The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1870-07-11
RT NOTES S.
New York Academy Of Design.
t4s5.) EVENING IN NORMANDY, FRANCS. j..
HAMMER.

t4s5l EVENING IN NORMANDY, FRANCE. J. J.
HAMMER.
An unpretending little work, with considerable
feeling and not little pahos in it, The general
harmony OF color Is good and well managed. The
early evening light, soft, gray and misty conveys
very truthfuliy anu skilly the idea of cvenial ia
that latitude.
$780, THE WEAVER. w. ". PERRY, n. A.
This, although not new work, aud, II We mistake
not, 1t has already made its debut in the Academy
Is work full OF the artists best characteristics
The represents the attic OF an old New Eng
land farmhouse OF KIND now rapidly passing away
before the inevitable progress OF modern unoya-
tons. AT loom In the middle OF the room is eaied
fresh young girl She Is intent upon ner work.
From window AT the extreme end OF the falls
a patch of sunlight the noor. The detail OF the
apartment Is rendered with care and fidelity which
eyince very careful study and familiarity with Ike
scenes The figure of the young girl is easy natural
ana graceful She is bending over her work with
her face turned downward She Is a fair type-a
trhe perhaps fatered-of New England maiden
hood. The clear pink and white Of her complexion
are not common we imagine among women much
OF whose life Is spent In the open air. The truth and
feeling, however OF the picture, the careful study
and thorough appreciation of local character and
detail cannot be too highly commended.
(499.) TIE APPOINTMENT. WILLIAM MAGEATH.
work. Though The cution In every respect ia not
altogether what might be desired the idea OF the
work, which Is one main point to be regarded is ad.
mirably well carried out Everything on the picture
suggests il The waiting impatient figure, with the
letter In her hand; the quiet, subdued foliage all
contribute TO this keynote OF the work But there Is
much TO which exception may be justly taken. The
figure is somewhat strained; the position is alto
gether easy or graceful, the drapery Is HOMOGENEOUS
and gives no hint OF what the material might be.
More study and would make the artist one Of
the better Of artists In his line of subjects.
1901 GoDEsBER6, ON TUE RHINE. Il. A. RICHARDS,
~. A.
the artist as Ia most Of his works, has very sue
cessfuy grasped the spirit or the scene but the pic
turc detail and especially in the foreground, is far
from satisfactory. The foliage is worked up care
fully, but without breadth, and with considerable
monotony, which Is tedious and somewhat vtiates
the interest OF the work as O whole.
(505-5o7.l INTERIORS OF WESTMINSTER ABBEY AND
OF ST. MARo's, VENICE DAVID NEAL.
In many respects these are two OF the most re-
markable pictures among the additions made for the
summer exhibition. The subjects are not common
ones with our artists, ana possess an interest them
selves which claims and secures attention Tho
works are both sufficiently large TO insure some
accuracy and detail ana are in general harmony
with the dignity or the subject. Mr.. Neal Is an
artist who spent time In that ert-loyiug city,
Munich, aud seems TO have very diligently studied
and taken advantage OF his opportunities. The
general treatment OF both the pictures bears the i'm
press OF foreign study and training The feeling is
that one might imagine Ia one accustomed to and
loving deeply and truly such scenes 1t is not every
one who could so thoroughly feel the influence Of
the place he depicts. Between q casual or super
fetal observer and the humble disciple and fire.
quenter there is difference inevitably percep.
tlble throughout Their work. The scene In "The
Abbey" is In the passage around The choir
and Introduces IN the background the door lead
Ing TO Henry Seventies chapel The light falls on
the moor from stained glass window in the fore
ground, supposed 10 be at one side OF the observer
The Shadows deepening IN the distance, hide be-
meath the gothic arches, half yelling IN softened
oDscnrity The forms and columns Far overhead tn
light, misty win the distance, relieves the dark
SOLD masonry. There Is always feeling OF solemn
awe and majesty IN gothic structures which Il al
hues and the force and Impress OF great size all
here The general balance OF light and shade, both
a. TO amount and quality, are effective ana pleasing.
II Tine Abbey" Is a credliable work, what shall be
said Of the pc. ure OF "St. Mares, Venice.n One
who has once seen that most wonderful and
neWhcnins confusion OF beauty WIN not easily
one VINO has studied IT and ielt Its magic
influences can never forget or help what
might seem an almost childish enthusiasm over
Its very mention IL is not often that representa-.
them. This Is especially true OF buildings. There
are local influences IL Is doutes utterly hopeless
even to attempt TO render. There are Inevitable
misconceptions TO extent and space for which it
would seem hard TO call the artist 10 account. Mr..
Neafs work OF Ihe Abbey excellent is we can
not out consider In this respect at least as inferior
to his "St Mares" The Abbey' is an excellent pic
ture-Tuthiu, feeling aud harmonious, and. as far