New-York tribune. [volume], April 13, 1913, Page 6, Image 66

About New-York tribune. [volume] (New York [N.Y.]) 1866-1924

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MATTERS V ART
Some Modern Paintings and
Some Old Prints.
Tin:; i- 111- last w?k of the Spring
Academy, and we do not hear of any
exhibition i.? follow a on tin- asme
seal- Th? " sre still sai'-s of some Im
portante t.. be i<-< "i-.i.-d. however, and
th- on.-man simw continues to ctnn?
inand attention. Curren! affaira in the
auction room take a fairly wide sweep.
Th, show which now tills practically
every square foot of apace at the
American Ait Gallertes, is made up of
paintings and other objecta trota aotne
i a . i ?even different collections. One
?>f Hie.-.- was loi u.. i by Mr. Walter
Manchester and lilas Ids m. Ilancl
ter, m London, but Las more rerontly
!,.. u preserv? d by them in < Jalifoi
Tin- oth? r collectiona are tics.- of Btan
,. | i*. ' i (ford, Charlea and Bue M.
Clark, the late Victor Newcomb and
s. 4. i.ii .-th-i s. The* include thing
THE TR.VVET.LER.
(From ih- woodcut by Hana Burgkn
?ii\. r Barye, pain
1,4 Boldlnl and Gilbert Stuart, prints,
lacquers and autographs. This ma a
of material will be sold this week, be?
ginning to-morrow afternoon. The
Anderson Galleries are similarly crowd?
>?l with miscellaneous Objects. .Miss
?'. a. BMntner ami judg?* K. A. Lau.?
have .'?ni t. sold a number ol
painting*?, broiises, "Mental ruga i
?-. There is a colle4*tlon of Chinea?
ami Japan. ? teapots foiin*,i many
years ago by Stuart Eldrtdge,
al- '?hi?ese W-aponS belr'tlgillg t"
ward Runge, Jspanese prints b. ?
.1. Smith and rell
Washingrton and Napoteon from the
oil?turn ?,f W. I.. Washington. [|
will lake three days, aft-i iinons and
Inga, beginning on Wedm-sday, to
dispos, of Ihett live collections.
Mr. Crowninshield's Recent
Italian Studies.
in a brief pi- fsce to th" catalog
Mr. i'i. ???,'. C*i?osniiiishleld'a exhibi?
tion at the Folaom OaJlery it ii re?
iull.-d thai when as a young man he
went a!,load to study, one of his mas?
ters was Benouvllle, with whom he
worked in K"in'. Whether that artist
!? >t:u d his technique <>r not we do not
know. II- studied als.? in I'aris. under
ii-l and < "o..tut-. Neverthel. -
ble enough to ally iii?
sft \?ith thai r.f Benouvllle in one
? ai aa we see again m the i
mind's ;?> ? the ftnesl picture t'
Frenchman ever painted, his picture
St. I't'aii.-i? of A saisi, inking from i
litter b last i""i? upon the little l
town he loved bo well. Something
the very geniua o? Italy la preserved
the -.lin...s punting t<> which we ref
and it is th. re thai we feel the 11? I
144.-n .Mr. Crownlnshleld and his d
tlnguish? ?i i- scher of long ag".
hi?* life tins hlghminded American ?
tist has kin.ii. d i" ih' inspiration ih
lies In the Italian scene. The mti
realiatlc, more proaalc movements
his time have lefl him untouched. H
i,.- ever been b b. rioua and reflect i
outlook upon life and art. In etu
pictures ami mural adorations, 44-!
out paying any routine tribute i<> ;v
demi? comenlnuis, he lias jel pr
b? 4 .'(..| i hi erenlt), the a 111 pond? re
orderly quality whi? h ,wc associri
w ith the > lassical Ideal, He has car
for thai siinpi? beaut) of line which
i haia? teristlc of Rome, !"th In natm
and in the works of man. He km-?
i . ?w to make a swifl sketch, but a
venture the aurmlae that he has nev?
made evil the moat spontaneous atud
without g.ii.ng into i. ih.- unit) of
w? ?I b alan?d picture. We h.i4 ?? t
thia always, and we feel It again i
the plesrli. e of his latest works.
