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.^merixan Portraits of the Allied Leaders
X Permanent Collection To Go to Washington By Royal Cortissoz He salient episode of the week is the appearance of the Jacques Selig B!?nn collection of the works of Degas, ?ha exhibition was opened at the American Art Galleries yesterday and ?he sale, which takes place at the Tlaza, -, se% for next Thu: day evening. There ?re seventy-one paintings, pas? tils and drawings in this collection, all ?nrcbased when the possessions left in the artist's studio were dispersed in 1918. Practically all his phases are illustrated. There are two or three (jrhj works, there are several por? traits, there are studies of the race? course and the ballet and there are certain number of those pictures in which Degas interpreted the mysteries of the toilette. No such comprehensive display of bis genius has ever been nade before in the American auction room. At the same time there are Brought forward at the American Art Galleries the Gothic stained glass, the tapestries and other antiquities col? lected by the late Henry C. Lawrence. These things are to be sold next Thurs? day, Friday and Saturday afternoons. War Portraits The Light They Throw on Our Native School There are two points of view from ] which to regard the large group of por- ! traits recently placed on exhibition at the Metropolitan Museum. One is his? torical, the other is arsthetic. It is per- ! iaps better to approach these canvases ; from the first. Their existence is to be appreciatively attributed to the public spirit of a committee which was formed in order "that the peace conference should not be allowed to pass without some important pictorial record of the personalities that were playing so im? portant a public part in this critical mo- j ment of the world's history." Arrange? ments were made to send certain artists abroad and the art patrons of some of the leading cities of the United States w?e persuaded to subscribe to a fund which would cov.-: ?he cost of the por? traits they painted. Chicago, Cincinnati, Cleveland. New York and San Francisco, with possibly some other cities, thus as? sume responsibility for the collection, which they present to their fellow coun? trymen. All the portraits go to the Na? tional Portrait Gallery, at Washington, an institution founded with this nucleus especially in view. The scheme was essentially one of documentation, and as such it is un I mistakably successful. Thanks both to art and photography, the physiognomies of the Allied leaders have been made well known in this country, and in the matter of likeness nine-tenths of the portraits at the museum carry imme? diate conviction. Oddly, the most strik? ing exception is provided by Mx*. Ed? mund C. Tarbell in his portrait of Pres? ident Wilson. Doubtless it was painted ! before the President's illness, hut even ? so, this presentment of a pink-check? ti : young man is unrecognizable as a sou ? venir of the participant in the delibera? tions at Paris. Mr. John C. Johansc I is equally disappointing in his portrait ! of Marshal Joffre. It is not merely that he seems to have completely rejuvenated the great soldier, but somehow to have left him an absolutely commonplncc type. We wonder, too, if Mr. Dougla:. Volk has not been overemphatic in th< clenched fist and almost scowling ex pression In his full length of King Al? bert. If the revelations of the war sug? gest anything about that valiant figur, it is that he would not like in the least to go down to posterity with any his- I trionic assumptions. With these reser? vations, however, we find this body of portraiture generally faithful wheiie lidelity is all important. We do not doubt that as time goes on and the actors in the great drama have all dis? appeared from the scene people who visit the gallery at Washington will feel that they are in the presence of au? thentic impressions of the men of whom they had read. In some cases we believe that this point of docunientation will be en-1 forced with special vitality. It will be i so in the case of Mr. Tarbell's portrait ! ? of General Leman, the defender of Liege. The simple directness of this study is admirably eloquent. There jare no teasing accessories. There is no I attempt at dramatization. The strong j features are clearly interpreted, that ! is all, and they are well painted into ! the bargain. Kindred in motif are the On View To-morrow, Tuesday & Wednesday From 9 A. M. to 6 P. M. At the Galleries of Clarfee'? 