, 1877-11-11
STUDIO AND EASEL.
A Notable Picture by Charles G.
Dyer, Of This City.
David Neal Quietly Engaged Oh Por-
tralture at Drury's Studio.
Tile Kerpel Collection Of Line Engray-
ings at Jansen, McClurg s Co.'s.

I cclVed by the managers from Munich YER
; notable picture about which few words dc
: | serve to be said. The young artist who la
5 achieved this work is we'll known to many ii
e this city, bis birthplace. His carly devotion II
art, and his fine talents, many people have fo
, some time Known and recognized, but owing tt
Il number OF unfriendly circumstances, prin
clpal among which has been his ill-hea1th, thu
! outcome Of his labnrs heretofore has been nc,
| all that could be desired. It Is OF Mr. Charlie:
q. Dyer that speak; and for tho reason that
he is one OF Chica@o's own candidates for fame.
all our citizens who for art naturally would
take special interest in him; it is much to be re-
grctted that the picture did not arrive in time to
oe exhibited fairly to the throrgs who daily
visited the Exposition. Its great merits could
not but have been at once recognized by the ex-
pertcnced gentlemen who Ind charge OF that en-
tesprse; but owing to the prcoccupation OF the
walls, it was at the last hour given place al
most to kill it, in the small ROOM
above the line, in the most imperfect and
damaging light. Very few people, probably,
ever saw it there at all, and of those who did
see it. probably no one looked SECOND time.
From tho pains and study that we're evident
II expended upon this picture, it must be infer
red that the artist designed it to be his ccrtitl-
cato anil patent OF rank. It is not such a picture
as every artist OF talent has painted, or could
| paint, fresh from his pupl4ce, aud with, per
las, the too~fTiendly aid Of his master 1t is
stlll-iife subject Ills choice Of subject gives
his work tile stamp Of honesty: If be had been
less confident Of his abities,-if he had doubtel
tho accuracy OF his eye or the steadincss Of bis
| hand,-and hal sought to produce an effect
| w tr1ck he would have chosen to paint pretty
lace aud haunting costume, relying on eatlds
ana not on truth: After all, is it not a mistake
to suppose th4t stll.life paintine is less worthy
OF the artist than much Of the iigure-paintine
! now in voslcl To initiate chair, or a brunze
plate, OF piece Of china, is Us difficult. surely
] Us to initiate dmpled check or pair Of whis-
kers. How large part OF most pictures, too,
Whatever else they may contain, is stil1-lile,
aud often the most attractive. though not,
it may be, thai which the instructed
most admire All who have seen the hest
pictures will remember some Dutch cabinet
piece, or some English or American intc-
rior. in which all the articles OF furniture, or
household utensils, aud the shapes and finish Of
the rooms are so accurately rendered as to
stand for something better than crcn historical
or poetic description. Figures there arc none,
But what does it matter? As wrtc nv eve is |
on picture OF this description, and can faury |
that hear the good lady lightly moving about |
in the next room, or the merry yoicesof children
at play. Indeed. ii were to question all artist, |
should expect him to answer that it is easier |
to produce comparatively great work, with |
human figures for 4 subject, than to produce Il |
great work with still-lfe for "A subject. viii
here say Though cannot pretend to be very
Intelligent Judge) that, seen il all the lights any
knowledge and observation may have enable
nc to throw Upon It, the present picture by Mr.. ]
Dyer is exceptionally and emphaticaIiy good, !
Neither do doubt but that any one with knowl-
edge enough to speak positively would give it ]
moro unqualified praise still. This further NAV
be said: II any one looking at this picture docs
not concede its merits because Of its subject
such one is not educated up to the artists
standard. Let no one thus hnderea Aatter /
himself that he has higher idea in his own
mind.