Moat of these were painted during tii
two 4. ais of hla si..4 m Rome as dl
of the Am? rl. an Academ*
Bom? of the oth? rs dat. from hla buI
sequent holiday m Sicily. A fen of th
canvases bare were done In Stock
bridge not long before be went t" tak
up ins dutl? a at the Acad? m.?. an
among them there are one or tw
pieces, notably the bold atud) of tree
m dark tones (No, T>. w hi? h ill ,strat
; - method and hla spiiit at their beat
But it is with hla Italian motives, Bra
and last, thai he takes ua captiva. H
Bo through certain solid techtilca
merits and through aubtler process???
Aa a craftsman Mr. Crownlnshleld ea
? . ompoait Ion. Hla tone might b.
liner in quality, finer and more trans
i ?u? nt. There are ? ta in th.
ropy glow of his "Sunrise on Etna," h
which, as a colori?t, he lacka in.* righ
t> nderness and But In th?
s orkmanlil ? ol ins pi tture t"
g. ih.-r I-,.- uai - ,m eaa? and conciliai* i
authorit) a i .11 ad?
miration Theae sre the paintings ol
an artist who knowa what h- |? about
? holee of a theme is wond? rfulli
i. II? ?tons, and a li?se sense of d? - ?_-11 Ii
? i ii.t there Is n< \ er a loose i n.
about anything he ?bus. Neil
m- token, la there anything
pedantic or crassly immobile about bii
? mi. -plions. Though they fill ? ?
spa? - s.. Justly, they are not foret*?
into it ? m the contrar)*, Mr. Crownin?
' shield's compoelt Ions ai ence, ii.
leas apontaneoua than "sell poised,
Witness, f"i example a water , olor like
the "St. i'. i.i's from the Palatine," or
an oil hke ?The studio ?Wall, Villa
Mlraflor?." Along s ith the di ;
i pictorial note you gel the
broad, ft? ol the si tist'a Bubje? t.
it is thai geniua of Italy to which we
have already referred that is always
pervading his work, enriching it with
the life of lands. :...- and Its chsrm.
The apell of Rome Lb never moi
plea than in its gi? a. At the
Villa Miraflore Mr. Crownlnahield
had before him both the tangle of th>*
wlldw.i and the formal, even monu?
mental, Blmpliclt) "i in dge ami cypi
And m aome subtle, haunting fashion,
Which is, indeed, 1?.?,uni defin? t i. >t:. the
grandios., strain lurks evsrywher?
beautiful strain which eom?*s from
space, from ti, green ail? a? -"
end in,m the press re of Intangible bul
iirestatlblc memories. < m? 's ?m. ?
sinn in i;..m- i- never visual alone It
is Imaginative, Intellectual, i? il
p.,i Its proper expression II needs pre
. is. iy th.. faculty "i ib sign m a hi' h
Mr Crowninshield is so rich. He has
put aome light things Into hla work, th
?^ l'lii;SSI>. Vil.I.A MASSIMO.
(1'i.iin the pelnUng h) Intk'iUk Ciowniiniiiiel?.
IIII'H ., **, m IOMBKH LA-VILLE.
11 ,,,i,i the painting by BoldinJ.)
delicate lovelineea of foliage, the ploy
of the lun, the qulel appe ?I of an ?n
tlqu? atatt e lui ned a ahade romantl?
by th. (..h. ii of tun.- and the a] Kan
aoftn? ?a ol hla background. Bul n
of all wi tot ognixe In Ihla exhll
th.- Hterling i"i.I ?? man faithfully
, i ii i. r i'i? ting ih?. grai e dignity of Rome,
preserving its noble atmosphere, end
thereb) gli Ing at more than a pa
plea? u ?
Paintings by Henry 0. Tanner
and Arthur W. Dow.
Tl ? i ist 11 m? thai Mr. Henn O Tan?
; ner app? arod In a New S orb ?
there ?\as in his pi. tur.- .? k.I deal
: of ?he "brown mi ? ? which s
1 more of a Parialan si dlo than of life
1 observed at < lose quai l< ra. HI n
1 iot:s sui.j.. la were ? l ?? ? '
penumbra, which ?
WILLIBALD l'IKKHEIMEH H
BOOK i'i \ i I
?
abo** at :
Moorish . nd Frei
monstrat? ? that h?
i
Here hi
The
: ? :
Mi. .
I? ;t utter ?
? hla ' .?t.?i"-- ??. and ? It hapj
the last, would alone win him a cordial
w eleomi TI e form?
Ightful bll
; t? marks l le, too, foi
?trail ? ?
tlcall) pictun ? "ih? r
picture to whhh wi I ' Woman
?.i p.. thl? b< m
j s Ion ??i a graceful flgui ? ?. and In
i a freshn? nd
i bring i h? ?