42-44 East 58th St. (Between Madison & Park Aves.) THE COLLECTION OF CHAMBERLIN DODDS INCLUDING A NUMBER OF ORIGINAL PANELED AND PAINTED ROOMS, TOGETHER WITH COMPLETE SUITES OF DIRECTOIRE SOFAS AND CHAIRS; ALSO A UNIQUE COLLECTION OF SPANISH BARGUE?OS AND AN EXCEPTIONAL VA? RIETY OF XVII. AND XVIII. CENTURY PAINTINGS, AS WELL AS A NUMBER OF AMUSING DECORS, OBJETS D'ART AND OBJETS DE VERTU ? BOTH ANCIENT AND MODERN. ON SALE DURING THE AFTERNOONS OF THURSDAY, FRIDAY AND SATURDAY JANUARY 27th, 28th AND 29th AT 2:30 O'CLOCK P. M. EACH DAY MR. AUGUSTUS W. CLARKE WILL CONDUCT THE SALES ofat?y Chinese Antique? 4S Eaat attfe Street New York SCHOOLOF DESIGN AND LIBERAL ARTS t\t VTK8T 5?T? RTKKKT APPLIED DESIGN COSTUME UPE INTERIOR DECORATION SALES ROOM, INC. _ 825 SEVENTH AV* AT 53d St. iiii C. K. BM1TH. Aortlofw^r . ,,A,,'T sJKMXtsmOM Of ?GH CLASS FURNISHINGS El ^re'iStudioi, Inc. 24 EAST 61ST ST. AatiqMt, r?pr?<J*f tioat, l??Ji?B wrragkt i/os, aar fcU, !c*4, ?to??, etc. G?r a?? frrritor?, r??*oruM? pic*?. EttiauttM gfv?*. msWBsmkm?MswmmssW?SB??muatmmBmsvm EXHIBITION Of PORTRAITS | By Boleslaw Jan | CZEDEKOWSKI Distinguished Polish Artist KINGORE ? GALLERIES 668 5th Ave. At 53d St. wswmsWsmsWksm?Wsm?^KMWswm "BPAMIiH ANTIQl IjSfl ARE NOW THE VOGLE" SPANISH ANTIQUE SHOP A.VNOTW0K8 A 20% REDUCTION DURING JANUARY on ?ill It? iiniiMiiii i-oltentlon 768 MADISON AVENUE at 66th St. The School of American Sculpture ?Of/ON H. ROROLUM. Director tinvi open for Ht. m de n ta. J)Hf ?'"1 fil-hf. olanae?. # E-?t ?0th Str???. N. Y. & irtMaw m i-an* portraits of Premier Borden and Gen? eral Currie, painted by Mr. Joseph De Camp. He had peculiarly modern busi? nesslike types to portray and he has brought to his task precisely the quali j ties that were needed?sound con? struction,- good drawing (Sir Robert Borden's hands are beautifully drawn) and a neat, concise mode of brushwork and coloration. These are two of the ?ost workmanlike portraits in the show. "Workmanlike" is the word to APRIL (From the painting by C. W. Hawthorne at the Macbeth Gallery) designate the spirit in which most of the portraits have been produced and i: signifies, upon the whole, a wise choice. The function of these painters was to register facts, and they have tered them. Admiral Sims, in the no '.Tit by Mr. Irving R. Wiles; Her? bert Hoover, in the portrait by Mr, Tarbell; Premier Lloyd George, in the portrait by Mr. Volk; Premier Orlando and General Diaz, in the portraits by Mr. Johansen, have all profited in so far as efficient craftsmanship makes godd portraiture. But in saying this we come to that ?esthetic point of view to which reference has been made, and in examining these particular portraits find ourselves reflecting on the question of American portraiture at large. The process does not land us in unqualified contentment. It is worse than a mistake, it is stupid, to ask of an artist something which he did not set out to do. Not merely wa? it the function of these portrait paint? ers, as we have said, to register fact : it was, in the circumstances, their duty, and we are really glad that they re? frained from building up pretentious de signs which might so easily have bee:; made speciously theatrical. But ther is another resource, one that is of trv very essence of portraiture, which seein< to have failed them. It is that resoun:< which, lying in character, inspires a painter to what we must describe as creative interpretation. He grasps thos< tz*aits of his sitter which do not lie or: the surface and out of those inner ele? ments he fashions a portrait having the freshness and force of an invention There are in this collection one or two instances of the effective exploitation of this resource. Miss Beaux supplies on. of them in her portrait of Premier Ch - menceau. She paints not only a fifrur but an idea, the idea of Clemenceau a. he faces his listeners, many of them his opponents, in the chamber. The char? acter in the head is a living character and so is that of the attitude. This is a portrait painted from within. We have the same feeling before the portraits painted by Mr. Charles Hopkinson of Premier Bratiano of Rumania, Premier Pashich of Serbia and Prince Saionji, of Japan. The inner influences are there. These men seem to have fallen into their respective postures because it was nat? ural for them to do so, and in their faces the're is the same force of individ? uality. Too many of the portraits smack purely of the studio, having char? acteristics which seem to have been determined from the outside and by the volition of the craftsman rather than that of the interpreter. Nor is the craftsmanship always carried beyond a certain point of humdrum adequacy. Efficiency, as we have hinted above is surely not unwelcome, but the lovei of painting craves something more He craves, to put it bluntly, distinc? tion, and this is where we come tc close quarters with the relation of the war portraits to our American school We fire weak in originality and felicity