New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-01-13
PORTRAIT OF VINCENZO ANASTACL

PORTRAIT OF VII
Of the action OF light and shade, are
original. powerful--and a little un-
wholesome. If he were a modern type
we would call him a decadent II -
not merely the fearful febrile excite
ment under which he seems to have
labored that evOkes the thought. Blake
had as tOrmented q mind, but at the
kernel of Blake's art there IS some
thing infinitely sweet and healing.
Greco'S central passion is turbld, bit
ter. like the frenzy Of some unhappy
man who has passed through lndescrl-
bable experiences. He IS verbally
child of the lnquisition, a mlnlstrant
of darkness and pain. Contact with ms
genius is profoundly interesting, sort
of harsh stimulus. When, IN the pur-
suit Of beauty, we come TO nm, IT Is as
though the path were full of thorns
and the object Of our search were flee
ING into a nO-man's land, half hidden
from us by drifting mists and distract
ing iightS Greco Is a source OF IN
tellectual excitement, not OF 3st-euc
happiness.
The difference between him and Goya
relates largely TO the question OF splr-
itual balance. The eighteenth century
artist had as much drama in him as
had his predecessor, but when the
brush was in his hand he was Httle
more independent in his use OF II. Inc
murkv side Of Goya's temperament
came out 10 some extent IN his ITS OF
fury. ii appears IN his art. TOO, D9t II
does not absolutely prevail there. with
ID II Tr rtrppId he could
pass from the horrors OF war, ana
worse. 20 the painting OF court por-
traits. IL is chiefly as the portrait
raf-tcr that we see him IN this exhibit
ton. One Of the two notable pictures
that lie outside the familiar category
is The Forge" a large interior with
figures. too large considering the sub
iect and what the artist makes OF IL.
Strictly speaking. he does not make
ANYTHING Of il in the finer sense. Inc
bgid realism of the thing IS not trans
mogrided by any great beauty OF Color
any charm of composition. Inc Nalue
of the work resides wholly IN the Dfio
with which il is painted, IN the swift,
stror0 notation Of fact, in the stun
ming" brushwork If this were all,
there would be comparatively little to
saw about GOya on the present Occa-
sion. But we have the portraits, ana
anotber picture. The latter IS the
famous women on the Balcony.
could as accurately wear simpler u
tie. Spain" The spirit OF a race Is
embodied i'm this group, IN these types
And in the painting OF the picture
there is all Of GOya's most consuih-
mate craftsmanship. Nothing could De
simpler. or more adrolt. The tones are
few and quiet. They make an impeeca-
bic harmony. H.. ..o
Among the portraits-and they are
by the way, surprisingly numerous
there are repeated instances OF Hoy&
amazing mastery over character; ~ ~
-ecrets were hidden from him. inert
,,ero no boundaries to his range. Inc
last tenderness and fragrance OF chllu-
hood YOU may SAVIOR in has exqulsI'y
~Victor Guye." and in his Don Manuei
Romero" YOU may see how he couI9
b,.;rc 10 the surface the lnmost soui
ri "a cynical old courtier. HIS men anu
,,-or,e1 are personalities, 10 this day
@,.c;+iro the most poignant interest as
tbc,, look out at US from the canvas
Ruf we are forever coming PACK 10 ono
tbinq. the technical magic that ne ldE
;ehes upon them. II varies IN lIs ue
,,elopments. characterisucaIly aceoiI
INC TO the subject. ms Couno "
Teba." the portrait OF Drii!laht SUUuILt
H. ia nainted with kind OF Aeht
solu,Vr, Rut when he draws the
I-'-o1-. ,o,ing subject Of his sonora
~ Maria Maritime da Puga, ne
eots her. delicately, against "his-
Ieriar background. and models Lnt
&c bead with a pure, firm toueh Ihat
m it's restraint recalls lhe een'GS
&c TTcres He is austere ana ne
% over and over in his portraltS y.
-, Lo irppresses US with has seNerlg
Ia Lis ,,igor. his directness ana NE
G,,.ss Then. as in the enchaI'''.s
..Niorouesa D'AstOrga," lndihereht "
80 Iadv's insipid countenance' ne yos.
o,,e1v wreaks himself upon heI I'll,
dress and produces what we eaI n
describe as so many square mn nv, and
nainted surface, when j - s.htiiv
framed by themselves Woulu ,6;nos
uplift the connolsseur Oh 49, dress
" recollect another PINK GIcso
,',trtod Inv n great craftsman, me uIeS'
~ "Vrs Carl Meyer" by Sargeht.
7. - wonderful performance, Dut ~
-, =, contrast 70 this tour dc iotoo
20 Covs,s To find anything IKE II oIe
90. hack TO Nelasquez, weaN'ns
aTahIe beauty out of the tinIs %
49, INC CLEAN Of white lace, III W
billowing farthingales of hls lniantaa,
II is for such miracles OF Ieohn.
that most of the Goyas here are 10 DC
stvd;ed Most Of them, we say ioI 'ne
INSTABILITY which we have hoteu a.
cbsracterizing him as well as uIee I
declares itself where he is conoe Ii &C.
in pathetic lapses from the lever OF
The masterpiece TO that OF me POI
boiler Like many another wielder OF
a facile brush, he painted too mp mdi
and. besides, he was not seldom calleu
moi 10 portray persons Of no earthly
interest. The Marquesa DAstorga mao
AZ least her pink dress. II was an
other story when he painted the Mar Mar
oues de Castro Terreno and ms Wlle'
Tbev were dull folk, and the two cam
,,escs show IT, But the uneven nature
- Gova's work, like the uneven nature
~ Greco's, cannot dim the Gstre OF
his remarkable exhibition. surely,
&c we hinted at the outset, the pubic
,y;ll not ignore these glowing walls.
Foy sweet charity's sake art has nos
n,a6e in our experience Of New YORK
mutations. a more potent or a more
II