New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1913-02-07
ART EXHIBITIONS
The Brilliant Work Of the Late
Robert Blum.

oil ~ kiSl WIN 4idL AlsAsStiA OuS Va
the salient figures in the American school
Robert Frederick Blum. He was cnly
torty-six when he gave Up the struggle
with IN health which had long been wear
ing him down. but in his brief career he
had done an extraordinary amount Of
work-and an extraordinary proportion
Of 1t was work altogether good. y me-
mortal exhibition Of his paintings, pastels,
water coiors, etchings and drawings
opens 70 the public tomorrow morning
az the gallery OF the Berlin Photographic
Company. The collection. OF about one
hundred and tfty pieces, is representa-
tive Illustrating, III fact, the whole range
Of his art. He is put before Us a, full
length, and there are letters and other
manuscripts. charactefistically decorated
with clever sketches. to revive intimate
personal memories OF the man. He had
lovablo trait. ana many OF the collectors
who have lent their treasures for the
present occasion were his devoted friends.
The afectiouate sentiment underlying the
whole affair, aptly expressed in the inter-
estlne preface which Mr.. Martin Blrn-
baum has written for the catalogue, Will
not be misunderstood by the public. h.
those who never knew Blum and for the
FIRST time see his handsome features in
the poi.rsi, by Chase and in the various
photographs here displayed. The tribute
paid TO him Is obviously justified b. his
picture Such work could only have
come from = deIgntfll character.
Blum kind.cd TO the charm an. the
cheerfuuess Of life Weakness ~ body
could not diminish ms enjoyment "
beauty OF his Zest Tor Interpreting IT IN
his art AS ar. Birnbaum Justly SAYS.
IT is extraordinary that the note Of Joy
should predominant in the work and III.
OF a man who suffered such acute physi-
cal pain bat the present writer can tes-
tify Of his own knowledge 20 the blithe-
ness that went with Blufns fortitude. In
his talk, as In his work, there cropped
out no signs OF encouragement OF sor-
row. To paint was such prodigious fun:
TO dwell on lovely things WAS so end
lessly exciting And he had, TOO. the
power 70 give form 10 hi. emotions. When
he came 20 New York, in 1872. from Cln-
c.nnat,. h.s birthplace. yoInssteE u Ills
ambitions twenties. lie already had an
amazing technical facility. There is AL
etching OF that year. The Hag" and
there Is another. dated two years earlier.
in which IL - natural 20 observe AZ FIRST
only the influence Of Fortuny; but 10 look
closely az these and other souvenirs ot
Bluuts formative period is 10 recognize
his intrinsic quality and his sure skin as
a craftsman. As time went on the one
thing his Commentators We're always
ready 70 say Of him was that he could
do anything he chose 20 do. He chose.
al the outset. to emulate Fo,tuny and
Martin Rico. 10 catch their deitness and
glitter. Boldini. too. was one Of his en-
thus.asm. and there is a drawing in the
moment On The mode OF that polished
Dutch painter OF costume. ksemmerer.
All that wac lightly elegant. all that was
urbane and gay. attracted him. He went
abroad and painted pictures Of Venice.
lie worked in Holland and elsewhere II
Europe, and the time came when he was
able 20 go 20 Japan and there not only IL
lustra,e a book by Sir Edwin Arnold. but
:ind material for quantities OF pictures
for himself Some time after his return
from the East he painted the mural dec
oiaticns which frequenters Of the old
Mendels.ohn Hall we'll remember. Long
before this he had beaten out a style OF
mis- own. But DOWN 10 the end il was
faithful 10 ,hs sparkling. graceful. spirit
OF his youth
lie drew with equal strength ana ease
and the dainty precision OF his touch Is
one OF the first elements Of his charm. A.
a colorist hs had no great depth. ana
through some odd twist IL his makeup
he seemed 20 get into difficulties With his
tints in proportion as he tried 10 make
the most Of them. Neither the big mural
decorations or which he spent himself
toward the end nor the eIabotate easel
ricturcs which he was wont 10 send 20 tho
Academy really revealed the essence or
his talent. Perhaps ne worked over them
q little too long. Al any rate the color
schemes IN them seem artificial, even
little hard and the execution - wanting
In duency and nervous force, compared
with that In the productions in which he
spontaneously let himself, 60 It was in
pastel and IN water color that he thus set
nltnbcN ire anu was " molly cONtr~sANA.
In rastol. especially. HE color lie not only
more brilliant, but purer and more trans
parent; il has passed through delicate
rodulstious and has become altogether
finer and more indiyiJuaiiZed. Looking ~
the oils one would never suspect Blum Of
tenderness. but that is the very quality
which determines the value OF most OF hts
pasteis Hs portraits, in this medium, OF
sorgeously dressed Japanese girls, and his
suaye. almost poetic. impressions Of Ven
ice. disclose him In the hsppest and most
authoritative exercise OF his gift Water
color ne used With much Of the same
sureness and. besides. with "A wonderful
vivacity. lie understood its possibilities a.
very few artists who use IL every day I'M
dcrstand them. The color - spread upon
tie paper On inst tho right volume, with
just the light gesture and force. Water
color oith Blum was never ovcrdonN. The
light. eyane.ccnt goniIa Of the medium
was at his finger tips.
This exhibition il forever recalling US 10
his manual deyteri,y. TO the swift, clever
way in which he exploited his remarkable
technique But he was more than clever
artist: there Vas more in hir nature than
the sensuous gurto Of = happy observer
Of material things. Tho etchings In their
delicately Arm line. point TO the strain OF
,ieor that vas ia him. 20 the thoroughly
sound workman whose art might be never
20 gay. but was always sincere and hon.
cstly studied. In the Dutch pastels one
di-cerns. too. e feeling for landscape.
golne. with hint or subtlety. beneath tile
Il 10 irtarnstiKnp 70 rarr, ark tne