The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-05-13

NOe-mOOn
not the despairing agony Of her look-tne painter
giving the vida gaze above and nd s sssa '' when
seems to take In all the past and future to which
the poem points, Walker would have embodied this
saddest Of all subjects as no other English painter
rendng II must be- Let us pass from II to the shel
ter, with the shepherds, under Mr.. Anthonys
GRAND OLD OAK Q0I),
the finest recent picture OF the artist disappointed
though true genus whose stars have turned OUT adj
versely. till thought he had lost the power which
tins picture, rejoice to see reveals. 1t Is singu
larry fine study and wel-dosigned picture OF one OF
those secular oaks, which stll stand in some OF
preserving the title deeds Of their antiquity In some
Saxon name or addition, as the "Conquer0r's OaK.n
"Harold's oak the Gospel Oak." Of the "Crouch
Oak,u In which cross ha0 been set mp to egiti-
maize by Christian symbol q worship originating
In Druidic faith and rites. All these names nave
reason to think. may have numbered their thou
sand years. Such an oak Mr.. Anthony has here
painted, appropriately set against humorous sky,
with single lurid CLEAN on the horizon 20 relieve
Its gloom. NJ Uaf sss n
GEORGE LEsLrE's FEMININE BEAUTIES.
PLY at least IN picture exhibition. Close to this
shattered giant skeleton Of Mr.. Anth0ny's oak tree.
on the limestone stone lodges OF "a stream brightly
white, only set or by necklace of gold and some
delicate golden embroidery. the lovely Nauslcao,
artless lovely IN fair attire OF classic cut anu orna
mentresting by the rivers side, after dinner, before
washing dry IN the sun. George Leslie, SON OF q
more famous father whom the United States may
be proud to claim as son. has early attained
associateshp OF the Academy and public favor by
his git OF depicting feminine grace aud Deanty-the
surest OF all roads to popularity Ia art. He has
lish beauty, and the costume OF the latter nall Of
last century,
The teacup times hoop and hood.
He has painted Clarissas and Pameias, Polly
Peachums and Olivias and Sophias and the other
herolnes OF gay Richardson Fielding, Goldsmith ana
Smolett and has known how 10 make all their
quaint fashions becoming by virtue OF the hcalthy,
honest grace ana sweetness OF the faces and figures
and he has been as successful with peplum and
chiffon as with bodice and mantua- What matters
II II has Greek girls are just as English, as MS
PnOacian river marge Is studied IRON the wharf at
BoltonS His women are as charming AS the costumes
are graceful and the landscape true TO the nature 1t
represents The key OF color Is tender, with all the
lines approximating TO their neutral keys-blue5
and greens-yel0ws and browns and reds used to
produce delicate rather than brilliant harmonies.
BLUFF KING HAL.
Marcus Stone, the son OF the late Frank Stone,
A. r. A., far more highly cultivated painter tnan
his father, has pa nled Q04 In the royal nursery,
1888, another OF those scenes from Tudor Tunes
and relgns which ne has succeeded In several times
little Prince Edward and bringing him a gaudlly
painted toy model OF the great Harry; while the
little elizabeth In her PLAIN brown irock ungiited
pier half-brother and unoving father. Mr.. Stone IS
0 very thorough, careful and skilful painter. and
neglects no part OF his work. But, as may be In
Ierred from his choice Of SUBJECTS he is not urged
on by the stimulus Of o sharply indvidualized
genius or Irresistible creative faculty, which makes
forms OF It's own as necessarily as it furnishes freely
the life to viviry them.
Notice en- PEASANT this picture 7os by j. G. schetky
OF the rescue OF the crew oil French malof war IN
gale on the spanish coast by Captain Leo Charles
paget In the early morn, during the great war with
Joshua. He is ninety three years OF age, and may
often have seen George the Third and Queen Charlotte
yet lost Its cunning. There Is clever water
color drawing by nim In this exhibition as well as
this meritori0us picture.
