New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1873-07-19

AZ his sub,ect even more than 10 his method Of painting
ives due the almost unvsled of works containing
90 much minute truth This picture, while II Is warmer
In tone than most OF his and very fine in general effect
shows throughout that measure Of shortcomng which
might be expected Of one which had not received the
last touches intended by the master. and yet shows
all Of his mastery except the final grace II scene
apparently in the Landes, that sad and dreary
district where nature seems 70 be half-paralysed
between the sands Of the wide stretch OF ieve
land half overlooked spreads out into NEUTRALITY-SUSPICIOUS.
distance and the sinking through the yellow SKY
almost lost, In the vapors before II sets While the vie"
is framed in by sulen dwarsh oaksi heavier than
nature, is the habit Of Rousseaus trees. Another
small landscape has sky which shows the artsps
peculiar DO wers over this element of his subecta gray
abyss In which no cloud yet formed but where the
miss are gathering half shapen, half dissolved again.
vague, uncertain, but most real vapor and space
Carrot Is abundantly represented He is painter OF
the same school Rousseau but with subtle sense OF
Grace in composition like Claude, corrected by nature
gray dreamy, indefinite, perfectly studious OF oil the
unities either OF line tone, dreamer of pictures but
masterly PAINTER of his dreams. There attempt
at realization but complete and poetic suggestion OF
what other painters would realize. There are indcar
tous of detail everywhere; no square inch Is vacant
but not leaf twig rock defined, In the ordinary
sense OF definition, not because the painter nia
not know more, but because he did not choose 70 te
more DETAIL dcnnltl0D strength VI Coioi' eiV MI 0A
feed with unhesitatng sedenia 70 this dreamy ana
rhythmical fantasy OF a picture; nature as she
might appear some Of her happest accidents Is sae
feed to one whose eyes just opening to VISION Inc
perception devoted student Of nature who refuses
you and himself botany, dendrology geology every
thing actual and scientific, 10 devote himself 70 WhAt No
feos to be more real aud purely artistic.
Near these pictures IN singleness OF impression ana
artistic effect should put Bron's Raft ON the Danube
one Of those immense timber RATS, with the population
of village ON board drifting and poled down tho river
In tho gray the morning. The further end Is utterly
lost the mist the distance, the nearer links grad
uay stealing UP into the OF vision somber In the
twilight, the raftsmen setting their shoulders heavily
to the poles and the women broodng, like witches at
their broth, over the pots where breakfast Is pre-
pared. 1t ia q gloomy life and slavish and
the artist has found the light and moment to give
the greatest mpressiyeness and pictorial effect The
drawing and expression Of the figures are ne and the
effect OF the strong coors under the gray light Is adm
raby rendered and the serpenne course OF the huge
structure, curving and swinging with the winding cur
rent aud fading away until is lost in the gray mists
into the distance, utterly disappearing, full OK poeu
cal suggestion.