The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-04-23


all true artists will give such works hearty
recognition; but can anything be more pre-
posterously absurd than to see men, OF a certain
class OF would be diLettdnti, gravely looking
for the artists name in the corner Of the picture
before they pronounce their feeble opinions
thereon, but who, when well assured that the
picture is of foreign origin, form themselves
around 1t. and, fguratvely speaking, swing
clouds of incense and chant peans in its honor.
This Cretin-like popularity received, through
certain circumstances, an astonishing impetus
the past winter Would thatwe could record the
decline of such feeling; 1t would Indeed Do
welcome intelligence to American artists
AS far as our own sympathies are concerned,
we frankly confess that they are cordially ex-
tended TO the painters and sculptors of our own
land, and particularly those who reside in our
own fair city; for although the position OF many
ofthem is most prosperous, yet the greater num-
ber of them have many and great difficulties TO
surmount before they find favor in the eyes of a
public afraid to trust It's own judgment in art,
but who prefers to follow the beaten track OF
popular prejudice.
At the beginning of the present article we
alluded to the appropriateness OF the exhibit
ton opening in the spring time, our idea being
that the pictures there exhibited may be con-
sidered in a certain sense the flowers of many
studios and tha there is q sort of poetic ft-
ness in displaying them at q time when nature
is sending forth her violets and primroses;
and yet, on entering the galleries this impress
sion of ours wears quite away, for even If it
were boiserously wintry outside, does not
eternal summer smile at us from many sides2
For instance, could we not turn to that fine
work marked No. 33 in the catalogue, and in
imagination transport ourselves at once to
meadows like those through which the tired
cattle are homeward tramping? How suggestive
of the long summer day is the color of the
tufted grasses in the foreground; how full of
suggestiveness the greyish trees in the back
ground This is indeed picture that will com.
mand merited admiration. Those patient
cows have no doubt just been reused from that
quiet contemplation they seem to indulge in
while resting beneath the shadow of some wide
spreading tree, and now they come one after
another, following the haIf-beaten path. 1t is
work full OF merit, that appeals to the imag-
nation, and at the same time commands praise
for the splendid technical ability of the exc
cution.
No. 30, "Covetousness," by Bouguereau. is a
large and imposing canvas, that is distn-
guished by many fine qualities of painting.
In fact, the great merit of this artist is his
wonderful ability in rendering the modelling
of FORMS That he himself seems conscious of
this, is evidenced by the fact that he intro
Babes. innocent of drapery, abound In his pic
lures, and although there is nothing more
charming than these little creatures in their
simplicity, yet any one familiar with Bou-
guereau's works for the past few years. feels
constrained to exclaim "IOl0ourS baby!" In the
subject under consideration, the head of the
Italian woman is most noble and womanly in
expression. She looks all love with her dark
eyes, and the rest of the painting were medi-
ocre (Which is not the case) this splendid rem
dition of this feature of the work would stamp
it as a masterpiece. The accessories Qand-
scape, etc. are not so well given.
No. SO, "The Villa Morena," by Calame Jr,,
shows great realistic ability in the artist. 1t is
contribution that we specially admire. How
POLITICALLY the weird.like trees fling out their
grey old branches, binding and interlacing
with each other in close EN- brace! What breadth
of shadow in the receding pathway! and how
broad the flood oflght that pourS the tops Of
the tangled foliage! Vigorous In handling, yet
having the effect of careful finish, 1T is much to
be commended as a strong rendering of natu-
raj effect.
very large picture, by Bierstadt, is cata-
logued No. "a, entitled mount Hood" Although
we consider the picture to be a very good one
we cannot reconcile ourselves to call the work
great, simply because much canvas is covered 4
We do not derive in looking upon 1t, any inn
preston of uncommon ability in the treatment
of the subject, such as was evidenced by the
| same artist in his "Storm in the Rocky Noun
| tains." The painting OF the water in the mid
! die distance is positively poor. The right-hand
corner of the foreground gives some indication
| of the real strength of MIR. Berstadt's handling.
No. SO, a large and ambitious subject by Mr..
Joseph Johns, is entitled when the War was
! Over" There can be no doubt that this pictule
will give great pleasure to very many people,
and, indeed, the artist deserves credit for the
progress that he evinces in the treatment OF his
light and color. He has excelIed in 1mparting
q most agreeable tone to many of the figures
and parts of the landscape at the same time
giving a most agreeable variety OF light and
shade. The drawing throughout is somewhat
weak, especially in the figure of the young SOL
dier who is seated in a chair to the right of the
! principal group From an artistic view the
picture is painted with too much desire 20 make
things look extremely respectable. For in
stance, the soldier, with his bride leaning
lovingly upon his arm, looks as il he thought
himself like "Turveydrop," model OF deport.
ment, and seems TO be indulging (mentaly) In
train of selflaudatory remarks similar to
those the well-known John Horner, Jr., gave
expression TO after extracting the plum from
! the pie. Apart from these drawbacks, Mr..
Johns may be sincerely congratulated upon the
successful results of his labors.
Among other Philadelphia artists who have
contributed to this years exhI bition and whose
works shall receive our attention in future
article, may be mentioned Hamilton. LamDdin,
Richards, Galvan, Moran, Bensell, Cresson.
and others,