New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1917-12-30

u Y
The book is closely written, requiring
constant reference to the illustrations,
and in the extreme compleXity of his
task DR.. Siren has allowed himself TO
be rather overwhelmed in detail. The
pausos for the exposition of general
ideas are few and far between. The
reader Graves a broader, more syn
thetic handling Of the subject. But if
he is willing TO accompany Dr.. Siren
On his excessively meticulous travels
he will be rewarded for his pains.
Little by little he will see the traits
of a famous school falling into place
and taking on the unity important to
appreciation Of them. And all through
this examination of individual paint
irgs he will observe interesting exposi-
sions Of technique cropping UP through
descriptive matter. The volume Of eX-
ccllent halftones will DO something TO
tighten the strain Of what is unques-
tionably a difficult book, framed not
so much 70 give pleasure, 10 charm, as
TO instruct in the mint and cummin Of
archaeological study.
A very different kind of book is Mr..
Edward McCurdy's Raphael Santi"
the George II. Doran Company, a
book prepared, obviously, not because
the author has anything new TO say,
but because the illustrations in color
form a good gallery Of twenty of the
painters masterpieces. It is not any
the less welcome. The Medici Society's
color prints have unusual merit. And
despite the patronizing attitude Of the
modern young artist, who thinks that
painting began with Manet, it is al
ways good for the mere lover Of beauty
TO come back TO Raphael. Moreover,
while Mr. McCurdy makes no pretence
Of applying modern principles Of
Science" to his scrutiny Of the mas
tcr's life and works, he contrives TO
give an interesting impression Of both.
He is clever in sketching RaphaePs
environment, beginning with the I'm
brian scene in which the youth devel-
oped. Those are popular" chapters,
il you like, but they rest upon q suffi-
GENTLY scholarly acquaintance with
Renaissance art and its critical lore.
Mr.. McCurdy has judgment, as well as
a faculty for, telling the story Of q
great artist in ordinary, human terms.
His scheme Of devoting a chapter 90 q
painting, though doubtless dictated by
the purpose Of. the book as a collec-
ton of illustrations, is preserved from
bana'ity by the zest with which he
tackles his different themes. Witness,
in particular, the chapter on Baldas-
sare Castiglione and the portrait Of
him which is one Of the glories of the
Louvre. II is a capital little essay on
the subject.
The essayist on artistic themes is
well represented in the group Of books
before US. Mr.. Kenyon Cox in his
Concerning Painting" Charles Serb
ner's sons has a happy faculty for the
discussion of movements and repre-
sentative figures in the light of well
pondered ideas. He has standards,
tastes. which save him from the in
vertebrate impressionism so popular
among the modern critics whose sole
idea Of the critical function is that
IL must turn out amusing copy Mr.
Cox takes his art too seriously to
care whether he is amusing or not.
To that extent he is, re suppose, "o.d-
fashioned but it is q good failing in
these modernistic days. In his opening
chapters he asks "What Is Painting"
The nature Of his reply may be in
ferrod from the following passage:
The business of the painter AS imitator IS
O. give us. temporarily, the benefit Of his
power Of vision. Of his training and Enowl-
edge. Of his perception of the significance OF
things. and by so doing 10 give us an un-
wouted sense of physical and mental eli
cheney which is in the highest degree pleas
urablc We feel ourselves. for the moment
possessed Of clearer senses, Of more hvely
emotions, Of greater intellectual powers, than
yye had imagined Wc live more intensely, and
rejoice in our perception Of this intensity OF
life This the painter effects by selection
of the characteristics 81 objects 20 which ne
wishes 20 attract our attention. dwelling upon
the things he wishes Us 20 see ana ending
tbose he does not wish Us 20 concern our
eelyes with. eNaggeratinR here and suppress
ing there, consciously or CnconsclousI taisi-
fying his representation in a thousand minute
part culars 30 as 90 force Us 10 see what he
sees. not what we see when unalacd ana CIV
ing a greater scmb.ance OF truth by ms FtiS
infdclity 20 fact Ills rank as an artist WIZ
da,erd largely upon whether the truths a.
y.b ch he directs us are impor ant arr essen
ti.l ,r uninlportant and trivial and a. upon
the degree Of exs2gcration wnich ne mus !
neccssary 10 use. the greater artlsS usuAnS
.c,,,rlov-inc, delicate and restrained cNaggeta-
tions. while lesser men resort u e"@ss''"-
tious which are yio!ent and cNtreinS'.
His perception of the significance
Of things" In other words, Mr. Cox
attaches some Importance 70 mind and
imagination; he is not convinced that
manual facility is all that goes 70 the
of a work OF art. we can
1,aginc what short work would be
wade al the whole Of the foregoing
massage by the average daDster, com
mitted 20 enc Of the latter-day snort
cuts 10 artistic renown. But IN that
npsssoc. and in many others, Mr.. Cox
offers a really helpful philosophy TO
the sincere seeker after artistle en-,
The second and thlrd
nsrts OF his book are dedicated 70 the
OF Renaissance and moderh
nainting In them he applies TO
host of famous figures the critical prln-
- Advocated ia his opening pages