THE DEATH OF BUCKINGHAM.
we pause longer before D. W. Wynheld's impress.
sive "Deatn OF buckingham Ql4l, the fit duke,
oil alone, stm and stark on the table on which It
was hastily laid when the inn room was emptled
by The rush into the yard after the assassin. the
chairs upset In the confusion have been left as they
fell. A yellow light fills the corridor. All Is stl
but for woman g shrisks, as the ducnes3, In her
landing at the top OF the short flight or STAIRS fol-
lowed by her sister. The picture has grim impress
as BELTS the subject. It is araver than Mr. stones
work In manner as In subject, but Will not be so
pSpua me former Is more atracmve example
landau effective trait or incident Of history
pointedy told in carefully finished picture or cab.-
net Size Then there Is the fancy picture alike to
this all but that The incident invented and not
historical, as in MIR. Boughtons ian American artist
beLevej clever design, "Colder than the Snow''
t99)-a coquette In brilliant hfteenth century cos
tune, between an old ana young gallant, put wlih
they are making tneir way TO mass or meeting.
Then there Is the ''scehe," illustrating popular
poem or dramatic situation like TINS "DOra,r OF A.
to the hard old farlner-hls face. its workings
shown by the relight, Is the best thing In the pic
in seventeenth century earb. hiding
from his tutor under the wing Of an elder sister or
pretty cousin; or this "Ruin'-a stage tableau of
cleaned out young gambler and his wife ana child
and the bailins. by Green, cevey painted but
true to fact aad nature as stage tableaux usually
tastes, and ali who draw srong distinctions between
goodness and godiness-domestic tableaux, OF the
Gfa auS ns2Ss sna fe a as
is an irritating imbecliv In this kind Of work,
able We have now reached the Great Gallery
no. I'LL In which 1t is the object OF the
each AcademIcean and associate T. Webster's
volunteers at Artillery Practice'-chlldren busy
with the firing OF toy cannon-is an example OF .
veteran who has won great glory In his time as q
painter OF boys, but who Is old now, equity. and.
ia TACT. past his working prime. Besides, he has
Frsre and the other painters Of tue school s Of
EcVuen, who have taught us how much more
ay S rs Ms as Mss %
served from falling into vulgarity by his true
humor; but his manner was always commonplace
AID he never, as long as can remember his work.
showed any sense OF the pictorial or picturesque.
"QUEEN CLEOPATRA"
Here hangs Ger0me's "Ceopatra'-a slave I'M
rolling the carpet which has concealed her--iis-
covers the Serpent OF Old Nile introduced into
We presence OF Cesar III council. The Willy Queen,
conscious wieder Of more potent power than
even Casar's, lets the sideong seduction now from
her yeyetty eyes and ripe iull lips as her rounded
limbs fall into their most graceful poise, as II
shrinking from the gaze they court and rivet. The
picture Is not now exhibited for the the first time
IL Is Q consummate example OF the painters power
OF clear clean, courageous conception ana the
presentation OF his subject however repulsive palm
fu or sensual There Is no shrinking about
Gerome. HIS color Is often disagreeabe, and his
texture and surface OF his works indeed rarely
please painters But his grasp Of his theme Is in
knife he Is one OF the six honorary foreign
Academlceans rank only created some two years
ago.
GER0ME's "A vENDRE.n
His other picture here Il ,I50) IN the lecture room,
"A Vendre,p represents two slave girls, NuDan
and an Arab for sale in the Cairo slave mart. The
NuDlan Is cr0uched on the ground, the dusky sole
OF her dark feet visible, rude necklace Of shells
about her neck and scanty white robe revealing
and enhancing the rounded graces OF her bronze-ke
bosom aud limos. One scarlet poncgranate dover
Rlows among the short, crisp tresses OF her close
CURED hair. by her side the other girl stands
erect, with no garment to cover her ove-brown
body, but the cloud OF her long, dark hair, from
under which she looks up slyly and sadly, with an
frnru t,n otr11a