Brooklyn Museum Quarterly . l ever be seen again, inthis country, is improbable and appears to be other Zuloaga may be known to us again. Some in-dividually greater pictures even than the best of these mightconceivably be produced by the artist, or may conceivablyeven now exist. But it is whollj^ improbable that the re-markable scope and curiously varied comprehensiveness ofthe present exhibition will ever be matched again in Zuloagascase. Presuming for a moment that the greatest living painteris in question without just yet asserting it, this fleeting char-acter of the exhibit
Brooklyn Museum Quarterly . l ever be seen again, inthis country, is improbable and appears to be other Zuloaga may be known to us again. Some in-dividually greater pictures even than the best of these mightconceivably be produced by the artist, or may conceivablyeven now exist. But it is whollj^ improbable that the re-markable scope and curiously varied comprehensiveness ofthe present exhibition will ever be matched again in Zuloagascase. Presuming for a moment that the greatest living painteris in question without just yet asserting it, this fleeting char-acter of the exhibition gives us something to think have had three weeks of it in Brooklyn and three weeksof it in New York, and shall never see its like is the plain probability or certainty. What we havehere is the output of a number of years, from the primeof the artists life and vigor. When another period of equallength has elapsed who can tell what other enterprises in theway of exhibitions may be absorbing the THE CARDINALFrom the painting by IGNACIO ZULOAGA in the exhibition at the Brooklyn Museum. In spite of the wholly unique totality of Zuloagas re-sult, it may safely be said that at least thirty paintings ofthis series are not individually better or more remarkablethan similar pictures or portraits, of which a very consider-able number of living artists are capable. As regards the re-maining pictures, and as far as the mere art of painting isconcerned, if we look aside from the subject matter, the di-mension, the composition, the spiritual essence, and the chro-matic harmony, there is not a picture in the exhibition whichcould not be matched in technique by various living paintersand many contemporaries of recent years. But dimension,composition, spiritual outlook, chromatic harmony, and sub-ject matter happen to be momentous things, and if any onedoubts that Zuloaga stands first and alone among living andalso among contemporary painters, it only devolves on
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