' and agnin The i ;
; ahown, \? in aim, an not, i"
( tell t h?- truth, parti? ularlj inn ?
; Ii i- m hla mor? Informal, ?.?
: landscape und ol M? 01
' ish t?'U n*-. that Mi 'im n? r ?? ? ??? ? s th?
; i.est a? ? ount ?.i h m
Th pic tur? of the Grand i
i Arix?na ? hl? h Mr. Arthui W ?
| bas ;..t 11," M on trot ? I? i
ra ih'-r iiiis''' impri Ion. Car?
: studied and ut h dui
| more Inten ?t Ing i han the) .i?
i promise to !??. bul In th? long run I hi?
obaen er I ?till aomev h r?e I
i by th?- too m. thodlcal mann? r In whl? h
the artli : hai expr? ? ?i hi? col?
i? rats "t ton? The Laid horixont il
regularity ??f th?rae maaa?Ba doubl
im Ites ?? ? ? i ''in adhet ? n? ?? i?> the
linear ? ffeel ? m hl h i hi ? h lud?.
really lo ?get such ?tup? nd?
' Into ?' paint? ?i picture r< quir<
would .. ? broad? r and more
aj nthetic than i- Mr. i ?on ' 11? ?
iii.-1* -1 ?h L'orativ? ami to thai extenl
aim". ; fi ? bk . dw? illn? a Ith a niggling
I t???!? h ui "ii one ??t ih. grandest <?i ull
? the primaeval ubjecti lefl In the world.
? is- he, a ben all Ii aa d, t?. be blamed
: tor painting th? ? ?rand ? '? n ?? on pit ? ?
i by piece, and for Failing t" fuse Into
' ?beautiful artli: le i hi mea Iba blinding
in.i - m of color it re? aal : Th? ; . i
| la that it la ham i., ?.,,. i,,,,v ;illV ,,.,,
j ? ould r< ?iu. c ib,,! overwh? Imln
, i agee.n1 t" terms ?.r paint Mr. Dow's
i efforts leave us cold, bul perhaps th?
j at-?- aa ?ui ceasl ul as i ould be expected.
Early Woodcuts at the Grolier
Club.
Th" very form and movement ??f .?
byg ?n?- eoclal i??-i lod may be obi ei ??? d
in tbe exhibition of ??id \- oodcut? s im i,
is nun- opon al il??- <Iroll r i ?uii. i\ \
.-m exhibition nominally appealing more
t?> the coil?. tor ?'ini tbe student of
prints than t?i anybody else, but ai ?
matter of fact it has a broadly human
algntfii~m.ee and should interest the
las man quite as linuli as the trained
connolaaeur. ?Vmatoun of prints ar?.
wont to ??insider their treaaurea from
n highly gp*?i'iuli/.cd point ol m? ...
The) are more parti? ulai ly roneerned
with the brillance of an Imprest Ion, Its
rarit) or its relation i" the a? quence
,,i ,.,,, ;,,-i || t'a prod let...us Well, ...m
of the fin? it thlnga In the I
prints are quite legitimately to be dealt
44 ?ih in thla more or less technical
way, but there are reasons why euch
mplea as those now at the Groller
Club are t-? be looked ai irlUi a aim
pier - Ion. The] a ere nol mad?
11 mai ll? for the - oll? i tor. They w? re
ma.:- just for men and women, j'
i !.. diss?mina ; ion of Id
To gr sp this f.ot is to expel a' '
- tioke a i iba' a men ? oterie and
,ii4- in a collection ..? early wo-sd en?
The ape* t .'"r who groeg to
th.? - ?,,!.??. ould go, any,
to the ? 'ii of Mr Morgan's plct
? 11, imp,ditan Museum a 111
i ? happ). in tact, he
? ? ? prlni
? '.<? part ??!
the picture m the ordli ? a, to
? beauty in and for
Ihemselvei Fair more, even, than an
Raphael, th? y wer?
?dt ' motion, to stiii.
' ?
th?. prevailing moth ?? The ?
nuiiib? '? and th- 4- re pi d
the field of t"'i trail
popular?
? ?
? ?s thougl ?
?
II ......
trait t
i
from
fifteen! ? h Bot
-
, : ? ' ? ?
?
il
a and
? pr.,
?
ntact
Ihem
?
