New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-12-08

nun ihefts kecovered-The Booth Staue-NIr Henri.
Pastels-Old Drawings and Mo1lern Prinis

before us not only Booth. hut Ham
let; and to do this he has purified and
heightened his realism. There are no
theatrical or pictorial devices about
his composition. He has made this
impressive by sheer dignity and weight
of line and mass. 1t is IA more than
graceful figure, though tho grace
counts for much Even finer is the truly
heroic quality Of the statue, it's LARGE
serenity. Perhaps the best tribute we
could pay to Mr. Quinn would be to
say that his skill as Il modcllc1 is
matched by his sense of scale. He
has seen his design in relation to its
surroundings Ihnt is why the people
OF New York, not unacquainted with in
Go,ngruous monuments owe him and
The Players Il debt.
Mr.. Robert Henri, coming back to the
city from the coast Of Maine, gives us
at the Montross gallery a most sur
prlslng sensation. For years we have
peen accustomed to his work as some
thing undcniably clever, but often
tactltious in effect and unpleasantly
panty. Now as it were without the
slightest warning. he plunges into the
woods and energies with a roomful of
seriously interesting and occasionally
enchantlng-p astels! He picks up the
last medium in the world that we would
have thought Of his touching and works
little wonders with it, Nay, he+avoids
all the usual pitfalls of the newcomer
to- pastel. He disdans the conventions
Polly "opalescent' vein. He strikes out
boldly, mastcrfully, with sturdy tones
OF rcd and green and brown. He uses
a freedom and a breadth which we have
never discerned him using in oils, and
he secures light, delicate impression
that the most devotedly "oNquisitc"
practitioner might envy. In the cujoN-
ment of this new found ehXibility he
forgets all about those studio tricks
which have so often made'his paintings
tiresome.
Life, light, the play of sunshine and
shadow IN the forest, over gray rocks
and amid deep evergrccns these
things have taken hold Of him at last
and he has been to happy to pose any
thing. The girl, in a red coat, who
makes rich singing note in one Of
these sylvan fragments was pcrhaps
told to standstill long enough to b.
sNetched, but that would appear to be
about the extent Of the academic dis.
cipllne involved. Her presence seems
accidental otherwise, the beauty Of
cclor she brings into the pastel is as
spontaneous, as artlcssly delightful. as
the LEAKAGE against which hcr garment
50 bravely tells. That is the vein Of
the whole collection. 1t is not an
assemblage Of pictures in she ordinary
sense Of the term. 1t is shcaf of
Joyous impressions, significant OF tech
nical deXterity, no doubt, but. before
that. Of pure artistic gusto. We hope
Mr.. Henri Will keep it up.
The amateur with zest for old
drawings should approach with thor
/ H.
longing to Mr.. Hamilton Easter Field.
which is to be sold at the Anderson
Galleries next Tuesday evening 1t is
not a collection of masterpieces. But
what collection IS, outside of the great
European galleries and few i'm pri-
vate hands, likewise abroad Priceless
old drawings arc-wcll, PRICELESS They
turn up only on the rarest occasions.
The wise man will be thankful when
he is vouchsafed even quite ordinary
blessings. MIR Fields drawings, many
of them anonymous school pieces to
which he discreetly attributes no great
Importance, have the charm, which be-
longs to the old tradition. After all,
In the great days ii took a Mantegna
Botticclli a Leonardo or a Michael
Angelo, to make Il drawing which by
itself was as heavenly as d fall dress
painting.
The rank and file remained tie rank
ard file. But they caught from what
we may call the rcverberations in the
studio echoes that did MAKE them. as
the poet would have it, less forlorn.
They drew, if not in the grand style,
at least in a fashion limiting that they
knew what the Grand style was. They
had a handsome way with tnem i'm
matters Of composition, in the sculp-
tural treatment of form. in the gen-
erallzing of both draperN and gesture.
All through Mr. Fields collection you
can see their flair coming out. their
participation in historic movements.
From time to time also the true SAVIOR
of famous personalities rises to the
surface. Witness the numerous spirited
drawings by Domcnico Tjcpolo, ~ minor
but authentic figure, the lovely sheet
attributed to Guard. the "Saial I'M
Armour" given to Timoteo Viii and
(No. 47), by Guercino. There AFRO some
good modern DRAWINGS in the show,
capital sovenirs of Millet and Corot,
Lcgros, Whistler and PuVis dc Cha
vannes, and here doubtless he col
lcctor will feel on frmer ground. But
, he should not be abashed among thc
cid drawings because they haven't all
the hall marks OF transcendent genius.
Let him consider each drawing for its
own sake. He will encounter some
pieces to repay his SEARCH
There are drawings also in the col
lection of Mr. Charles II. Carly Of Bal
, timorc. which is to be sold at the
Anderson galleries on Wednesday and
, Thursday evenings, nut these relics Of
Bartolozz and Of the French renais-
sancc are not, on the whole, of much
interest. The prints form the real subj
, stance of this collection. They include
a quantity Of very interesting old tho
atrical mezzotints. There are also many
! good examples of the modern schools
clever plates by Brangwyn, Afdeck
, Hedley Fitton and their contcmpora-
ries.
The town is full Of prints Just now
r. Hill Tolerton, who has given this
, subject new lease of life at the kh-
. rich gallery. is showing there Il col
lection Of eighteenth century French
- engravings, the dainty productions OF
: Dcbocourt De Launay. Demarte anl
= others. A similar display is offered af
!, the Kncedler gallery. whore at tn.
same time there may be seen dccora
y tions painted on silk by Robert T.
= Locher. Childc Hassam, ever expert
= menting with new MEDIUMS opens al