New-York tribune., 1912-02-11

| Ap,res or natural objects IN compost
,ion Something Of the original impulse
is indubitably shown in every picture
bera and there is not one In which the
nainter failed to make his work thing
Of beauty as well as an expression of his
desire.
II is perhaps the Tintoretto portrait of
a man. possibly Benvenuto Cellini. as
bernhard Berenson has suggested, that
shouId be mentioned first In touching
unon the Fischer exhibition. The figure
is about life size. and is shown seated, at
three-ouarter length. facing the OBJ
server. The catalogue quotes Mr.. Beren-
son as writing of this work: "As con-
ception of character, as a vision Of culti-
waited and intellectual manhood. as tech
nical handling, whether in color or de-
sign. It Is a real masterpiece of Italian
Renaissance portraiture." The business
Of this summary will be strongly borne
in upon the visitor
OF the Antonio Moro the reader will
gain some idea from the reproduction
on this page. The lady's face is painted
with the characteristic pallor that
marked Moro's work The modelling of
the delicate features is incisive. without
overemphasis, and the forehead has
roundness and soldity. Patrician quail
ity is felt throughout the picture. and
despite the artificiality OF the costume
Of the period the whole work hints at
the painters duiet enthusiasm and his
penetrating analysis.
BY Sodoma is the Portrait Of a
Savant," of whose keen, sensitive face
the illustration here shown can at best
give but faint idea. .hc attribution to
sodoma is not agreed Il by all Of the
authorities aiicd in ~ Hscher's cata-
logue But the identiu the artist is,
after all, G. sccondal importance.
Whoever painted it was a master.
Turn next TO the Portrait of a Man.
by Hans Muehlich, also reproduced here,
and note how admirably the large,
simple style is adapted to the interpre-
tation OF the subject Against a back
ground OF "oenish blue the head and
shoulders - his substantial man gain
additional 49,. a - The we'll knit hand
that clasps fold OF his coat is an
other link IN the chain of genuine ex-
preston. The fourth picture reproduced
on this page, est. Hieronymus in Land
scape." IS given to Adriaen Isenbrant.
one Of the Flemings that hourished in
the early half of the sixteenth century
The central figure OF the saint, kneeling
before crucifx, is perhaps the least In
teresting factor in the composition.
though II is painted with earnestness
and no little skill The small figure OF
Christ on the Cross has an amazingly
lifelike quality, but Il is the landscape
with its trees. its Gothic church and
house, and the distant castle under a
sky Of translucent color, that will en-
chain the visitors attention and rouse
his enthusiasm. There is a smaller
Isenbrant. a Madonna and Child, no less
beautiful in its way.
BY Hendrix Bles is a large tryptich
| Alteration OF the Kings" fine ex-
ample of art that was Gothic in its es-
sence. Three panels here are given tc
Lucas Cranach. all Of them OF direct and
positive appeal. The large composition
representing Hercules Visiting the
Daughters Of Lycomedes" was referred
to year ago in this department wher
Mr.. Fischer first acquired It. The other
two Cranachs are, respectively. a por-
trait Of the Elector Frederick and a Ma.
donna and Child with grapes. BY Ter.
bourg there is a pair OF portraits OF q
man and woman, small in scale, but OF
potent dignity. and disclosing the calm
and unvarying skill OF this mighty
Dutchman. Jacob Ruysdael figures here
with a noble landscape, The Charcoal
Burners" and there are panels by Cuyp
Pieter Codde, Solomon Ruysdael and
Van Ostade.
The Mabuse was described and Illus.
trated on this page year ago. but every
new glimpse Of It whets the visitors en-.
joyment Passing over much else that