*
? h Tin* garlands abose
? point i ertaln d
tlncl In Ho- d?
point is pial
pill ;
; ? ? he would ei
randeui i ? . i i.
m r'i upon the gr.u..i style, inn
ig h th? and most
his temperament. Cranach had a a?ood
deal of pros- in hla rompctsitlon. In his
i/artous ?'Mir.,4 idnriis.'' for example, he
? ' closea a falrl) Spanish grlmness
w hi? ii might, p-i'iiap.-. be said to |
Into s heavy hande?*) brutality. Pasa
from him t" an engraver like I!
in their --??neralion. Whether they il
Itistrated the Scriptures or dipped, g
tiny wen? often l.nipt. d to dip, into th.
pagan in) tholog) , the vividness of thei
dream as (hey realized the latter w :i:
conditioned upon their fidelity to th<
fa.ls of the actual visible world. The)
BOW nature not as :i soin?-,- of forma
backgroilipl, btlt as a place, as a famil?
iar region ' f tangible traea and atenea
Th.se trutha they agpreaaad with a
kind "f srtlosa simplicity and ihe re?
sun \4.is a delightful qualntn? ml Hui
th?* quolntneaa never deprlvea them oi
one whit of their force. Ttooe tower
in?? roofs with which lli-v l"v,.| in
break- the "Hey line may seem t(, ma,
ri)iis-i.i"i ? ii by themaelvea, a siuni- too
piCen?C, a shade tOO Sllggesti\e of theat?
rical artifice, bul the print that con*
tains them is. after all, aa a rule, a
pretty well-balanced affair; and in Us
wliol.? spirit it breathes not of the
the.iti?- but of the living old ?'.trtnan
world, in which mci followed day by
day a simple religious faith.
Mow far .'?.i brauty, the purely ?t*s
tliel i. i...| rise, , nter int.. th.* ll.ilis
actlons >i th.. wood engravers? Bensu*
oua i.e.nit?, ss it 44a- linderst.1 by
the 1,iasi, is nf classical antiquity and
by thoae of the Italian Renaissance,
tl.'v "..ill.I appear to hgVg knOWD
nothing aii'.ut ai ail, though Durar.
Altdorfer and Baldung Grttn hid
gllmpsea of the sheer loveliness that
ah.,un is ?u Southern art. In the main
theirs was the beauty thai resid?
truth and ih- beauty of a more Int? I?
lectual nature that belonga to de Ign.
Then- ?s much effective composition t<> j
1 noted in these old prints, though j
i again we have to note the presence of
-i JOHN IN PATMOS.
.'rom it I Knoblouch ?
Wt I "AIcon Killing th.*
rmlng
!l
ted In the pi
I i : .ui'.
nli? quallly. In th?- i
tbe dramatic point as largely deter?
mining the artist'? ?cherae. Bui wben
i ?.., .,i the one element a bleb, more
thon any other, give? the s, ?mol its
"esthetic warrant is tbe element of
an.I | "U. ii.I draMsmanstiip.
lili: VILLAGE iah:.
(From tin- w.hm b) Ham Beheld Beham i
..r pro cernea, n?- aeeba t.? humanise hla
? i. i.aha it ?ivi.i i" th" ni"-i
? ...? |,. , mi. ami ? Intimate, so
M n. la lus ton? h that i' oven ?jive
the foreground a ? ouple ??i "togs
righting as though in the ****X everj -
, ut ,,i ? lerman life, II 's well
t., I..-. ,, th,- aril? M ton ? "I l'iann I.
in mind throughout the : bow.
I Style and Emotion in the Ger?
man School.
