The sun., 1916-10-21
mr.. HUNEKER ON THE DUTCH PANTER
JAN VERMEER.


QueZ had not so uncrring 4 sense
values or Of color relations as ",
nicer. Certain qualities in tho latter, y
work are ~singularly modern; his no,,.
Of view. his design. his color yalu.,
his edges-above all his edges,
way Of using the square touch. an
his occasional "pointilld" touch. n.
IL modern. yet has the poise. yari.,, |
and finish Of the old masters. In ri, |
work are interpreted tho dear coin.
mon joys of life, coolly. not. howev.,
frigidly. as admirers NJ hot. moi,
modern painting aver. hut the ,at,
and sympathetic notations Of = san.
imagination and a master craftsm., 4
He has delicate charm. There
brooding magic. in him. IL c,ost,
Grccian purity. although h. shows A..
bourgeois people and interiors,
Nermeer's ~csnvases. MIR. Hale point,
out. are often pale. grayish- AZ time
almost a monotone. These very A. Y
fccts are accounted virtues by som,
Of his more passionate admirers wi.
could he more passionate than Il,
Boston critic?): but 1t seems prol,ahi, /
that they all come from his hahi, - |
underpainting in blue and occasional |
using yellow and pink lake slazes 9Th. |
Mar1uand example il decidedly A bin,
Vermeer). In some instances n, |
glazes have died out and ,l. undo |
painting has come through. hence NJ,
famous gray tone. Still. takin. Nj, |
by and large. IL would seem tina, lc.. !
meer has more great painting 1uar.s
ties and fewer defects than has an, /
painter we know about. Where oth.. |
men had n genius for drawing or a..
color he had a genius FOR vision. W
looked at things harder than do otht
men. After he had laid the lactur
In, he seems to have sat back and
looked at nature again and again :
zee II there was anything he could d
to make II more like. Naturtllv. q,
that stage Of its making. there va.
always something he could de-. and B.
was always willing. ~ no matter wiz
sacrifice Of apparently skilful toe |
niquc. to do everything n" could 1
obtain absolutely tho real aspcc, o.
nature-'la vraie verith." ~ tour'e |
liked to call it. The greatest ,~irtio,
w 'i'i' w ~ Nv ~ 'T''s w NN'0I' |
dinatcd virtuosity to vision. f1c he |
the sunny simplicity and CLARITY d"
Mozart. and Will" his mood is , liu-
lyric. IL Is always with sheer hcauy
that he Is prcoccupied.
He has the quality Of r"hn' me-
Rembrandt seldom attained il: ,u l-f
Ste"r it IL nil; IN Mct.i Il = l,rkIr.
and in TerhurS il Il. miucin= and -
fectci. DO IIooch Is better. Tho rep.
son Ncrmccr made his drawing So
Just. his values 81 true. wrs hcr,u-,
he cared So much about coior n.
drawings in his best Things came 81
because the chisroscuro. tho edSas anj
the color wer" right, observed Ne
loved ligh, and sliadc. he VA. , mas
~; II. and tho oul, way lo ro,r'd r'n'
der its beauty AS he saw ii was 10y -.'.
ting his drawing and his subtle "oln'
shift just right. Vet he was seldom
precious" There is breadth ~ htr'
ding aud vigor Of style hat -or I ~
a'irt from the minia'urists among G,
contemporaries. aud from such mo-.
crns as Mcissonier. iTortuny ct FAR .
tho latter too little apprc"iat'.
Nt'IHNV' wv ''f9N'l Fl''I- N'N
ters in his ~cvocation Of clear 'lNI.l'
and tho antithesis "f Rom r'r''
who's" soin'r" soul dwell IN th- ,Nr
o"s ~ on The threshold ~ ia" ms
tic, whose surfaces arc disk of .-''
AMI interspaces NJ gloom
In "ea'lnE "!th '"'ol'''
ZION ana ""N.Sh' wv. ha'' >''- '
one tt1 tll.tlN ''blil'tt' llr |.'f'|'
siti"n with that ~ '''m"ra''..
'auS' 'h' POM VI "'."'N VIZ
inherent '%'ci'"r''ndt '~'''P'N"
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