New-York tribune., 1911-02-19
The HOMER PICTURES.

OF all the developments which have
more recently marked the administration
Of the Museum none has been more wei
come than that denoting a loyalty TO our
native school Of art Il has given US I'm
portant exhibitions in memory Of Saint
Gaudens and whistler. and now II gives
US one in memory Of the late Wfnslow
Hcmer This is a show OF extraordinary
interest, composed Of about fifty repre-
sentative pictures, some belonging 70 the
Museum and others borrowed from pri-
vate collectors. II illustrates the work
Of a man OF genius who was perhaps the
NOS, intensely American painter OF his
tine. Homer lived and worked in Amer
ica almost uninterruptedIy. and through
out his career he chose his subjects from
TIE life about him. AS has been en-
phasized in this place before. his art was
born in him; IL grew as he grew; il was
nurtured from his youth on the racy ele-
-rents Of American character. OF all our
conspicuous painters there has been none
more generic. more national in the sub
stance OF his work, more true TO his
country N the wholesome simplicity Of
Ms poiEt OF view. In being true 70 his
nation Homer was true to himself. He
I'D not paint American pictures because
American life seemed 10 him, from the
outside. to be fruitful OF pictorial IN
'piFation. He painted them because his
temperament was in tune with his ma
terials, because his sympathies spon-
'neously and. one might say, uncon-
scously, found an outlet in the celebra-
uon Of homespun themes. His nationality,
ID short, IS 70 be found IN the very grain
Of his art
AZ this point, however, II is interesting
sad even a little amusing TO make a
certain distinction. When Winslow
homer was made an associate Of the
Academy o, Design, IN 1854. most Of his
ccueagues were tinctured with the lite
Tssy spirit which the next generation
vas 10 oppose with all its energies. AS
Swar artist be was bound to respect the
purely human motive. and, indeed. It
never lost for him a profoundly poignant
interest. But Il seems never 10 have
"curred 70 hin 70 tell a story in paint
sl'er the manner OF the artist to whom
~e anecdote Is everything. Homer was.
his way. quite as distinctly the artist
Safe and simple as Alfred Stevens, say.
WIN his passion for the caressing OF
80 "a E1
e'seloped Just the sensuous charm that
.s'onss TO the Belgian master. but he
-ep tne same intensely artistic emotion.
"hen ne attacked a theme he gave IL its
.s's value. but never let u encroach upon
NN' integrity Of his technique. His art
as beautifully balanced. You admire
: i'F us own sake, yet this does not keep
y'u rom admiring It's subject Indeed.
N's very perfection Of the equilibrium he
e''@oAshed gives 10 each phase OF his
'olA me fullest possible force. Thus.
"A'ie his technique Is OF the highest in
crest nature speaks through his work
.'A peculiar richness and fulness.
'AO1gn, as we have said, he had nothing
S HSelaFy man ABOUT him, II so hap
pens that we may discover a clue 70 his
secret In soma sayings by a master OF
literature.
Matthew Arnold, in his essay on Mau-
ace oe Guerin. wrote some memorable
Nhgs on what he called natural
magic" the power OF the poet so TO In
ssfpfet nature as 20 give Us "a wonder
.uHy full, new and intimate" sense OF II
1ie laid stress upon the fact that true
+@'urI magic placed nature before Us
- us very essence, not overlaid by any
N"ns peculiar 10 the poet II expressed
Win magical felicity "the physiognomy
ena movement Of the outward world"
.ho' paying tribute TO Keats and Guerin
/. .gs Their possession Of this faculty. he
Aoded. when they speak Of the world