of design; we are weak in style, and frequently that craftsmanship in whicfi we are so facile falls short, we repeat of possessing the personal weighl which alone will take it out of routine Look, for exumplc, at Mr. Johansen'i portraits of Orlando and Diaz. In botfc cases he seeks through poBe and back? ground to achicvo something liko pic torial charm; but there is no charrr. there, for the reason that pose is toe obvious, background remains curiously artificial, and craftsmanship is thin Mr. Johansen'a workmanship is not sc thin in his portrait? as it is in hit big picture of the Signing of the Peace Treaty. That is positively papery. But only in the portrait of Joffro does hi* technique tako on any interest an<i even there the appeal is but superficial Miss Beaux, again, goes deeper. She has made a persuasive composition in her portrait of Cardinal Mercier and to the same merit ?he add? a strong technique in her portrait of Admiral Beatty. Wo return also in a friendly mood to Mr. Hopkinson and to Mr, De Camp, who achieve fine nnlty in their designs, and we must reiterate on the same grounds our appreciation of Mr Wills'* portrait of Admiral films and Mr. TarbelPa portrait of General Le? man. Mr? Tarball'a more ambitloua canvas, his equestrian portrait of Mar? shal Foch, on the other hand, leaves us cold. It is efficient enough, but it is as undistinguished as a photograph. That is the sad conclusion to which the bulk of this work leads us. It is work well done, but done without dis? tinction, without the touch of style, and, most unfortunately of all, without beauty. Is it the fault of the indi? viduals represented? They cannot be acquitted of a certain responsibility, but we are inclined to add that they confess not only their own limitations but the defects of our tradition. Por? traiture is with us too much of a jour? neyman's craft. It produces constantly \ any amount of creditable work. It does | not produce masterpieces. It is easy | enough to say that for those we mu3t await the rise of masters. Rut there is just one accessible virtue which may nevertheless be cited as often leading: through its cultivation to astonishing results. We refer to the art of design and to the art as it is allied iu por? traiture with the searching study of ! character. There are glimpses of it ! here, hut the exhibition as a whole can hardly be regarded as a triumph of the principle. Alphonse Mucha His Historical Paintings of the Slavic Nations Tear? ago, when everybody was col ?3Ctfhg posters and Sagot's shop in the Rue Lafayette was a kind of shrine, the designs of Alphonse Mucha were particularly in demand. Ho made a numbor of posters for Bernhardt, be? ginning with "Gismonda" in 1894, and in a way absolutely his own?for all that it recalled some of the character? istics of stained glass?he became one of the heroes of that decorative move? ment which transformed the hoardings, the peer of men like Steinlen and Cheret. To be decorative seemed to be his destiny. He produced books of drawings which have had a lively in? fluence upon students of decorative art. He had a great vogue as an illus? trator. But it is an unexpected exhibi? tion that ho is now making at the Brooklyn Museum. His posters and drawings are there, handsome, diaboli? cally clever productions, but the sig? nificance qf the show lies particularly in a group of colossal paintings, part of a series of twenty to be presented to the city of Prague by Mr. Charles It. Crane, our Minister to China. We had. lost sight of Mucha's art for a long time and it is n positive sensation to come upon it now in this heroic form. Curiously, however, while it has no savor of his old poster days, it revives in the clearest possible terms a certain element in the earilcr phase of his career. When Mucha was a young painter ha worked ander th? influence of Jean Paul Lanrena. That influence, it is I plain, persists. These gigantic can? vases might be taken as the tribute of < a disciple to his master, not as works \ of crass imitation, but as works based on the same feeling for history, for the handling of costume, and, in short, for the fabrication of those vast "ma? chines" which we asaocaito with the palmy days of the Paris Salon. It is, perhaps, an old-fashioned art, but it has the old-fashioned virtues. The trained Salonnier gains some precious tilings from the discipline to which he subjecta himself. In one respect, it is true, Mucha has not wholly profited by the example of Laurens. The latter knew absolutely how to handle a crowd, for he knew what to leave out. Mucha's crowds are a little disconcerting, for they are, if we may risk the phrase, a little too crowded. This is especially the case in the huge picture of "Jan Hus Preaching in the Chapel of Beth? lehem." For a moment one is puzzled about the scene on account of the fig ires. One has to look again to iden? tify Hus and one has almost to hunt for the Queen, though she is placed in the foreground. ?t the same time this is the only detail in which Mucha deviates from the habit of the masters of the Salon. On the whole, he shares their gift for the telling of a story, stages his big scenes with the right largeness of t'eeling and is strong in matters of costume and the niceties of drawing. In his painting of the subject to which v.