The sun. [volume] (New York [N.Y.]) 1833-1916, 1915-04-18
HE Metropolitan Museum Of Art
feels triumphant over TIE
Jesup Request, as we'll IL mas.

Tor the terms of the donation
are admirably generous and 1t is hopeJ
VIII serve rs mode for MANY future
henefaCtors. The pictures are left to
the museum to he exhibited or to he
sold for the benefit Of the Jesup pur-
-Hhasing fund. and the pictures may
- shown at the museums discretion.
distributed among the various schools.
and not bound inhexibly together IN
q permanent gallery.
This Is perfect. of course.
A portion of the sevcnty-one paint
ings that the museum has chosen to
exhibit are now hung in the gallery
Of special exhibitions temporarily.
The pictures we may confess at once.
are not of the kind wildly to excite
us, hlA as We are fun of n sense Of
the benefits To come from the .Jesup
Request 1t is quite possible to regard
the present display with aHectionate
indulgence.
Waited by a wave ~ some such an
emotion Mr.. Burroughs. the curator
of the museums paintings, writes
most kindly and CONSIDERABLY of them
in the museums Bulletin. and almost
argues his rebellious readers into
belief in possible renaissance for the
Hudson River School" which scores
heavily" as dramatic critics say, in
the Jesup collection.
The pictures lauded are these:
"Bavside." by David johnson: Lake
George" by John w. Casilear; THE
BccChes" and Summer Afternoon"
ny Asher n. Durand: The Mountain
Ford" by Thomas Cole: THE Par
thenon." 10y Frederic f.. Church: "Old
North Dutch Church" by r.. l.. Henry:
"Kaatcrskill Glove" by Sanford II.
Clifford. and Lake George" by John
F.. Kensett
The largest and most imposing Of
these pictures is The Parthenon." by
r. T.. Church. portraying the glow "
setting sun upon the most perfect
work of man. Mr. Burroughs con-
sders Church the strongest of tho
group in which he figured painting
with remarkable skill the often i'm
possible tasks that he set for himself:
his superiority is attested particularly
by the soldity he managed to- impart
to his fairgrounds. Foregrounds were
a stumbling block To his fellow
painters. This criticism might be
made cf them IS "A group--that their
desires and intentions were beyond
their powers OF performance.
We confess to having long shared
the fondness which Mr.. Burroughs
avows for the work of Edward l..
Henry, although speaking by III,
book he should MT he properly
classed as in the Hudson River
School"
or Mr.. Henry's "Old North Church"
which, To their shame he Il noted, not
a single one of the art critics at the
private view could locate. Mr.. Bur-
roughs writes:
Edward l.. Henry has been hitherto
unrcprescnted in the museum collec-
ton. though for years his little pic
lures of American life Of long ago
have hen a D. light to the visitors at
the National Academy exhibitions.
They seem to have been done primarily
with the idea of giving a correct rep
resentation of past customs in all de-
tails. and on account of their simplicity
and perfect lack of affectation or os-
tentation they have very real and
permanent charm.
''These qualities are found in the lit
tie painting of Mrs Jcsups collection.
II gives a true likeness of all the de-
tails Of architecture and street life as
they were az the time Of its painting.
An architect could reconstruct the
church from this picture and students
will he able to lind out lust what was
the form of old horso cars or the kind
Of omnibus used AT the time, II is a
modest and pleasing little picture"
Tho French hcroin, of fiction when
che is good is very, very good, and in
deed the qualification extends to the
French adult of both sexes. cv II IN
real life. VII u the French adults are
good they are irrcprOaChable.
This seriousness with which they
are good when they are good has moth
ing in common with our hypocrisy,
but it cuts them off from certain ap-
precautions, II entirely disable Tn m
from compromising the frivulitv IF
the cNpl its in which young Rritons,
and particularly vOun" Americans, en-
gage, They don't misiudge Young art
students as limbs of Satan, for In
stance. a. our hypocritcs would, but
they are too often compelled To ShrIg
their shoulders and give up the Joke
as being inComprchensihc.
The young French art students not
being included among the good"
FrcnChmcn are as wild as the pro-
verbal student from any other quar-
ter of tho gloh., hut they are not " Id
in the same way and they are more
prone To forget the esCapades of the
quarter when they have grown up.