The sun., 1919-02-09

the statement.
But il is clear that Mr.. Tack Is
foreigner, or at least one OF those
spirits like Chatterton that refused
to be chained within the period into
which he happened to be born. HIS
color is more sparkling than OF yore
and his touch is more crisp and GER
tain--at least, when he paints Chinese.
One of the best of this years can
vases Is the palace Of Enchantment"
for Greenwich House" Of this city.
1t is announced that Mr.. Tack has
been commissioned to do the decora-
tons for a room In the new Govern
mSnt building in Winnipeg, Canada.
Alexis Jean Fourier who was born
in st. Paul, and who studied with
Jean Paul Laurent and Harpignies,
had the happy inspiration to paint the
"haunts and homes of the men Of
$780," and the series of pictures have
been seen this week in the Babcock
Galleries.
1t is impossible for the American
artist who chances upon Mr.. Fournier's
pictorial records. not to have nostalgia;
for the homes OF the French masters
in almost every instance were Of the
sort that artists yearn for, and that
some people believe absolutely neces-
sary for artists. 1t was quito evident
that Rousseau, for instance, did not
have to go far for a motif. Every
thing about his house and courtyard
were paintable. Daumier's home was
little poem in itself.
The instalment now on view in the
Anderson Galleries is the thirteenth
the final-part OF the great collec-
ton OF prints formed by the late
Frederic r. Halsey. Parts one to
twelve, which were sold during Mr..
Halsey's lifetime. realized the sum of
1888, 947.S5. One print alone-Janinet's
"L'Aveu Dihicile"-sold for $1,000,
the highest price ever paid for print
at auction in America 1t was a great
surprise to Mr.. Halsey that the COL
lection. which he had so lovingly
formed during so long a period Of
years, proved such r. good investment.
and he never grew tired of expressing
his surprise and qualification at the
results.
The first two sessions of the present
sale are devoted to English, Dutch
and French mezzotints OF the seven
! teenth, eighteenth and early nine
teenth centuries. mostly portraits. in
Guiding rare engravings by Valentine
Green. ]. r. Smith and Thomas Wat
son after Sir Joshua Reynolds,
The third and fourth sessions in
clude Americana and American en-
| cravings. color prints, line engravings
| Of the seventeenth, eighteenth and
| nineteenth centuries. and large col
| lection of portraits of actors. artists,
antiquarians. bibliophiles, diplomats,
statesmen. legal. literary. medical
military. musical and scientific and
other celebrities. royalty and nobility
| The collection will he sold on the
| evenings of February 10, II. IS and IA
| In the February number OF Art IN
America. Frederick Fairchald Sher-
man makes study of George Fuller
rom which comes this excerpt:
I'm 1S43 George Fuller wrote from
his Deerfield farm TO Henry kirke
'rown. then in Italy: I have con
cluded to see nature for myself. through
he eye of no one else 1t may have
'een a decision forced upon him by
rcumstances that denied familiarity
lth the visions of other painters but
was no less a wise one and resulted
l ventually in his creating a kind o
picture distinctively different from
those with which the public was al
ready acquainted.
| HE may have underestimated thu
value of tcchnic. for certainly time hal
made havoc with much that he did, bu
even when he wrote from Italy (whithel
he went in 1860 to study the old mas
tcrs) that il pleased him TO see how
the old fellows went at their subject 4
tell their story, and how scumbling
light and dark shadows took care o
themselves he added Yes and draw
ing, too, not that these things are les
important, but that something is more
The something to which he alluded wa!
unquestionably the idea, the subject o
the picture. which TO him. as to all o
us, constitutes its real significance, an,
which, TO borrow n phrase from tn
idiom of tho theatre. an artist mus
, get over or make the observer full,
realize. IL his work is 10 serve any use
full purpose in the world. Whateve
criticism may DO properly applied I
, his method of painting. 1t cannot b
/. denied that he did just that and wit
manner comparable only to that q
great actor who impersonates char
, actcrs upon the stage with such a sem
blanCe of life as TO stir us to unaccus
toned manifestations OF feeling.
According to Fuller's way of think
, ing, Color in its highest sense is
: delicate sense OF gradation,' and a
: MIR. Howells informs US in his bre
sketch of the artists life, He pre-
ferred to remove tho object OF intcrcs
: in his picture a degree into its al
9 mosphcre, believing that this gave
/. greater chance for EXPRESSION just A
, one might say that tho stage provide
an atmosphere for the actor in what
ever role he may appear that enable
y him to realize more effectually its pos
9 sibilities.
This atmosphere in Euller's car
! vases is adjusted always 10 that d.
: | gree OF definition he considered be!
n suited to bring out the particular char
n acteristics OF the type pictured will
!, out discovering the obvious and Inc!
n sential details OF the mise en- seen
, II Is because OF this that the 'Nydia'
n so much more than an imaginary POI
trait OF Bulwer's heroine. She Is Il
personiflCation of all the tragedy
tho blind made doubly real and mo-
m.