-e have just alluded he is fairly im pressive in his realization of the :hapePa lofty vaulted aisles, and, de? bite his appalling scale, he manages 11 suffuse the great spectacle with a certain emotional vitality. This last mentioned factor counts only in epi? sodical fashion in the picture of "The Abolition of Serfdom," but tho scene here is, nevertheless, admirably pre? sented. The cathedral towers rising in the snowy air are truly monumental, where the temptation to seek a purely theatrical effect must have been strong, The best of all these canvases is the tall upright, "The Meeting of Krizky,' in which a monk on a platform below slender trees looks out upon a fantas? tically illuminated plain, over which FRAGMLN'? FROM JAN HUS PREACHING" (From the painting by Alphonse Mucha at the Brooklyn Museum) men and animals are picturesquely dis? tributed. In this instance the compo? sition is perfect, there is no overcrowd? ing, and we forget the salon, finding in the picture, rather, a kind of wild poetry. It is in a measure unfair to judge Mucha's scheme from the present can? vases in their present surroundings. Well displayed as they are at the- mu THE VIOLINIST (From the painting by Degas at the American Art Galleries) seum, they nevertheless require their own architectural surroundings, and tho whole twenty should bo seen In a sequence, under just the right light. But we can see now tho merits of Mucha's workmanship, his ingenuity in filling large spaces, his adroit and pol? ished draftsmanship, his restrained tasto as a colorist and his animation a i an illustrator of historical events, lie is a starling representativo of the ? modern French school of mural paint- j ing?the school of Laurens. The great? est French figures of the period, men like Puvis de Chavannes and Besnard, I belong to another category altogether. : But their superiority does not in*-ali- j date what is good in the hypothesis of j the salon?the good that springs simpiy j from intelligence and training. Antiquities A Large Collection at the An- ; d?rson Galleries A body of more than eight hundred ? antique objects has been placed on view j at the nderson Galleries, where it will" I be dispersed at auction on January 26 and the three following days. It is cata? logued as the property of "a well known ' European connoisseur," and on another ! page there are listed a number of dis- j tinguished collections abroad from which ' some of the things have been secured. I These things are of the most varied ' character. Antique marbles are con- ? spicuous, a few early Chinese paintings are included, there are Gothic sculptures and old Italian paintings, Byzantine i ikons, Oriental pottery, eighteenth cen fcury mirrors, Hungarian peasant jew- ; elry, and so on. Some of the best things are in the de- ! partments of textiles and pottery. The Oriental rugs are good and there are ? some fine Persian brocades. Some beau? tiful old Italian vestments are also to ; be noted. The pottery embraces nu- j merous notable examples. There are ; eighteenth century dishes from the Caucasus, jars of the same period from Persia, and some lovely early Chinese celadons found in Persia. The collec? tion is also strong in Persian lu.ster and j in Italian and Spanish majolica. In this division of the staw there may also be mentioned a number of Greek vases and a quantity of Roman and other antique glass. The Greek and Roman marbles aro of serious interest and will appeal to museums, but disclose nothing of supreme import. There ?3 more that is attractive, to tell the truth, in the sec tion of early European sculpture, Ger- j man, Italian and French. It is not that ; the antiques aie negligible. There is beauty in the "Statue of the Muse" (No. 790i, and in the headless "Statue of a Young Woman" (No. 791). There are I other pieces which equally repay atten- j tion. But there is nothing of outstand? ing majesty, where majestic qualities | are indispensable. The paintings invite much the same leflection. The six? teenth century Italian "Virgin with I Saints" (No. 674) and the gleaming "Virgin and Donors" by Joost Van Cleef have a certain minor charm. They are in no wise exciting and neither are any of their