New-York tribune., 1922-03-12

treatment Of the dress is positively
luscious. The painting has two inter
cStlng companions. On one side hangs
thrce-quarter length of "Miss Han
nah Vincent" by Sir Joshua, a stately
composition, opposing to the intimate
spontaneity Of the Lawrence all the
Journalism and weight of a courtly ira
dltion. The remaining member Of the
trio is the Colonel John Redhead" of
Eomney, a piece of sober realism, in
striking contrast to the flashing grace
usually characterizing this master. 1t
Is rich study Of character. impress
slve through its sincerity and force.
All three of the foregoing pictures
have, on this occasion, a peculiar sig
nlflcance. They are not so much dis
played as put before US with an an
proXlmatlon to contcmporaneou CON
dItlons. 1t is a charming idea. thus to
revive the quality of an eighteenth CEN
tury environment. The gallery wears
its usual hangings. but it is set with
period furniture, and q couple of Chip
pendale torcheres gives q hint of tho
old English mode of lighting. Ar
ranged with the utmost care the erect
nevertheless seems unstudied. one an
prehends the paintings rather as casual
episodes in typical interior. Exhihi-
t'ons generally would profit by sim
mar treatment, and particularly bv the
restriction of the pictures to the small
est possible number
There is beautiful portrait Of
lady to be seen in the collection of did
masters at tho Enrich gallery tho
graceful LADY Mary Hope,D of lEopp.
hor' but this is essentially a group Of
portraits of men. Like the trio at tho
icaron gallery, it has been organized
on definite plan. 1t is "comnara-
uVe' show, affording kind of birds
eye view Of all the schools. Our own
Is included, one of the most imposinr
or the canvascs being full length Of
Lord Mayor of London, painted bv
Copley' The group is uniform in ousI-
lty' The big Copley is balanced by
Dig Goya. The single Italian example Is
noble double portrait, Father and
Son. by Tintoretto. French sophisti-
cation lifted to a charming plane is
represented in the brilliant "Marouis
q dAcqueville,' painting we have seen
several times before and are glad to
see again. 1t is portrait of mo
great depth, but it wears surprising,v
well. The Cranach is good, but in no
wlsc remarkable. The same comment
might be made upon the handsome
family portrait by Franz Pourbus. But
the Halls stands head and shoulders
above all the rest
This "Portrait of Gcntlcmanv ;s
ono OF 1he routine performances of the |
what a routine that was,
W hen Halls was in the mood he would
set off fireworks, painting like vir-
tuoso crazy over his instrument. Rut
thcre were quiet moments in which he
thought only of his sitter and painted
with great reserve end poise. STUDYING
construction, using brushwork ONLY as
a vehicle for knowledge. In some such |
moment he painted the present por-
TRAIT. There is nothing spectacular
about it. 1t is simply masterpiece of
truth and power.
With the old masters there, are shown
at the Enrich gallery some thirty-odd
dry points by Mr.. Walter Title. includ-
ing portraits of members of the Wash
lngton conference. He has in tho first
place the virtue Of a faithful realist
HIS studies are accurate and symna-
ihctc. They are further interestine
through the artists economical use of
line and the spirit with which he draws
It, There is much surface cleverness
in his work There is also a certain
grasp upon form. His
portraits have vitality and they are
we'll made.