1t will be found much more difficult to ana
I'VE this picture and apportion due praise to |
its several parts than to characterize it Us 4 !
whole. It is perfect picture in its arrange
ncut. The size Of the canvas is large, without
being unwicdy, and every inch oil the space is |
made to contribute its full share to the main
lcsgn. Even here, too,
THE ARTISTS lSFLEx1BLE HONESTY
$ Shown. The objects are selected most nat
listurb their naturaincss. The side walls Of J
rhat is certainly magnificent room are not
represented at ALL and the back wall is in deep
hade,-somc fne pancling is rather to be
imagined than seen, anu some rich old tapes I
~, Near the wall stanus table, With =
turkish cover, which in folds over one =
idc reaches the floor. This is wonderful in l
extnrc and color. Back Of and 4 little above o
re various articles Of tric-a-brac, aud jcwe- y
ase that glittcrs and dazzles in gems aud silver Y
raccry. 4 bronze plate is there which is tic s
1ctaf itself on the table, besides j beautiful
iue atttf white vase, arc fruits, flowers, and "
reat1ncnt Of these objects is SO different from il
hat in most recent foreign pictures is the | II
asc that it must be remarked to the artists cs
rettit- For, since so MANY of even the most ST
istinguishcd artists have taken to paintin. | "
broad,' it is often next to impossible to say IN
ith any degree Of certainty OF what | ii
occcs a particular tree is, its leaves Ii
re so little distinguished from the leaves Of ii
very other kind Of tree. In this pcturc--thougl 81
Ut excessively rcalistic--nothing il sljrltcj n,
othing is in half finished state, each object G,
as its own distinct form. color, and texture ii
rose lea1 is i,crc rose leaf, aud not mullen Al
he leaf OF the grape is here tho leaf Of the j,
ape, and not OF cabbage. The pale pink tr
'ses on the table, and the close moist, yet hi
isp rose buds. arc painted with t1cliracy and il,
nderness US rare As true. 4 buncl, Of grapes, en-
peaGh and 4 pear. lie almost hid utd yct thr r.
lnd!ed. single rose that has dropped on the FL
'or was an accidental bnt happy thought OF yc
9 artist, 1 pass the glass OF wine! m
ne ., a, tue IT. trIest 1 thngs in the picture til
eel .plate aud the printed Dagc. The paper is fc;
,e linen, sure efloush and the covers arc old is
u, that +; nave been used until they shine. In SO
{ E mld1le .e stands stout-but, substantially nit
chair OF q common pattern, which ha
yes soi1dlty to the design. It IS made Of the tl
racst wood, fringe OF rcritab5e leather is VIZ
stencil H1th uHdOubted brass nails, and the f,r
ay plush of the seat and back, though it has OF
en- sat On for years, is cunpactcd, not in dr.
red. and good for other years STILL Over the III
III OF this chair that is farthcst from the eve thj
thrown negligently q velvet CLOAK that vii
ks nothing in the texture or color to
is OF dark purple). and on this | sat
ak Is pair OF leathcrn gauntlcts, drab, | ty
It. aud tempting to the hand. Over the back | glf
the chair is swung hunting-poucE, its ! gil
tiern straps with buckles hanging down the | ua!
c. Ar this is admirable; but perhaps the the
'st remarkable piece Of printing in this inge- ian
'us composition is i sword that rests lis of
int on the floor and its hit against the chair. tirt
Is weapon is OF tho shape that Is usually car III:
d on the stage. but larger. as if intended for he,
ua1 service. uere onc can: i'll very truth, tab
Il on "cod steel" 1t as impossible to mis- w!
4 us qualltg US the weapon ltse1t,--a thing bel
q to match in its way. The elaboration and had
of the swords hiIt had evident nrc
nc a'tlate e!oSest care IN th1s part Ol the con
rk he took delight. The metal was polished Eus
dealened, polished and dealcncd, and again nrr
ishcd, many and many a time, till he wrought | Bro
nto its present satisfactory state. Ali that ane
~" 'ce1 uesc44peu, anu some THINGS that ! and
e been omitted, or perhaps forgotten, have resi-
the foundation floor of hard inlad wood | Ills
one could chop at, but not into, 80 real is yirf
and yet OF an iron hardness. Let it be added caD
|. besides the exquisite gradations OF. color viii
his work, the distribution OF light and shade thr
lanagcu as By who soon will be- If he is farm
already, q mastrr Of bis art, mor
any are inclined to deem the foreuoinp re- air,
ks extrayagant, let them see the uict- | cnrf
I conceive the value of it to | nm
very considerable, and have frankly curn