New-York tribune., 1918-03-31

Elsewhere the author aptly says:
Gail art with Rubens is reduced to
play of color in diaphanous air" Moth
ing could be more felicitous, more
swiftly evocative of the essential quail
ity in the masters genius. He is, like
Gautier, consecrated utterly to the
beauty of the visible world, the posses
sor of devourng eye, and, by the
same token, Of hand fairly rejoicing
IN its ability to set down-as in a fash
all that the eye perceives. Rubens is
the great type of gusto in painting, of
technique that is imperial, splendid,
thrilling with the JOY of life. 1t is this
supreme trait to which NJ. Hourticq
first and last addresses himself, never
neglecting the other elements in his
problem, but clearly showing how the
virtuoso in Rubens overtops them all.
His book is stimulus, and sound
enc, which is just what popular study
on a small scale should be. The half
tone illustrations. printed in sepia, are
ideally chosen for the text
In "William McTaggart: A Biography
and an Appreciation" Glasgow: James
Maclehose & Sons) Mr.. James L. Cav
has commemorated a Scotch painter.
practically unknown in the United
States. whose characteristics ought
long ago to have won him some recog-
milton here. Born in 1885 and brought
up in the traditions of the Scottish
Academy, he seemed destined to remain
untouched by the more modern tenden-
cies in British painting. The early
study from the antique reproduced in
Mr.. Caw's book suggests thoroughly
academic temperament, and as McTag-
CART emerged from youth into maturity
his conservative style, tinged by rather
tepid sentiment might easily have set
tied down into the dryest kind of con-
vention. But~Mr. Cav tells an anec-
dote which pleasantly signalizes the
organic vitality in his old friends ar
tlstlc character. The passage runs as
follows:
During the later sos "irnpressionism' the
word was by that time used generally as a
term to imply a broad and seective treat
ment OF personal impressions of things seen
rather than in its strict and original French
meanlng--was in the air all over Europe.
ana was much discussed on all occasions
% when artists came together. McTaggart,
VINO was little concerned about labels al
though deeply interested in ideas. hearing it
constantly referred to one vanishing day at
the Academy. took Wingate aside and asked ::
takaf, nat Is nbo thls s. u they all
came with twinkle, Il fancy its just what what
you and have been doing for a good many
years. '
The point made is vividly expressive
of the secret of McTaggart's work.
lhese earlier figure pieces to which we
have alluded would never be accepted
as Justifying any claim of his to more
than local admiration, but his sea pict-
ures and landscapes, done when he had
got really into his stride, would rouse
interest anywhere. He had color, he
had light and air. He used these ele-
ments with freedom and breadth. Mr..
Cav speaks Of his "silver whites, clear
blues and tender grays" Such re-
sources as these McTaggart exploited
80 "0is u I'll edoe, Win an e&nllarat-
ing because innately Joyous touch. He
had, too, sound pictorial instinct.
MS lmpressionism rests firmly on the
IDEAS OF composition dating from his
academic training Mr.. Cav. director of
the National Galleries Of Scotland has
set forth til. story of this painters
life with something of official thor
oughness, and the book is, perhaps. a
niue longer and more eulogistic than,
at TINS distance, seems deserved With
It's comprehenslve catalogue of pictures
and It's many illustrations, it is almost
TOO monumental record. The painter
mere celebrated was friendly human
type; his work has light, engaging
charm. A briefer, more discriminating
study would have placed him in a more
convincing perspective. Nevertheless,
we can understand Mr.. Caw's Jealous
loyalty AS man and as a painter
s W. ageart could not but excite warmth
OF feeling.
which We have referred above. Mr..
Sherman has recently issued a little
voiume OF his own, "Landscape and
figure Painters Of America" in which
re discourses of such men as RIake-
lock, Ryder, Robert l.. Newman. Homer
Martin and Elliott Daingerfeld. His
essays are concise, forming altogether
d aneal OIL scarce seventy pages In
some cases he includes biographical
notes, but the main purpose of these
STUDIES is interpretative. Here tho
aulhor Is sagaclous and sometimes ,s
notably in the case of Ryder. a little
more than that, matching the emotional
content of his subject with a kindl;nr
fervor. Some excellent plates increa 90
the value of this slender contrjhution
| to current criticism.
Mr.. jacques Reich has added to his
familiar series of etched portraits Of
public men handsome head And
shoulders of President Wilson. The
photograph on which it is based is well
known, but, as usual, this artist has
contriVcd TO communicate to his work
the quality OF an original study. He does
TINS especially through his suavc
modelling Of the head and face. en-
ploying his needle with the painter
IKE touch that is productive of an
effect of color. The flesh is warmly
and fexlbly banded, the play Of light
upon 1t being controlled with marked
delIcacy and subtety. We recognize
also IN this portrait Mr. Rcich's casy
'lrmness as draftaman He has set
the figure, itself dark, against a darker
background: The impression alto
eethcr is Of sombrc richness. But It
- not unreleved. The high lights
about the head play their appointed
part, and there IL shrcwd note as
signed TO the white handkerchief Just
appearing at the eitter's pocket In this
plate he displays his wontcd skill in
iusing good likeness with sound