New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1918-12-22

larger exhibitions of his work which
did not expose, half as well as this
enc, the strength and limitations of his
nrt The earliest of the paintings
shown is the "Mrs. Moore" dating
from 1884, a souvenir of that period
in which the precocious young artist
was putting into practice the precepts
of Carolus Duran. We know from the
beautiful "Madame Gautreau," now in
the Metropolitan Museum, how easily
the disciple could surpass the master
in taste as we'll as in technique, SIM
plifying his subject and thereby I'M
mensely increasing its charm. But in
the Mrs. Moore" he seeks to meet
Carolus on his own ground and the
result is astonishing, to say the least.
Never was Pelion more SYSTEMATICALLY
piled upon Ossa. In this picture one
note" is crowded upon the next until
an appalling blare is produced. The
black robe of the sitter meanders IN
and out of color scheme IN which
satin covered furniture, red-velvet
hung walls and endless luxurious &C
cessories make the most gorgeous OF
ensembles. If Sargent had gone on
3ainting this sort of thing he would
,ong ago have relapsed into the OBJ
scuritv of the Salonnier. What was it
that pulled him through? We can see
readily enough, by referring to the
Lady Eden" which was painted in
1906. Here the ford, hot tones of the
Mrs Moore" give way to the coolest
of harmonies. Red gives way to gray
and, what is even more to the point
dcxterity now has deeper knowledge
behind it. Look, for example, at the
later canvas there is infinitely more
Of constructive modelling, the forms
are handled with a frmcr grasp, and
by the same token, with a more per-
sonal, more distinguished touch The
contrast to which we have alluded is
indeed striking. Thayer, resting more
md more upon imagination, very
Yearly leaves technique to take care OF
tself. Sargent, who is simply like eau
Ter. q man for whom the visible world
xists, becomes virtuoso OF technique
nd as such, weaves a spell of his own
1t is, inevitably, an incalculable, un
even spell. The third portrait of his
hero shown is the one Of Preslden
Wilson painted recently lOI lHc Duplli
National Gallery. 1t illustrates th'
spell aforesaid in its lowest estate
That is TO say, Mr.. Sargent is perfect
competent on this occasion and per
fectly uninteresting. 1t is a good por
trait, but commonplace. There is in /
nothing of the crisp, spirited idion
which we recognize in the Lad,
Eden" For further initiation into tina
we must go to the curious little picture
which bears the title of "Princesi
Nouronihar" Nominally this is an il
lustration for page from Beckford
"Nathck." Actually it is just a sketci
Of two or three ladies reclining ami,
an Alpine scene, study of figures an,
draperies half hidden in grass, with
snowy, cloudy background disputinl
with them for the attention of the be
holder. Realism could no further G
than in this vivid snapshot. 1t has
companion piece in a picture of al
italian olive orchard, but the latter i
or much milder interest as an exercis
IN technical sleight- OF hand. IN thc AL
pine subject Mr.. Sargent fairly sur
passes himself as magician of tn
brush He enchants us, and he leave
us a little wistful. This exhibition