The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1869-10-28

VI MIlsts VINO can paint hlrly well simple
domestic incidents has become great yet,
strange to say not even half-a-dozen
OF the number are known in England;
and London picture-dealers cannot venture on
the prices which men like Knaus and Vautier
command, because their customers pay rather
for name than for art. The Americans are If
possible, more ignorant than the patrons of our
manufacturing districts; thus Yankees are known
to enter shops in Munich with unlimited orders
for any number of Meissoniers that can be sup
piled, while they will not venture to touch pic
ture, however prime, by any painter whose
name has not been loudly dinned in their ears
1t is easy to understand how the high art of
Germany has failed to obtain appreciation in
England but that the naturalistic schools, which
have risen in reaction, should suffer from the
same prejudice appears unreasonable.
The strongest school at this moment in Ger
many is that of Professor Piloty; its numeric
force was first attested in the International EX-
hibitton ofPaTis, and now again in Munich we
meet on all sides with signs of its paramount
sway This artist, great not only in the paint
ing of pictures, but also in his power to call
forth talent in others, has dteljers wherein year
by year some twenty painters are trainiug under
his immediate guidance. The system resembles
the Partisan; it recalls, too the times of old,
when in Italy Perugino, Raffaele, and the mas
ters of Venice were surrounded by devoted
scholars 1t is Interesting to learn that the son
OF kaulbach is now painting in the studio of
Piloty. The masters manner is made unmista-
kably manifest in his ''Marie Stuart" work far
more subtle and refined than the contributions of
NJ. Gallail to these galleries, and surprising in
technical qualities of light, shade, color, tex
ture, the compositions of the late AIRY Scheffer
and DelaroChe. The first grand Saal sets forth
the Munich school in force and a fulness not
seen before. Here are found works more or less
characteristic of Max, Wagner, Muller, Makart
all followers of PilOty NJ. Max, already
famous by reason of the "Chrstian Martyr"
again appeals to sympathy and eXcites sensation
by couple OF worls-the melancholy Nun"
and the 'Anatomist'-whichh have won for the
young painter prize. There lies on a stretcher,
covered with white sheet, young girl, Just
budded into womanhood, Of Cenci-like beauty
and moonlight pallor; she is dead, yet breath,
almost speech, fingers about the lips. "The
Anatomist" draws aside the sheet, and prepares
for dissection. The idea is morbid, not to say
revolving, but the spectator is spel-bound by the
consummate art. Herr Mullers "Hamlet" is like
Mr.. Fechters, free, easy snobby; Pro-
fessor Wagner's ''Frauenraub' is dashng
Us Mazeppa at Astley's Herr Makarts
that this school has mastered the conditions of
mural painting Munich is said to contain a
thousand artists, and we marked more than
seventy pictures in the exhibition as worthy of
notice. The artists to whom prizes have been
awarded represent styles widely diversified.
Thus Herr Franz Adam gains premium for an
episode in Solferino not unworthy of Horace
Nernet; Herr Brant, for picturesque treatment
of horses and horsemen; Herr Max, for "The
Melancholy Num-" Herr V. Hagn, for capital
interior with figures, "The Library in the
Jesuits' College, ROme;" Herr Seitz, for genre
not unworthy of the old Dutch; Herren Lenbach
and Fussli, tor portraits which have few equals
! in Europe; Herr Braith for capital cattle; ana
| Herr Lier for landscapes at once literal and
| poetic. Baron Rhomberg exhibits some effective
| designs; Herr Lindcnschmitt some vigorous
| historic works; and Mr.. Folingsby a refined and
poetic composition, "The Song is Over"
The Munich school, rs manifest in the produc-
| tiOns we have named, if varied is pronounced
| The spectator receives the impression that the
| painters know what they are about; they work
| with defined purpose, they are well grounded
| in the grammar of art. TO the ordinary OBJ
server the difference between the two leading
| schools of Germany the Munich and the Dussel-
| dorf is not very apparent, yet the mode OF
! treatment is different. The school of Piloty, in
| particular, is remarkable for its vigor and its
realism, for the focused intensity of its light
| for special quality of grey in half shade from
| concerted and accumulative effect through
| out the picture so that light and shade
| are made to enhance the color, and the
strongest point of contrast directs the eye t
| the situation where the action is forced to
climax. Hence it follows that the pictures are
constructed as n problem, balanced like al
equation, and managed as n drama, in which
each circumstance is made to bear upon the plot
The subjects chosen have dignity, the form
are studious of beauty, and yet realism and in
dividualism are sought through truth in por
traiture, and even to the texture of u stone ant
the tissue of n silk. If it be objected that tn
result is artificial, it may be urged in reply tha
art must be artificial, because it is somethin!
less and yet something more than nature.
|