The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1875-01-03

As to Ksubsch's artistic convictions. It win
Easily Easily DC understood that the new school OF art,
powes anu brLllancy. could not be very sympa-
, .neuc 70 the man VINO may be Justly des-
ana Overlook, and who brought TO the highest
possible perfection that academlcal school or
ana brllllancy OF color to powerful CONCEPTION and
pure fauitleSs design. WOrks'like those o. Hans
Makart, which excite the rapturOus enthusiasm OF
tue PUBIC, were, and are stilL treated with scOrn
and contempt BY the older master; ana Kaulbaoh
himself, 10 former years, old anything but en-
courage the rising generation OF artists which
aVerted ITSELF, desgnedly and often tatIously,
rom the academical tradition. II Is but lair to
state. however, that Ksulbach aiterward ad.
mitted hs error; he acknowledged the one.
sidedness oil the old SCHOOL, and ITS incapacity to
satisy the modern legitimate desire Tor realistic
Inc head and most illustr,ous representa-.
i've OF the academical school even bought
tAe sketch OF Makarts first painting and had 1t
hung up IN his own studio to enjoy its marvellous
colorlstlc beauty On the other napd, the pecu-
having personal and beneficial influence upon
tue academy and the hundreds OF young artists who
than liked rising young artists and they seldom or
never received from nlm that kindly support and
benevoient appreciation winch are so necessary to
youth. Tne poverty and misery Of his younger
years. the privatlons and humilations he had
himself to endure before he reached the summit OF
fortune and lame. lett indelDle traces upon his
character. Egotism, bitter scorn and a de-
cldedly pessimistic view OF the world and OF the
human mind estranged MN rom his companions,
more especially rom the young hopeful, warm
hearted, artistic world
KAULBACH's ARTISTIC REMAINS
Speaking here ia her OF the living than the dead
OF the rising generation and the future oil German
art rather tuan OF It's past and OF that school
which Is gradually gong out OF date, we cannot
resist say ing lew words about kaulbach's artiS-
tic remains, which have been reproduced In pno
Biography by Messrs. Bruckmann. We see from
these publications That the artist had not given
up ms peculiar method OF composition wnlc1 In
asm, WHINE modern critics and modern pubic
opinion IN general having been strongly, although
nave more ana more Te began 70 naa FAULT with It.
Such fluctuations OF artistic taste are
by no means difficult to account Tor; we see them
constantly In other departments, In music as well
as IN painting. Kauibdcn's unfinished works
show the Ia luence OF realistic progress to some
degree; tney must be considered rather as ''pend-
ants' to than limitations OF his i0imer compost
tions. me designs Tor his "Deluge" show con-
vulsvely agltated groups OF men and women,
ing themselves 10 reckless Gebauchery in the face
OF death; kings scrap.ng together tnelr treasures
toric monsters, and in the playground tue ark,
by two gigantlc angels, whose wings
were unioded to do tine WORK OF sails, wulle above
the perisning world Jehovah averts his lace, The
sketches ior TINS work bear the masters distlnc-
tive signs, even to smallest details.
= Inc nunoer oil drawings and sketches left by
kauloach amounts to nearly 200, and their photo
graphic production cannot but confirm and sane
tion IN wider circles the Judgment which public
OPINION, as well as competent ana unbiased
critics, have already passed upon that extraor-
binary genus, and which acknowledges him To be
not the greatest, out the highest aud most COM
prehenslye OF contemporaneous artists.
KAULBACH AND HIS PUPILS.
IL Is strange that TINS great master left pupils
40 school OF young men inspired by his example
mourn his loss. In fact, SO far as the prosperity
and development OF the Munich Academy are con-
cerned the change which mas taken place IN the
dh ectorship Will no doubt prove to be beneficial
The soul and lie OF the institution Tor many years
He Is an artist OF the greatest merit, scarcely in
yond the latter he possesses unparalleled capacity
Tor mparung his method and knowledge to otners
and that interchangeable benevoience and sympathy
Tor his pupils which must be considered as the
most precious qualities OF any teacher, professor
or director of important educational establish
ments. so constant has been his care Tor the
young men once admitted to his school and
great has been the success OF most OF his scnoars
that young artists consider themselves. with JUS
tlce, very fortunate II they succeed In getting un
der P1lOty's tutorsnip.
