New-York tribune., 1920-03-04

would have been for the nineteenth
century Dutchmen to founder about in
the "brown sauce" of the old masters!
But they chose as their inheritance
only the spiritual qualities Of the his
toric period. They went on painting
nature and humanity, but painted them
in their own way.
1t is the modern way, tho naturalistic
way, which takes account Of light and
atmosphere. This sounds like impress
sionism, but the fact is that Jongkind
is the only modern Dutchman who
definitely subscribed to Monet's hy-
pothesis, and he remains an essentially
French PAINTER. Mauve, the Marises
and all the rest took over from the
French school nothing save ita passion
for the truth, and perhaps it would be
fairer to say that they nurtured that
passion without any external aid. They
honored their artistic ancestry by the
simple process Of founding new school
the past Van Goyen and the Ruys-
daels had painted lucid airs before
them, but they painted the skies and
horizons Of Holland just as they saw
them, now moist and gray, now clear
and luminous.
They realized the beauty of tree
as Hobbema painted it, sharply de-
fined object, given almost plastic
relief. But they painted trees as
masses, saturated in atmosphere. They
carried that atmosphere into their
characteristic pictures Of indoor Dutch
life. There they remembered Rem
brandt's sincerity and his pathos
demonstrating that they could recap
ture little of both, and at the same
time they were careful not to burn
their fingers over his virtuosity and
his drama. In the upshot they painted
pictures that are individualized works
of art, good to live with.
All Are Represented
There is no we'll known member Of
the school who is not represented in
the Mesdag collection, and there are
seme artists exhibited who have not
hitherto been made familiar here. From
most Of these men there are pictures
such as we zee ordinarily in local gal.
lcries, but more often we come upor
examples of the intimate character
which we have noted in alluding to the
Barbizon contingent, sketches, studies
paintings rich in personality. There
are some distinct prizes, like the ex
traordinary RAMS Head" by Matthew
Maris. But, even among the many
canvases lacking the salence Of thi!
one, the truth and charm Of the schoo
are vividly apparent. Mesdag himself
to be ruthlessly candid, does not espe
cially shine in this admirable com
pany. His seas and fishing boats al
ways were capably painted. But h,
was never one of the great figures il
the school. He won respectable ranl
ia it without achieving positive dis
tinction.
at which we have glanced, there ar,
some fair specimens, paintings an,
drawings, of the Italian Mancini; ther
is an unimportant but agreeable littl
panel by Monticelli, and among the oil
paintings there are some good por
traits by Van Ceulen and Palamede.
The early pictures are discreetly cata
logued. Witness the PORTRAIT Of
Boy" which is only attributed" t
Hals. This ought not to discourag
the amateur who cares for a good piec
of painting, regardless of the name at
tached to it. There is the first merit o
the Mesdag collection. 1t is made up O
unquestionably artistic stuff. Paintings
drawings, and etchings, too (prints b,
Marius Bauer and others), are on
high level of excellence. The sal
should be success.
At the American Art Galleries ther
will be sold on Wednesday afternoon
collection Of antique and modern ar
objects belonging to South American
connoisseur, Enrique L. Heniot. I
contains interesting porcelains, tana
gras, antique glass, miniatures, fans
pieces Of faIence and so on. Anon,
the bronzes there are examples O
Barge and Rodin. It is good miscel
lany Of rarities, many of them beauti
fui.