The New York herald., 1874-11-03

explained. The landscape IL very well rendered. |
figures snS Ss G1 sas pS
eacn ana all carefully studied. Another episode
ne ccWn Prince snd Un an y
overlooking the battle. This. as wen as the
the town, II too well known BY the engravings and
photographs TO need description.
very tonchlna story OF Alpine life is told by the
BIT Of rock Is seen the rigid hand and paiid iea.
details detail Of hts Wounds are hidden nom sight
Crouched against boulder is the figure OF girl,
nes % s Hsr
the body. yet compelled to look at i 6y horrible
the . distance Approach, numse9s a
conventional expression In the ngures. The face
OF the boy Is marvel OF close study Of natural ex-
preston, and the shrinking attitude u capisaiiy
Among the pure genres yet In point OF execution
Jung beusscnianH By oar Rsrte sns Il Dassedor
Il 10 the interior OF . schoolhOuse-a common
Tsa snd S the srs nssss blue 81 ns pager gssos1 % s
s ss as0ss s mnS 20
prisoners within doors, while outside warm sun
Al the lower end Of the room the teacher is busy
OF Paris on the map-a little touch OF national
pride even here. The treatmeDs OF the interior Is
hung from the Ceiling, the maps and papers pinned
to the walls. the Dust Of the Kaiser in the shadow
wn am hana sna
tudicrous study OF nature. In the heads OF the
boys their individuality IS gwen very perfectly,
icle Of one or the customs OF the age, which will
increase In interest with years. TO describe one
to describe the whole. Grutzner. Of Munich, has
three pictures, neither Of them equal to his
year. Gussow, OF Carlsruhe, sends four OF his
peculiarly touched genres, all with . certain
exhibition. scores pictures bear the title
.'Genrebnd' alone, not having subject enough to
Gray,S the everlasting .italian Giri, and dozens
OF little tavern scenes and bits OF domestic LIE.
TO choose between these would be dificult for
| there seems to be regiment OF genre painters
| who paint equally well Munich supports probably
| more than half the number.
| lead IN landscapes. This artist chooses either
autumn or winter scenes, always the dreary side
You ieel the ohil damp OF his snow and can almost
/ hear the mOurnful wind In the dry trees OF the
seng Of nature never ss Il Is only 70 Be re-
! gretted that.wtth the same strong lmpaste and
vigor Of eiiect the artist cannot give Us bit OF
and one calculated to produce good influence on
the German landscape painters. Munthe's winter
| figures and q twilight effect, lowering sky and
narrow strip Of light at horizon. The fan land
scape is wish few variations, as often repeated.
few peasants. KaIlenbsrg Of Dusseldorf paints
and less ne ei IN color perhaps but quite as fun Of
feeling. The same remarks are true OF Oeder OF
the same cisy, out he Is somewhat ireer IN choice
| OF SUBJECTS. Both the AchenbaChs send pictures,
neither likely TO add to their reputation, already
more OF commercial value than real artistic worth.
On the whole the landscapes are marked I'M
provement over the last exposition and the I'm.
preston OF the plcturesin general 10 agreeable ana
| encouraging. Two years more will SHOW whether
the patriotic painters have produced any great
results, and whether Germany Is to find her great
Exhibition very eood ude@en wss sowD ane s
the peasant halls and abundance OF resting places
make II place to come and study and enjoy at
fhe financial success OF these national exnibi-
tionS OF the different countries and the impulse 1t
| gives TO art in Europe might be an announcement
| Tor the establishment OF an annual art exhlpiton
| In America, which should be conducted IN man
ner TO overcome local prejudices and sectionalsm.
The Belgian exhibition is, perhaps, less local than
either the German or the French In the German
biennial display above described there Is an evi-
young works. In Belgium the exposition is es-
pecally favorable 70 young artists, and BY holding
rival art centres, Antwerp, Brussels and Ghent,
all objections arising from local pride and jealousy
though ne as as either the Salon o
Paris or the academies OF London and Berlin, Is,
ica where there are So many local Interests to
cater to and the chques and schools among the
artists are 80 marked and irreconclable.
The Flemish School OF Art-Its Past and
| Present.
| GHENr, Oct !, 1874.
An exhibition Of modern art Is rarely encourag.
ing one Ii to Judge Of the artistic status any
country by the pictures exposed IN the annual ex-
hibition, the most intelieent opinion is likely to
fall far short Of the real truth and very little idea
OF the artistic strength Of the country, with ex
aggerated idea Of the incapacity and feebeness OF
the artists In general, h sure to be gained from q
careful examination OF any one OF the annual ex-
hibitions OF modern art In Europe. For various
reasons-the trying light Of the exhibition halls,
the worse ordeal OF bad place or an ecnpstng
neighDor. the troubles with the commission and
the hanging committee, the refusal 10 exhibit on
the part OF the owner Of the picture and the inde
pendence Of public patronage Of any artist who
has certain reputatton-these and many other
reasons show why 1t is that 80 few of the best
artists send their choice works to the exhibitions.
The annual display OF pictures is little more than
the refuse OF the annual crop OF works Of art IL Is
the chaff and the straw; the ripe grain ts found
elsewhere. Still, straws show which way the
wind blows and II We cannot judge correctly
OF the strength OF the artists We can at
least determine the tendency OF their art
and predict the results from the hints given.
At the close Of the French Salon and the English
Royal Academy there open each year the annual
national exhibitions OF Belgium and Of Holland,
and every year OF an even number the biennial
German exhibition. In q general way It may be
said that the French artists work for form, the
Begians and Dutchmen work for color, and the
Germans, with often marked striving for form
and quite q noticeable lack Of the color sentl-
ment are philosophical moral, rational painter,
turning over heaven and earth for subject and
generally finding one With the English the sub
ject predominates, and Q feeble halting and con-
ventional execution often fails entirely to pro-
duce an impression, even with subject OF vital
interest or charming sentiment. French art is
the most impressive because the most spontaneous
and indicative OF greater capabilities in an artis-
TIC way. The lack Of subject seems to be only
thoughtlessness on the part OF the artist and be-
fore Q souless French picture, exqutsttely exc
cuted, the spectator consoles himself with the
assurance that the talent displayed could be- and
stin may be, turned to some account Look at q