Pilotv'S WORKS are known to almost every
amateur oil art, especially his Triumph OF
Germanieu.," which created such attraction
ton, and small copy OF which has just
been ordered by tbs King OF Bavaria This beauti-
had to send 1t to Vienna; besides, 1t had been
spoiled IN certain parts by the carelessness OF the
photographers, who exposed 1t to the lul sun Tor
nve or six DAYS. and, moreover. took the strange
liberty oil covering 1t twice with giycerlne or
der to facilitate heir work. When called upon
Herr Won PlIoty found him busy IN removing
rom thlE masterpiece tne last traces OF this mis-
management aud sacrliege.
at ~ e os as aSsr
Ferdinand Pioty, was an eminent photographic
artist; His most importan. pictures are .::rne
'rne Battle of the White Mountain" ..wa-
enstern's DEATH" Nero Among the Ruins
sassination OF Cesar" We nave already spoken
OF ms "Germanicus,n or "rhusnelda" when Is IN
now engaged upon two new large pictures, the
sketches ana drawings oil which are already pre-
pared In the course OF my visit Inc great artist
was KIND enough TO explain to me the plan OF these
highly interesting works.
PIL0TY's NEW PICTURES.
The first OF Ploty's new works Will be double
the size OF his .lhusnelda," and will be one OF
the largest paintings existing. 1t is ordered by
the Glty Council OF Munich and IS destined 10
palace recently erected ON the Marien-Platz IL
excites the greatest interest IN artistic circles,
OF the cooristc and realistic school, an opportu-
n1ty OF trying his genlus In style wlicn is
AND aIegorcSl style " Of which, a' KauiDaen
Is universally acknowledged TO De the unrivalied
INTERPRETER and the SIX large paintings IN the
Germany out In the whole OF Europe. The COM
position Will be symDolical, but tue execution Will
be done in PiOty's master style: that Is to say, it
will be adorned With the rarest colorlstic effects
and that astounding mastery OF the smallest de-
tails which Piloty possesses IN such an eminent
he would with his WONDERFUL power OF color, far
SUI pass MS predecessor.
PICTURE OF THE LITTLE MONK.o
j shall endeavOr to describe TINS picture after
the artists own explanation To me. la the GEN.
from z THO nall, meets q large assembly, COM
posed OF all great and illustriOus men, VINO, in
the couise OF seven centuries, have been con-
nected with the deye .opment OF the city, and have
contributed III some way or other TO It's lame and
renOwn. IL Is perhaps to De regretted that
the long file OF iliustrlous personages Will
not be led further than to the end
OF the eighteenth century, and will contain
none OF tie modern lllustrious men OF Munich.
THIS restriction Will remove, OF course, number
OF embarrassing and painiul difficulties and ques-
tlOns OF etiquette which otherwise would
fhn lITll NJ ItQ tnra md rF
the picture Will contain two alegOrlCal groups in
when the rare abilities of the artist will md most
room Tor display. To the right will be the nympn
OF the lsar, that impetuous Alpine torrent whose
foaming waters sweep so swiftly past the city.
the goddess Is represented as a dark, gloomy wo-
man, pouring water from an urn single meagre
vein OF pure gold Is ming ed with the waters-a
playful alluslon to the aurlierOus quality OF the
sanos OF the river, which In former times yielded
small quantity Of that precious metal but
which did not pay for the search. The flowing
waters bear upon their surface a raft steered Dy
ROBUST mountalneers IN Alpine attire, just as they
are seen at the present day darling under
with loud halooing, the lofty arches OF
the Macmillan bridge. 10 the lett we see
= no mi ara foo