New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-01-14

post OF duty is SERIOUS losS W Wv
| museum.
lica of the portrait in the Prado' ano
his drawing Is on this occasion more re-
fined and distinguished. Still, this paint
ing has not the fire Of its companion A
somewhat similar contrast is TO be oo-
served between the two Van DycKs. one
of them the tall "Marchesa Spinola ana
a Little Boy" which we suppose came
from the Palazzo Cambiaso. in Genoa, is
one Of the finest of his Italian canvases
The beautiful figure Of high-bred elegance
IS bodied forth with an Incompatible
grace. and in the splendid wine-red dress
with its gray ruff. it is, as mere piece
of color. thing Of JOY. Here we see
Van Dyck in his most enchanting mood.
The other portrait. q relic OF his Enghsh
period. is a full-length oc the Earl OF
| Warwick, presumably the version from
| Warwick Castle of the portrait painted III
1892 1t rs stately. Of course ana pears
the stamp of a prodieious talent. but II
seems cold and almost commonplace after
the romantic Genoese portrait.
! ~ the Dutch pictures. Remhrandts
"Nicolaes Ruts" is easily first, HAWKES.
ulustration Of his art in its solldest ana
most authortatively finished Phase O"'''
aoter is there, too. vitallzlnS the linpeo0'
/ hle workmanship. But TINS IS not one VI
those Rembrandts that glow ana 'ha'
| stir the imagination. one aoahuohs 1t
with respect. but not unwiliinglN' LOT ''e
( sake Of the two beautiful hopOenlas' TWO
| fairly royal pages from the history Vi
] rIHIf
! Dutch landscape. With these, ana WIN
! tho charming anonymous Dulch poEudI'
| ~ q child we leave the masters or the
| South and az the Low Countries, ara 1oT
! oo,yerlonce in classification note the Two
other landscapes in the exhibition one
! 80 thar, Constable's Scene on the River
| c,o,,r" g q nortentous masterpiece, ono
| 90 those bir hold fatty" painted pict-
| -. T., o,bicb the great EnGlishman made
~. ,ottve suffolk something like classic
| ground II is pure pastoral drehcheu
| in the homely spirit Of the Enghsh coun-
| ,rvsido but painted with the siinpie en-
80. tho knowledge and the style which
transmogrify the most prosalc mater'a'
lot tho reader make here, again, not
unavoidable comparison. Let nun PsS'
from the Constable to the famous turner
"Thp state Procession Bearing IloVahH
| polBnva Pictures TO the Church or the
| pod.er,er" II he is held enthralled ny
| convention II he deems that everything
! l. beautiful and has something talismanic
! about Il which has happened TO proNohe
the writing OF ecstatic prose. he VIII yleid
70 tho bvpnotic Influence Of Turner's gor-
| gao,,s ma geant. But il nc keeps MS head
ho will no amused 20 see II crumpling up
| hosida the constable Ike sheet OF paper
its prismatic hues deliqucscing into KIND
~ eaccbarine triviality. Yes, there Is
rainboylike luminosity in the picture
ard the romantic pcturesqueness Of the
theme is staged with an individually FER
vjd fancy. But beside Constanie sinc'i
g., and strength all this blaze Of light
color and Venetian Jron-troh 100 near!
resembles theatrical hocus-pocns TINS IS
q famous Turner but not great one
| In surveying tho English portraits one
ts conscious OF a curious disiocatoh Oh
the familiar hierarchy. There ordinarily
Sir Joshua Reynolds presides as by flght
Of might. But II his works on this oc-
| cosion disclose the master they do not
chow. hin, 10 us i'm mis- fullest cham. The
| az adv Rettv Define and Her Children,
! ,or ovaupIe is wonderful in composition,
! - ,orfoct TYNE OF that grand ordonndnce
! tt, no Centralized when he was at his
tast and N his drawing OF the draperieS,
az IN his painting of the park that serves
| -, t,ooLoround ne is his accustomed, pol
! ;obad Golf. But the bricky tones In the
| drees nj his principal sitter terribly lower
| tho kev Of the whole fine conceptioh' III
black and white. in good mezZouhl lhe
| nortrait is all enchantment' Stuuleu WIN
an eve TO its color II leaves one ''i''
| oddi,. too the other Sir Joshua the
smaller Lady Waidegrave, though very
handsome in tone and though aonli'apI!
illustrative OF his more BraVely se'"
mental vein. conveys a kindred impress
sion as of work worth seeing out not
destined to stay in the mind In any IN
sniritlng way. GainsborOugh is IN pet'e'
| form. His heavenly blues and WHITES
work their happy spell in the Lacy
| Gideon" a fulI-length with landscape
BACKGROUND. and he plays with them 10
even finer purpose in the Mrs. Tenant
a seated figure. also out OF doors' l"e
LADY Betty Define is a magnificent
machine" the sort OF portrait that must
ha,a ,orded II over its fellows in the
Roval Academy. Around the two Cams
| hOrONGhS
PAINTERS must have gathered saVorii'e
with delight the artists spontaneous
magic. the life in his brushwork ana IN
his color. on the other hand II is not 80
much for its technique as for It's picto''ai
oualitv that one pauses before the much
talked about Duchess of Devonshlre. u
is little marvel In its way, but somehow
we feel in II the faint Of 'pretuhCss'
IGainsborough here practises his sleisht-
of.band and does full justice TO lovely
woman. but in his truer, more character
,stic work there is sterner stuff.
There is a little drop In nervous force'
- we may go express it, In the sheer
witchery OF the eighteenth century tradi-
ton. as We pass to the further specimens
Of the British school. Romneys LADY
Rroughton," well composed and well
| drawn full-length. is hurt, like the Lady
! petty Define" by a salient passage of
| color Tho slaty dress sends chill