pictorial companions. The little assemblage of Chinese paintings is in? teresting but not impressive, and the Japanese screens, though of merit, aru not remarkable. This is the broad im? pression received from the collection as a whole. Amid its multifarious ob? jects thero aro many to appeal to connoisseurs and there many which are of tlo ordinary average of antiquities. Random Impressions In Current Exhibitions The thirty paintings by thirty artists which hava been gathered together at the Macbeth gallery form the eleventh annual show of the kind, a show given to carefully selected works by Ameri? can painters, livinir ane. dead. It is wise to include always the small post? humous group. This year it brings into the room several notable landscape men, beginning with Wyant and Homer Martin, and going on with Twachtman, Weir and Ranger. The A. P. Ryder is a landscape, too, one of the loveliest of his sensitive transcripts from nature The Homer Martin is a remarkable canvas, painted at Newport. It dates from the period when he was emerging from his first Hudson River phase and i sing the broader method, which is re? membered from his French pictures. It is a massive composition and con? tains some beautiful color. The group of the figure painters of to-day is dominated by Mr. Dewing, who very nearly repeats here his tri : Julius G. Haas The Well-known Art Dealer Who is retiring from business has instructed the PLAZA ART and AUCTION ROOMS IXC. to sell at UNRESTRICTED PUBLIC AUCTION ON HIS PREMISES 24 East 59th Street The entire stock of Oil Paintings. Water Colors, Rare Etchings, Old Prints, Mezzotints, etc., including a Collection of Japanese Prints ; all ihe Art Frames, Fixtures, Cases and Furnishings of the Establishment. SALE DAYS Wed. & Thurs., Jan. 26 & 27 at TWO P. M. each day EXHIBITION MONDAY, JAN. 24 until time of salo. KDWAKD V. O'RXXLLY. Auctioneer LCH Galleries Announce a Noteworthy EXHIBITION OF PAINTINGS I j| George De Forest Brush Bruce Crane Thomas W. Dewing Chi?t?e Hassaro WiHard L. Metcalf J. Francis Murphy January 10 to 29 108 West 57th Street EXHIBITION PAINTINGS BY Edith Blight At the GALLERIES 668 Fifth Ave. At 53d Street PAINTINGS of CHINA by Frederic Clay Bartlett WALL FOUNTAIN in GARDEN SETTING by Janet Scudder Throughout January MONTROSS GALLERY 550 Fifth Avenue rVUDENSINr \J?Qa?leries "'SS"\J FOR FORTY YEARS This House has served a discriminating clientele. MODERN PAINTINGS 45 West 44th St, **???_'_'** and Sixth Ave. Museum of French Art Frenrh Intdltutr In the United Stute* Porcelains of the XVIII Century Jan. 25th to Feb. 6th (SniHliiji? Included) 590 Fifth Ave. (At 48th St.) uiuph at the Milch gallery. This other picture, "Pandora." is not so purely be? witching as "The Old Fashioned Gowu," but it is a line example of the manner in which the imaginative feeling raise? technique to a higher plane. Anotae.i' ? instance of much the same powei;, thougn exercised in a totally different \ way, is provided, by Mr. Charles W. Hawthorne in his "'April." It is the ? study of a woman, really a portrait, ? but its romantic title is well justified. | Mr. Hawthorns has never developed a finer web of tone than in this, and In the interesting face he reaches a pitch of psychological interest unprecedented i in all his individualized analyses/ of character. The rest of the figure work is mostly graceful decorative painting by Hovsep Pushman, F. C. Frieseke and (Continued on next pa|t) The EHRICH GALLERIES Announce an EXHIBITION of Scottish and Newport LANDSCAPES h J. Stewart Barney January 24-29 inclvsivc 707 Fifth Avenue NEW YORK ?" -. ---. i ,1 hy Oliver Dennett Crover January 24th to February Stk GALLERIES 12 East 48th Street The Frank K. M. Rehn Galleries \ Announce the Exhibition vf PAINTINGS Twachtman Rare examples of his later period January 15 to February 5 6 West Fiftieth Street i Exhibition of Pairtings h Robert Fletcher Gi'der Until Jan. 29th inclusive Schultheis Galleries I 1 - 142 Fulton Street i A few do >r? . I of B roj id way. i i KXIIIUITION Or' Recent Paintings ItV J. Mortimer Lschtenauer JAN. 28 TO KI2B. 5 POWELL ART GALLERIES 117 W. r,'1h hT. Exhibition of '1 Landscape Paintings Henry Davenport ,I\M AKV ?;M> to KKB. GTH POWELL ART GALLERIES 117 WEST 57TH ST. Exhibition oc A limited number of PAINTINGS BY Marion Eldridge Powell Art Galleries 117 W. 57th St. Janaars '~ to February ."> iiM-Iuhire Daily S* to ?'.. Sunihtyc. 8 to 6 NAT*!- ASSOCIATION OF WOMW PAINTKKS AM) BCfJMTCNM SKETCH EXHIBITION Small l'Ir?urM ?ml S>>i!j'*?K** Jan. Mtb to Feb. 1st. ta?. Fin. Arts Building 215 H>?t 67th Klrrat Att'btteot .-?1 lx?iuo Room*. . Arimltutlon fj*e?J. D. B. Butler & Co. Decorative Painting? ? Italian, Dutch and French School?. Frame?. - ' 601 Madison Ave.(57St.)'