The sun. [volume] (New York [N.Y.]) 1833-1916, 1916-04-30

Take his picture of oxen hauling up a
boat II is "a snapshot" IL impresses
you momentarily Ivy its scale and color.
not by dignity and vitality; and YOU
can live cCsltcnt without u second
view. There never will be anything
more in it than n has grasped in the
twinkiing of n casual eye II Is COM
pared. to its great disadvantage, with
u, snard's canvas of two horses fight
ing off flies. Well! What of Sorolla's
sunlight? "lIc merely paints it big,
and paints it all the time" is the
answer. Tarbell and Besnard equal
him lin actual ~coruscation.' But Prof.
Mather does not consider it greatly
mcritorious to make a picture look
hot with sunshine. He takes Sorolla
on the painters own terms II does
not regret the dazzle in his atmosphere.
hut its tricky productioN. attended by
sacrifice OF linear quality and cqui-
librium.
Even when "a desvairing disciple says
mournfuily hat Sorolla paints as "A
cow eats Mr.. Matier speaks up for
the COW, because "a COW Is "A rumipant,"
and he dislikcs tho impetuo~ity Of tho
PAINTER. Great works. lie insists. are
always "incubated deliberately" The
contrary belief is itself Ill considered.
For instance. IL 1t he said that one
oheyed the imprcssionistic law in
PAINTING his haystacks and cathedrals
the author will rctort that "hc had he
e,eadyiug effect of a fNed scienc'hc
formula
t- =. .. a.. Saa.lt. Ia tho
book is IAN extraordinary sense for
! the motion of things. the dynamic or
water. earth and the figure his ad-
justment to "the common likingS.' Flu
when there are several of his pictures
prcseu. the eye does not rest = % con-
tcutedly upon one that II is lunth to
leave. "a moves rapidly from II to
another." Assuming a challenge to
he out with 1t and say he doesn't like
Sorolla, Mr.. Mather meets il:
The aue stion t. fair and wants a straigh:
answer. I do like his painting I get
from 4, the keen thrill that q brass band
of a deep barytone dcclaining The Holy
city" never fails to produce In my emil
uently sympathetic scnsorlunl. Such ina
! pr-ssions have their value. but ! do not
need 20 seek them; they frequently come
I INV NtNs INIT ! hfNf lfl|i ~ 'thiN'
81 nuo % rolvchromatie brass band as that
OF Scror sorolla I gladly admit. bu, l
still! prefer the orchestra, o. even a more
tonuou~ music. that may hint at heights
and dcp;hs within u lIfe.
There can still be seen representa-
tive Soroila pictures in this own II
would nc fair. and interesting for per-
sons who. recalling the fine raptures
-. d, q, 4. ..-l 1901, sng, NJ NIafhat'y xHaV,.
frank exposition Of his own views. to
which he mas an indubitahle right and
which he expresses firmly but geniaily.
t. view the paintings again before
closing their minds TO the argument.
| Six years is time enough for working
big changes in even the most constant
of minds and IN judgments intended
To be final.
In reviewing Goya the gentle critic
is led to Some considerations Of Span
ish art in its unity. t;oya he calls
IAN inverted Blake" The Spanish
painter and the British poet hotn
utilized IN their art their hallucina-
tons; but where Blake saN fair. Guya
saw foul:
Hc may %" regarded as an inversion of
those seventeenth c.ututr artists who IL. d
spain with aron!zci CAr.>.s and tortured
naJjyrs piabo,i1c one Of these early
master., deprive HIN Of me leading o'
the church. turn him loo>, In a de
ordered amt Jcspicablc spain. cn,rg.z. hin
marc highly, and you VIII have .uuethiul
,ery like the i~ns,ieut master ~ Zaragozi
To produce a central at spain has ncyr'
get attained ad,ouHte ,t,i!'adtion. HI
tiiumphs are i"gi'imat-Iy rcad IN tn.
| . .iin, -.sr. IultsIyftI-r. ~ A.IY.,4tgr g.,