'ri,,. ? trange < tothlc Imagination ??f
the Qorman ?School, fruitful of off? i la
of tie- most luxuriant Imagery, mya
ticai. and, Indeed, ooraetlmea n little
mora than obocure, nevortholom almost
inv.-ii labiv i?ii ?serve wh il we cat.Ij
deactibe a*, praettoxbla link? with Qer
H.a.'i lile Th?' ?ill 1st might l't III,
fancy sin, l'ut in- nddregaed blmaelf
t.. hi:: public in terms that remained
? uiioii-lv nalisli?. The iiiiliviilunl c.l
' ? I Ills styl", tu be .sut?'. ?I't'oiiliiig t?>
lellliece. ,,f |?|||*i-|- otlC ?S coll I (111) 14?<1
by nobler rorma and a aplril altogether
finer and more grandly auatere than
thai .1 . 'rana. h. in Altdorfer ara bava
one <*? the rare poeta of wo??d engrav
ln a man w ith a genius for land? apo,
who got Botnethlng of the subtle beauty
of nature Into everything thai he did. ;
Hans Baldung ??run shows u^ atlll an-1
other face I of the art. He la a pesason
ality, will, a metaphysical streik ill
him, and he i i, bealdea. a connoisseur
"I form and a portentous draftsuian
<n Hutu s'. i.abi ii-haiii one la mov? d
I" ? i" simply thai (M had ?ii.'irtii. Bo
t., m ba-ginnlng to and one Bavsora the
distinguishing quality "t thla or thai
m ister. But what binds Ihem all tO
gpther Is that ..ineeie poignant elll.dbui
at Wlil-M \4e have ?lire,id) glanced, illl.l
the realistic tendency whi? h kept th-ni j
all speaking Ih.? hum?? vigor""-*? Ian-I
gtlaage, cuHily umkratandcd ?of a*JJ m*-'u
When you have gppreheod'tjd what the
masters bava to say and pans., upon
their way of saying it, it is in their
linear atrength that you reeognlae tiu-ir
genius. There ?were minor as wall aa
niHj?ir men in the school, "huhu.
?ay that there arc quantitie? ,,-w
??uts In tli?' exhibition i?< ?.*-?*'>?*<,,;?,
transcendent technical incritg, -'m..0
leaden worked linear inirarW
even the leaner ?gurcH, working ujttk
?scarce a tithe of their magic, pun
caught aomething of th? lr di?-tuaa|
simplicity .The wholesome, Htimulatins
lesson of this whole collection k a ?as.
son of bold, honest workman-:
voted, as we cannot too fi^quoatlf
JACOB MEDITATING ON JOSEPH"!
DRBAaf.
(From th?- woodcut by ?\ldegrever.l
reiterate, ?to the fundamental interest?
of ordinary human beings.
Tli?- point comes <?ut n<?t only in the
Independent prints which have
provoked the foregoing ?remarks, bgj
in the i?"?k Illustration? w\ Ich ? t aim
pul i afore ua at the i Iroll r ? !lub BotH
in their i? ?-traits and in their ? ?
for historical, topographical and more
Inventive episod? - the Illustrai '.
?i markedly realistic way with I
arc! used tll.'.t sam?' ?trsightfoi
technique win? h we ha ? aeon ii their
other work*. Then ara many volume?
??I" all kinds ::t tli?- Qrolter, many ni>?r?
than xxo ..ui traverse In detail in
ida. ? tend the lut
nd 1 ? I ?
\ lea i .1 woodcut
invite ,,i r ;itt? Dtlon to 1 and
?kill as it h which nrti*-t and prlntei rol
The harmony d?
?
d Italy tl
ent exhl
civ? n to ! he Xorth,
I
from
Moulton&Rickeits
Sucref-sors to Arthur Tooth & S?in.?i
Modern Paintings
Exhibition o. Etchings
FrartK Brangwyn
A Complete Collection of
Mezzotints
IN ??<?!."['.. BY
Sidney E. Wilson
537 Fifth Avenue. New York
P. W. FRENCH & CO.
Rare Antique Tapes?
tries, Embroideries,
Furniture and Other
Objects of Art
6 EAST 56th STREET
D. B. BUTLER & CO.
. \nnour.cc thel their slock of fine
Pictures and Frames u ill be sold
al Greatly Reduced Prices, prior
Charniers, bocal to the Mcdison
their ojrcmOl Madison Aiemic.
on May 1. 1913.
398FoirthAve..N.Y. ?:. hS JI*A
NOANK STUDIO GALLERY
\iiii?.?in?<- M I MUX I ??'*> "f
PORTRAIT DRAWINGS
and PAINTINGS
By ALON BEMEM?
Openin , i .i. Ir?
is I;?-.? ."?'??I? *-' . BMI M.iili?"?? V??*
Exhibition of Sketches of
Versailles. Southern
Prance ond Italy H J.
Carroll Beckwith at the
Powell Gallery. 983
Sixth Ave (55th-56th
St s opening April 16
t:*tabli*hsd 1871
CHARLES R. YANDELL & CO.
Decorative Leather Work
IncIudin-vT Wall Hangings, Screens o? Original Spanish and
Italian Type, and Other lurnishings in Artistic Leather.
2 West 45th Street Avenue
Mlchsel J. KUmartln, Mgr lei. Bryant 1905