The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-12-22
A PICTURE ny j. NJ ". TURNER.

Whlch rms ia't creates is derived from the artis
tic and pccuniary value Of that painters works.
their rarity in America and the somewhat sim
gular circumstances under which this particu-
lar one is brought to public notice. Tho dwell
ngs OF New Jersey farmers. 1t will be remem-
bercd. have not enjoyed any special reputation
for aesthetic wealth and they are not tho places
from which one would commonly expect to I'M
earth great works OF art.
There have been paintings found in America
before; real Raffaees. da Vncs. and Murios
from Mexican cathedras. or OF other origins
equally romantic and suggestive. None OF them.
however. has been able to bear the scrutiny OF
intelligent criticism. and they have all passed
into the possession OF those mysterious people
who buy old masters" in second hand auction
shops hang them on their walls. and ever after
gravcly lie about them. This latest discovery
is happily Of another sort 1t is coupled with
the name Of gentleman OF reputation, and it
is, besides. sufficiently obvious in the matter Of
reality to disarm suspicion.
II is large canvas nearly five feet in length
by four feet in height and the subject is Con-
way-North Wales The late ownor says that
1t was painted between 1910 and 1915, and ii
affords evidence itself that such is the case. Ii
is properly fortified with u1fldavits. and its hist
tory is sufficiently clear and distinct to give it a
sound commercial standing. while its other
credentials are strong and conspicuous enough
to make it an object Of tho greatest interest to all
persons who care about art
To majority Of those conversant with such
subjects the name of NJ. w. Turner is init
mately associated with that Of Mr.. John Ruskin
because 1t was mainly through tho efforts Of the
latter that the painter obtained ms soon as he
did the widespread recognition that was Justly
duo him. He had already grown rich from the
sale OF his pictures before Mr.. Ruskin wrote OF
him so forcibly and enthusiastically. but he was
known only to his fellow countrymen and TO
comparatively few OF them.
1t is not easy to overestimate the influence
that Mr.. Ruskin's writings have eXerted on the
art feeling and knowledge OF tho English peo-
pie and. so far "a his relation to Turner is con-
cerned. he may be said to have followed him us
an interpreter Of his work at period when q
dangerous popular tendency made such an
office necessary However much any one
may dissent from this great writer's more
radical or extreme views in this re-
gard. one must remember that very fcw
people can agree where. In what he has
said about Turner. the limo should be drawn
There are. however. those who cannot under
stand MIR. Ruskins own fear Of being consid-
cred rhapsodist. and who themselves worship
Turner with all tho enthusiasm and fcrvor that
have made some Of Shakespearc's admirers
insane; but OF such there are few to be
found here. The opportunity in America
to acquire q knowledge Of Turner's work
has been extremely limited. and while many
cultivated people had read great deal OF
what was written about II. his Slave Ship" was
somewhat Of IA shock and came upon them
when they were not prepared for it. To have
any appreciation Of that work or any under
standing Of its motive. or sympathy with it, need.
cd familiarity with Turner's work that we could
not possibly possess. II has Il value that will be
understood better by and by. whom in conunc-
ton with what Mr.. Ruskln has said about IT, II
will not be so severely resented rs il has been
heretofore. Moro particularly will this be the
case If Mr. Thomas Moran finds any more
Turner's like this one Of Conway
North Wales" or Of the period that inter-
vcnel between it, production and that Of the
Slave ship" For this reason. therefore per-
sons who havo had violence done to their feel
ngs boy that picture may assuaar them by the
aid Of this new one which has been undergo
ing denlcmcnt and obscurity for years in a
smoky farmhouse. and is at lust brought forth
10 tardy cleanliness and justice.
Comparatively few Of Turner'S pictures have
survived In all the beauty Of their primitive
color some have iarod much better ,han oth-
eis. Tor soma not only very clearly explained
rcuson but many actually cracked aud dulled
whilo on the walls OF the Academy and suhsc-
queutly sank in and lost all freshness and
purity OF tone. He WIS exceptionally careless.
and treated his last productions with incredible
contempt once they had i,f his easel. This
picture. by dint Of much careful washing aud
scrapiug. has been made 70 emerge from be-
meath a LAYER Of dirt and deromposed yarnish.
under which 1t was almost invisible. in COM
/ diton OF very fur preservation. Through the in
| nucnce of wholesome sunlight and air. il is
] Frightening ana improving every day after Its
| long Imprisonment II has lost in color and 1t
/ is in places badly cracked; but il stands out
with the imprint of the great master conspicu-
ously and Enthusiastically apparent in every part
/ of it,
1t belongs TO that period Of Turner's career
when he had not vet developed into the colorist
that he subsequently became Mr. Ruskin
places the full frution Of Turner's genius at
| about twenty five years later. or in 1910 when
| II cnmo " SO suddenly and with aVigor and con-
centration which rendered his pictures at
that time almost incompatible with those
which had preceded thcm.D 1t is dis
tinctly of that class Of his works which has
become known rs tho Yorkshire series" and
of which the distinguishing characteristics are
| described rs D." finish and quantity OF form
| united with expression Of atmosphere, and
light without color, ms well US great solemnity
and simplicity Of subject. prevalent gloom in
light and shade. and brown ia the hue.
| the drawing manly hat careful the
| minutiW sometimes cXquisitely delicate Mot
@W Idnta'S' Part II. Sc. l.. ch. ~ In these
English pictures WAS his noblost work of thlt
time, because they represented scenes that no
had scen and felt in his early childhood. ami
for that ronson had the most heart" I'm them
and the most afoctionate, simple. unwtar.cL.
serious finishing truth
It is a broad and comprehensive landscape.
wonderfully graccfulnudeNc,,'>ei la rs ,omp9-
s'tion AMI Units drawing strongly character.
i7iir. The foreground is awoolol hisi le with
figures; below and beyond are the riycrunI tio
miuemrnts and fortified wallis of Conway.
which nrstlos undrr tho shelter Of noun
tain, Above, the sky is SOFT rray and
luminous, bur climbing NJ il is grand mass ~
cloud forms, stratincd, divers fled. and har-
monious in every line. and relieved. sottenel.
and subduri by tho delicate irdcsccnce of the
fragment of rainbow that hangs across
and con'cals like n curtain the dark
rain columns beneath. But even more