
sinister black hand. many were honestly
signed and not few came from dis
unguished practitioners Of the noble art
Of laying color ON canvas. The reason for
this spistulaTy avalanche rather, say.
rea~nns were various statements made
last wees m this department of things
seen IN the world 10 ART. Now ~ a rule
1t IL a dangerous proceeding TO answer
private correspondence in a public man
nsr. but in these instances explanations
are due, So lett 90 ahead
Why did we call Mr. Kahn's purchase
of the blg Halls az the Metropolitan Mu-
scum -chivalric'g How can such trans
action To placed under such rubric!
Easily enough. We could have said with
out fear % contradiction that Mr.. Kahn
was brave. gallant. mAsnanimous: instead
We used word that implied all three.
Woman naturally arrogatss TO hsrsslf
the homage yet You can he chivalrio in
your attitude toward a cat or a picture
/ ur "a piano sonata. It's the attitude that
counts. not its subject Mr.. Kahn. pre-
sumably AZ great expense. bought a work
Of art which whether insured or not IL
likely 90 destruction or TO burglary or
to decay II he had bought a villa or a
racehorss the gesture would not have
been no chivalFic A. our words were
I evidently suspected oG cryptic import.
/ let ~ hasten To add that in the above We
mean precisely what We write.
. A. To the picture IN question are We 10
blame beCanae We have seen a better
Hals2 Berlin. Paris. HaRrlem and Am
sterdam boast more eloqusnt examples
Why NOT say so7 The abominable lingo
ism that prOclAims the best Of everything
] because Il H. American or in America ought
To he mildly discouraged. When the
purchase OF the Kahn Halls was announced
there was a lot of clotted exaggeration
printed Mr. Morgan had been after the
picture. England cried for IL. Holland
envisd ms Luckily IL isn't necessary 20
deny the first report. a. Mr. Morgan last
week d.ni-d by cable that he had ever
contemplated such "A purchase Nor ~
n imperative for ~ TO add that II Mr.
Morgan had desired the work it would
speedily have been his The truth -
tins Halls was seen by Mrs Huntington
first and later Sold Ia Mr.. Kahn That u
cannot In quality cosnpete with the smaller
Morgan or Huntington HAlses 10 because
the canvas has been subjected 90 a drastic
SHINING Tn" tender glazing il gone
yet a noble composition for which America
should feel grateful again we say; Mr.
kahn behaved IN a chIvalTic m amer.
Was ihere any other grumhleg Nes'
We blush We really spoke q the Barbl-
zor- "a overratSyi True. We did write
those fatal words We meant them.
both srtistlcally aud In a pecuniary sense
The Barbizon masters so-calied--hav
h.,en overrated. but arc no longer. For
several seasons AT Christie's and the Hotel
Druuut prices have saGRed when Coross
DauhIgnv-. Dlazer Iroyons and the rest
cam. under the hammer While We be-
lsv. a pact ire IN worth what u brings
purely a pragmatIc proposition de-
pl,r- no establishment - FALSE standards
What TrUyun. ar'iStiCaily considered IL
Is always pleasing 20 gaze upon. but the
amiable Para painted too many; lndeesi
always painted the same picture A.
for the fake Rarhizuns America. the
world. - flooded with them It's poor
>tl. that can't boast a ParbiEon We do
not weld IN our admiration - some ~
these men Rousseau. the strongest of the
group. Corot and Millet bat to make a
i-trch 81 them - beyond the mark There
We're other painters IA France during tn.
last century who achi~v~d greet things
Dauhsny Breton Duprs jhe-eare = gree
ahle painters. y-r they do nOt measure
Ip ~ Rousseau. ,ornt. MiIis.t Iand the
lat shall b.. rtT~rr Dor a Rouzssau W. can
uif"r q Cuurhs.t both had bower; 10
Mile W. can uppo-. a Iaumier. 10
Curut We can show Monet az cour-.
none bat pcfanttc critics would resort
- tins -choolulstsr method of cumrar-
I-un Personally W" prefer Monticello
10 DiaZ Nlanet 10 any other master &c the
nineteenth century except Ingrp- ur
Ib.lacruiN and Monet az hl~ hest 20 the
entire BaThizon group Prejudice Mar
roWue--' "rtainly, all you will but
z.uuin" preference, ". wnuldnt ex.
chang" "f" IT Eugene Boudtn cool har-
muuI-- Tor q dozen nsuhignvs W TroVon-
"" care less for the sentiment IN reality
o." Earl llur crowd wsr. rank -snu-
r.''t,it-r~i than Tor tha naautv 81 paint.
FtutIu- I-.tuur WAS grss'er FAINTER than
Mll.' vet who dare ssy 80 without fear
- crying here-y, Mill.'t Was the bigger
man. he, rrth"l.-S And pi-sarTo Sisley.
q, anne Wh~r. do they come IN, Isn't
th-r" a httle rr"Iudlc" On th" other sIds'
Is,ok now the Indifferent NIIllets -ell "
only 10" ~Yhiect ~ sentimental ar so
oIIl-iIc Mhv didn't Dsgas a giant m
art vim reputation such a. Millst won
with that haial -AnEeIus- Of his The
answer must ~. because Degas ~ the
rr"tl"r artist. Notwithstanding all the
, TalavcT about humanity. -feelinG.- &C.
Ari not nature. a. Goethe shrswdly
ut."-N'd - century ago And let ~ con-
Toss tina 49, adore MiIlei. that the sli Rht-
''-t - ''- sketches fetche- a wetnez- To
uUr "y"li-he-. even though ~ be but a
Eu'-"giTl padding N the burn Dickens
Il, - the same yet for the sublimated es-
-eurr of either life oT art ws don't 60 To
~" page ~ Dickens. hut ia Tolstoy.
I."-',iV-s y. Turg~nirh and Flauhert
"a Ngrs. /. fssffssr TruF.n an