The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1873-06-23
ART AT VIE NINA.
The Display Of Fine Arts at the
Exhibition.
Dusseldorf-The Coronation of the
German Emperor
VIENNA, NAV 81. 1879,


The picture Sallery of the Vienna Exhibition con-
sists OF one ee ntre department about seventy feet
square, sixteen rooms lighted from above measur-
ing about sixty ieet by thrty-ssven feet, sixteen
narrow side lighted rooms, each sixty feet by
nineteen, ana four corner ROOMS about thirtyJwO
feet square, top lighted
There two smaller buildings, resembling on
plan the letter T. also devoted to various fine art
purposes, and in one of these the United States
have space allotted for their pictures; at present
only some hail dozen have arrived. but more are
on their way. Considering the great distance and
the risk involved, it will not cause much surprise
II the exhibition should prove only small one.
GENERAL ASPECT.
or the long building described above Austria,
Hungary anu Germany employ one-half, France
takes half the remainder and the other quarter is
almost equally divided between Belgium, Holland
and England.
Like America, Italy. Spain Russia, Norway,
Sweden, Denmark and Greece find space Tor their
works OF fine art proper in the two smaller build
ings. In the centre gallery OF the long edice all
nations are supposed to have space but the large
pictures OF Germany, Belgium and France monop-
olize the greater part of Its walls, the other
countries not being anxious to contribute pictures
to this kind Of competitive gallery to the detrment
of their separate collection.
AUSTRIA.
In the Austrian rooms brightness OF color and
sparkling light constitute the first impression on
entering. more careful survey reveals the fact
that gaudy tints too lavishly employ ed that
the sparkle ls apt TO degenerate into mannerism.
One OF the most remarkable pictures is by Matejko,
an artist OF manifest power. 1t represents the
Russians dong homage to Stephen BarthOny, the
Hungarian, andis full of the most surprising imi-
tations OF precious robes and draperies, charac-
hpaH md yUa cd ondd dol in TOD
action. 1t abounds in thoroughly well painted &C
cess0ries nor is the color deficient. Its principal
defect consists in q want OF repose. The many
figures, which, by the way, are at least the
size OF life, appear equally lighted and
almost equally prominent and the eye is
puzzled whereon to dwell The painters OF other
large pictures err less In this respect, but are
tanner. AS a contrast, the work by l. Lux may be
selected-where the light Is almost over-concen-
trated on the girls head, and would bear an echo
In another part OF the canvas. The fault, how
ever. is good one, for the attention is directed
to the proper quarter, pretty girls face. The
>c0l0ring is agreeable-if somewhat low toned in
the shadows. Angeles portraits are refined in
drawing and harmoniously colored; good exam
pies OF his powers are the full length of lady In
black dress, and the head Of a middle-aged lady
beneath It, Matejkos portraits are extremely in-
dlvldua lie seems TO caricature the hands, both
In action and drawing, and in one portrait OF a
lady where an extremely well painted background
unfortunately kills the flesh the hands are posi-
O. Van Thoren sends capital piece of Bohe.
milan shepherd, prepared to defend his frightened
flock from wolves, probably he scans the distance,
rifle In hand, in the direction pointed out by q
companion, while the dog. ears pricked, rail PEN
Saant forms an advanced guard. The landscape
background is very good, and the whole picture
sober and well balanced. A small picture, a few
to be overlooked 1t is, however, the most COM
pete thing In the Austrian galleries; More mi
truth and wonderful execution, but with a dash
and go rarely, II ever, found in the great French
painter IL shows us II rough country wagon,
filled with soldiers driven lull gaop by
rising in Clouds wheels spinning and in the centre
OF the group drummer sending out stirring roll
from the parchment; the heads Of more horses
and more men just visible amid the dense vol
umes OF dust in equal whirl and hurry. Another
good picture of young runaway couple, overtaken
her servant, is by L. Kurzbauer who, though an
Austrian really belongs to the French school. The
story IS capitaily told and the arrangement and
woman. who Is in reality only an accessory figure.
occupies the most prominent position and
engrOSseS the principal mass OF light. There
are several landscapes of merit, especially
two by +. Lchtenlels and August schaeier.
The large number OF German landscape painters
repeat their favorable effect OF foreground in cool
shadow and the background in warm, rudy light.
1t has become convention with them and has al
most degenerated into trick. The great colorists
OF the Italian and Dutch schools well knew tnat
they therefore rarely attempted vivid lights. The
splendid but subdued glow spread itself over the
entire picture. The Germans, on the contrary: In
their landscapes fill the light only with rich color,
and their shadows are left poor and uninteresting
in consequence.
The battle pieces of Emele and LAlemand are
very good and have the merit OF appearing true,
though the latter is not quite successful in giving
the sense oil the stir and excitement one suppOses
would accompany such scene. Canon is an imi-
tat0r OF the tones OF the old masters but where
they produced richness he is apt to get leathery
MUNICH, BERLIN DUSSELDORF
The Munich, Berlin and Dusseldorf pictures like
the French, are not yet opened to the public,
although the first named are pretty nearly all on
the walls. OF the Munich contributors, Dreyiegger
or Tyr0lese PEASANTS home. where
old man. aspiring to agility in the dance
which no doubt distinguished him in his
youth, leads on a young girl TO the amuse-
ment OF the assembled company The expression
In the various faces and the attitudes Of the figures
are as natural aud appropriate as can be imagined.
The composition IS Ingenious and the management
OF light and shade admirable. The general color
Ing OF the picture Is not remarkable. Indeed,
there Is q tendency to a chocolate hue. Two other
works by the same artist deserve careful attention.
hezart IS extremely nterest rs s the es' DYING
Windows .e sh up rom by
group In the back part OF the room some
friends around harpsichord perform the grand
requiem, the masterpiece OF the expiring man,
whose hand is being bathed in tears by his wife
close by Is the cradle with Ee baby IN charge OF
ahooio. c'.it". ihS s'Viy 10 Wcu lOiu. udbIidS
Schmidt has three pictures. in which the conduct
OF monks and priests towards the ignorant peas
ants Of the Tyr0 Is Illustrated, and their licentous-
ness broadly limited at. The arrangement is good,
yerging on caricature, and sober in color. Paul
Meyerheim is close observer of character, as are
most oil the French school; and also OF Incidents
Of rustic and humble LIE. In the interior
OF travelling menager1e he has found
capital field Tor an unexaggerated humOr, and
in'his out-oidoor peasant seeks opportunities for
grace aud simplicity as well The local color OF an
object appears to predominant in his vision over
the reflections or accidents Of light. Schleich is a
painter with singular ease OF execution, and his
two landscapes, II slightly conventional, are
marked with poetic sense both as to composition
and effect.
Achenbach's landscapes are pretty well known
out OF Germany. His best here is scene on the
roadway outside the villa d'Este, at Tvofi.