The Dallas daily herald. [volume] (Dallas, Tex.) 1873-1887, 1883-09-30

last remnant of it was the coloIiur of tE'
eyes, or making them OF enamel and sin.,.
lines; 80 va ~
shining eyes like antique Jewels
SET IN pafian stHJue-st nts"
a long interval elapsed before palntip,
asserted itself in an independent form. an,
me process was very gradual.
flrst ailer drawings came monotones. III,
oontoms in one color, the gradations of col
or representing the rOuudness Of the body
then the poy chrome, the drawing with dif
lerent colors, IN which the brush was frs
used.
Polygno'us irst made painting an indie
pendent art. About 420 b. c. il was All
Yanced by AppolOdorus Of Athens. Zeuxi,
elevated it TO beauty, his Helen" being In,
famous work Pdrhasins, hero OF soph,
omoric defamation, was his rival, and in,
cllned even more to grace and female ex
pressions Of beauty.
soon alter This time painting sunk into
lns'gnlllcance, and nothing worthy of con.
slderation can be said Of IL until after the
introduction OF Christianity. In the thir
teehth century began new period IN the
existence art. In Italy and the Neither
lands arose painters Of genius and renown
In these two countries llourishing schools
were soon established. These two schools
the Italian and Netherlaudsh, according Ia
some, are the only two which are essen
TALLY different - Engnsh and French
artists belonging either to one or the other
according to the character OF their works.
THE ITALIAN SCHOOL.
u IS only natural that in the rich soil OI
Italian Imagination the art OF painting
should unfold with magnificent luXurianCe.
Ihe mind OF the Italian race had been
Graded IN the most beautiful pagauism OF
the world. The easy lite, an innate sense
oil the beautiful, enthusiastic piety aud the
constant sight OF nature In her iaiIest forms
together with the association with the mls.
lerpieces OF ancient art In stHtlary and 20.
etry, occassioned painting in Italy TO attain
n higher degree OF spleudor than has ever
been Tcscled in other countries, and IN the
ideal Of this art, the ltahaus aTe so far Gu
perpr 10 other nations Hs the Greeks are In
sialuary. The characteristics Of the Italian
school Olart are exalted ideal, grandeur oI
beauty OF conception, harmony of Culors
expression Tepleie with feeling OF genuine
grace, Leonardo dl Nirci ranks first among
me lhlim masters. lie was born IN 1874
and died 1919; NAs master boz an ihe arts
A'''a fNA'AANi" hNA w 1900. 100 On NhNNAN
much PIN Osophy and feeling were infused
into the art Of painting that II quickly
reached maturity llalt was who settled
the proportion of figures and The rules OF
perspective and Oi ltcht and shade, aud Iis
scholars were distinguished Tor elevated
cor Cepuou, warmth ui devotion aud GLOW.
ing Colors
After him are Michael Angelo, the most
extraordinary of all masters, whose g.gnu-
tic mind grasped alike staluary, architect
urr aud painting His fire OF composition 10.
knowledge ard anatomy, b1lduess Ot a,ii'
tudos and iureshorionug leave him without
a rival. In power and sublimity he stood
alone, butt beauty Rlphae, was his supe'
riof.
We must give but briel notice TO the gay
aud happy lillian, friend OF AriostO, 50 a.
imitablt in the disposition of his caruatims
excellent as a historical and portrait pain
ter and the first great landscape painter.
the charming CorreEgis, whose works are
full OF feeling, and turn our attention 10
the last gre at painter I'm this school OF art,
the gentle Raphael, holiness, dignity ard
tublimily combined with weakness, grace
aud beauy under his pictures inimiAh.e
His genius. striking even I'm childhood,
ripeued steadily 10 the end and eliminated
ia his last lihe uutiuisned) picture. The
tmuNlguratiOu OF Chr o. which Is the
most perfect masterpiece Nrt has ever pro-
ducod. This great artist died az the age
OF 81. equally be oyet and respected by
high and low, His paintings are far too
20 admit % respective comment
They prove the wonderful iecundily Ot his
genius and the facility with which he oN'
eCuied.
II seems hardly creditahlc that the entire
compass OF q human life could be sufficient
for their execution.
THE NETuEELANnlsu SCHOOL.
This Is divided into the Dutch Flemish
schools. The latter was founded by John
Van Eyk,, the former 10y Luke OF Leyden.
They are both distinguished by q brilliant
cOlofing. magic effect OF chiaro, oscnro,
lablred though often msieless
a strong, yet natural, and ID Id
ness In composition.
The reproach OF an almost exclusive adj
hererce TO common reality has been often
made TO the whole school OF the Neither
lands.
Undoubtedly theirchoice Of subjects isig'
noble. their conception low, their drawing
often incorrect Even lofty subjects In Their
hands are ignobly treated, caricttured Al
m ~ hy coarse handling, Yet m the faith
fol study OF home life their attainments
cannot be too highly commended. Their
fidelity to nature IN landscape painting
skilliuI disposition OF colors aud delicate
are unsurpassed Tue most
noted of the artists Of this Flemish school
was Peter PAU Rruhens, the boldest paint
or of modern timet-a man OF tnexhaustihlt
industry o. gigantic imagination and power
of reptesentatinn, 20 whom 600 painting.
ar, ascrib,d With him the Flemish school
reached It's acme In the Dutch school the
highest place belongs TO Rembrandt, whose
coloring atoDes Tor all his gross de-
itols, -..
Among French painters We have only
space to mention Claude Lorraine aud f0us
sin. who nnk highest among landscape
painters, The latter excelled IN painting
land storms, and 80 perfectly did he succeed
In this that n has been said HE could
paint the Wind Turner, perhaps, stands
alone among English painters as worthy o
after the old masters whe have
him. Ills pictures are disun
ruished by golden yell0wness OF tone
btuhance vi colorng and the perfection o
perspective. IN representing
the glare OF sunlight Turner surpasseu ever
Claude. Cnyp hardly attempted this ieal
hi, suns generally cleaning through mist
though Turner once exclaimed rs he wa
standing before an example VI Cup, ~
would rive = thousand pounds 90 havi
n,inted that Mr. RusEin writes "Othe
nainters had rendered the golden tones an'
and blue tones OF the sky, Titan especially
the latter In perfection. But none ha'
dared TO ualnt-none seemed 10 have seen
thr scarlet aud the purple "
Critics have dealt severely with TURNER
aud no doubt Justly. lie ofen sacrifice
ruth TO ell, ct, and his latter pictures wrr
handy more thtn lurid blaze OF color
lie was coarse. avsriciou', uuiriendl.
man, yet his admuer ana ohsmp'on y
and heart do not know, perhaps neve
shall knov: but this mucn do,sud Il therr
a ANYTHING 40 the previous course OF TN
work 10 warrant trust In the, let me b