New-York tribune., 1884-03-03
THE WALTERS COLLECTION.
THE PAINTINGS.

writes Alfred Sensicr in order TO distract his mnd
from a disturbing promise made to Jules Dupre'
Rousseau set himself to paint upon white unprepared
canvas the hills OF valmondois seen mile away
across the Ose along the Des Forgets road The com
position could not he more simple. Little hlpcKs
heaped in the foreground covered with halt eeu
snow, and the sum- red in the midst OF leaden sky Is
seen dying and threatening through the clouds
dreary overwhelming spectacle in which Rousseau
himself great depth OF expression. LEhet de IlVle
is work modern in its spirit and in it's poetry Rousseau
executed this remarkable picture under great
3, o;oht dovs No one desired this pathetic
drama Bought simply to make IL sell ny ~ iou,
Perier an enthusiastic admircr OF Rousseau IL plssou
into the hands dealer who traded Win lIoyo Ior
study of sheep AT Troyons sale for the ist tne 1t was
seen in its true light having required twenty years TO
make il understood"
Then Mr. Walters became the owner Of the picture,
which now forms of group of four great land-
scapes in his gallery II is unlike the ROusseaus usually
seen in composition. 1t unlike them to some extent III
execution. for it cannot be termed finely finished or
precisely painted picture. You looking closely
quite evident in the foreground of the sweep OF
the brush laden with white dark ground ana the
bruhwOr put in evidence in the mist above the river
between dark line OF evergreens set of against the
urfd light OF the At natural distance, however
not only Is trace OF hasty execution but the
sodity and substantial harmony OF the painting are felt
no less than the melancholy spirit of the winter
twilight.
This picture is hanked by two works which bear
striking resemblance One Is vivid forest scene by
Diaz the usual pool gnared beech and little opening
among brilliant foliage the second is similar III com
position save the forest glade more open ana III
coorinc Yet the second is by Dupre, who has here
naned AT Daz while In fourth work DaZ returns the
compliment by painting at DuprG. This is a dark gray
landscape with small, storm-bown figure oVcrhung
by somrc clouds from which, along the hor 2On, burst
sheets OF rain. This Is certainly notable group OF
paintings both rs examples Of power of expression ana
as illustrating the mutual influences exered by these
artists upon each other.
sCHEFFER vERNET AND DELAR0CHE.
Turning backward cironOlogically from this group,
find replica OF AIRY Schefers Christ weeping over
Jerusalem and Horace Vernct's Conflict between
Brisands and Papal Troops" Vernes contemporaries
ercaut and Ingres unrcpreented, although an ex
ample OF Gericaut would he fitting companion loi INC
Delacroix illustrating the work OF the leaders III th
revolt against academic tradition and the conventional
classicism OF the school of David.
Dearoche's well trained hand and highly organized
talent nppear in work the possession of which is a
triunph for any colecor-mOst OF all for an American
This is DearOches finished study for The Hem-cyce
the great painting upon the senicrcular wall ol 'ho
amphitheatre in the EcOe des Beaux Arts IL depics
distribution prizes before gathering OF the greatest
artists from OF PeTcles to that of Louis XIV
While the figures in the original extend over
a space fifty feet long by fifteen hgh therefore demhd-
Ing the assistance Of other artists besides the designer
this study which is probably ten or fifteen feet long ana
two high was painted entirely by DolarOche himself 1t
is orOughy academic work, IN which the sRll IN co
position and painstaking perseyering execution OF the
artist produce the strongest impression In The
Christian Martyr" the body of fair young girl hOatng
down stream with halo above her head, the hands
face and little Of the background were painted by
Delaroche and tue picture finished by Jaaber an artist
little known in this country account of his later
absorption in portrait painting but represented III u'
collection by four excellent works.
II is fortunate that DearOchcs manner Is so happily
illustrated for picture seers ordinarily fail to recognize
the influence which he exerted IN French art IL was
rather technical influence than the impress Of genius
but his pupils much him; none the less That
some have shown stronger natures than his own Ana
what modern master has had more distinguished
schoarsl Miet, Gcromc. Daubgny Jaabcrt, Frere and
Hobcrt-all these are pupils OF Dcaroche and their
pictures embraced III this collection
DELARoCHEs PUPILS.
The three oils by MlIct are The Wbcatdcld" warm
rich stretch OF golden grain and stb e in which the
figures are subordinaed 20 the landscape The Potato
Harvest" simple group OF peasants ing Their sacAs
and a study Of figure earnestly engaged in breaking
fax with all the force and unconscious truth OF action OF
which Mct has proved himself the greatest master OF
the century There no attempt at pictorial effect yet
each one these exquisite little works is true picture
representing genuine phase Of humanity-the actuay
Of peasant lifc A" Twilight" by Daubigny, dated 1866
and purchased from the John Taylor Johnston collection
q Landscape dated 1872 aud Sunset" painted in
1874 one OF his later works characteristic OF the
artists favOrite style Of subject and his power OF delicate
aud poetcal expression. But more stirring appeal IS
made by Sunset the Coast OF France : the geen
irregular foreground forming the setting OF esh-water
pool as lustrous pearl This contrasts with the
deeper color, and pplcd surface OF the endless stretch
of the ocean glistenng beneath the vast airy arch Of
SKY glowing with hidden fires The greatness OF tie
picture brings a wish that marines by Daubgny were
ofte1ler TO be met with. Such view strikes
home and beside il Duprcs marine with its deep green
waves and dark sky seems rather hit Of beautiful
porcelain than animate presentation OF nature.
Frcre's warm-toned and sympathetic studies OF child
ne are cOntrascd with Chapns ncisyc and harder
touch and Knauss pleasant study OF children engaged
upon mud pies. Three paintings Of figures at well by
Hebert one OF tho few modern artists with distinct
vein Of religious mysticism and good fclre work by
Jaabert complete my notice Of the works of Dclaroches
pupils, with the exception Of Gerome.
GEROMH.
IIcre his Diogenes dated 1860 in which the saunt
figure dogs and Oriental accessories are treated in
bIoa Ter sly and with patience OF details lhan
in his later Here is crisp little study Of an
Arab and greyhounds upon the shifting sands OF the
desert and here is replica OF the familiar Duel after
the Masquerade" The latest work here, The Christian
Martyrs was finished only last year. There is shown
the splendid sweep Of the crowded Circus MaXmus, with
band of humble devoted Christians represented as SO
absorbed prayer upon the sand Of the race course that
not one turns glance toward the lion In the foreground
pausing In amazemen he emerges from his den, or
toward the flames and sooty smoke cnveloping their
brethren, daubcd with pitch and ashed to high poles.
CHASTITY subject this you will say, aud II is. There
is nothing in ii give pleasure the technical skill OF
the artist well illustrated in the drawing and realistic
action of the tawny in the foreground Ii Is quite
possible to ind little anachronisms, but 1t hardly
worth while to macerate dry bones Gcrome Is peer
less anatomst; will be accused Of an excess of
true sentiment. Compare DeacroiX's Combat " with
this picture DelacrOiX has painted two Arabs spurng
their maddened stceds together in the fierce shock OF
desperate encounter the horses rearing and ashng out
with blOodshOt eyes and tossing mane and the riders
seeking strike each other down IN very carnival OF
L.. lL.nn NJ .tIG