Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1885-01-25
QUAKER
Describes TIE Vanderbilt Collection
Of Pictures.
An Entertaining Criticism on the Works OF
World Renowned Painters as Rep
resented in the Finest Col
lection ia America.
$50 - q be Regiae.


America. There are larger collections but
they contain many pictures of no special
merit or imPO<tAnee, while in this one, every
picture is an important work Of an import
ant man. Any one interested in art and
artists, would find an interest if not an adj
miration for almost every picture in the
lot.
The pictures are in two large rooms, sky
lighted, and arranged as well and more
beautifully than any gallery | was ever in.
Even the skylight has been made an Orns-
meut to the room BY running through it a
fine design of jeweled glass, the colors OF
which counleract each other sufficiently not
10 tint the white light.
The first picture in the catalogue is a
portrait of Vanderbilt, By MeissOnier. The
figure is seated in an arm chair, aud shows
a little below the knees. As the canvass is
is only l2xl6 inches, the figure is very
small. The work is honest in the sense that
it seems to represent the sitter as he was.
Ii is exquisitely finished, for MISSIONER
IS one of the most skillful painters, If not
great in other respects. This portrait was
told, cost forty thousand dollars
There are six other pictures here BY the
sane painter, all Ofthem Wouldrank among
his best works. aud one, The Ordinance"
is considered BY the artist to be his most
successful picture. 1t vas owned By par
ties who were not inclined to part With it,
aud it must have cost Mr.. Vanderbilt
heavily.
The people who admire Watts, Alma
Tadema, Millet, Ary Schefer and other
painters who aim at something higher than
merely skillful painting, would, very likely,
say that the above mentioned portrait and
Meissonier's pictures in general were lack
ing in soul And there may be some truth
in the criticism. But so much bad work is
put on the public, oil the ground Of soulful
ness, as to bring soulful work into bad re
pute with practical people. The talk about
soul in picture making is not entirely gusb
though mostly so. But after one has strain
ed his intellect sdmiring pictures, fine only
in theory, it is 8 relief to see one hne IN
practice.
No. 3, by Boldini, two ladies in the Eight
ennth century costume, in a room OF the
same period. This is q trivial subject, but
is one Of those happy hits where everything
seems appropriate. This period of the
French revolution is rich in picture subjects
not only on account of the important events
which were happening, but also on account,
Of the picturesque dress Of the time. Mems
dress was rather too grotesque, but the wO
men affected simplicity By a revival Of the
Greek dress, which is very graceful. The
Greek dress was altered into what we know
as the short WASTED dress. The two women
in the picture from their costume, name
and surroundings are of the fashionable
class and Boldini has hit on q subject which
suits him and which he suits
All of this mans work | have ever seen,
is Of the hit or miss kind. Probably, only
his hits go on exhibition, but they show that
kind of an impulsiye grab at an effect,
which, though it may never miss, is not Of
that deliberate, methodical skill OF Nelson
Ter or Gerome, who would work so far on a
picture to-day and be able to take it NJ
where they left off and carry It a certain
distance tomorrow. The only attempt BY
BOldini, 10 carry a picture 10 a definite
finish, that | ever saw, was a most labored
failure. But this sketchy, free manner be
man neharC ofaof ~
No. Is is the 'Sculptor's Studio Oy
Alma Tadema. His admirers claim for
him that his work is true to life Of whatever
people or period he paints. 1t has the ap
pearance Of being so, and, in addition, has
ayery pleasing m~ellowneSs of color; pleas
ing without necessarily being true. | do not
know that Tadema has reputation as q
%colOriSt, but many men do have such repu-
tation who in no way deserve the name, be-
yond a certain decorative or harmonious
richness Of color. Such men would paint a
whitewsshed room in a cold grey light
with about the same mellow richness they
would give to an old oak paneled ROOM,
Ii hted By the setting sun. Tadema is this
kind of a %colorist His figures are N
times well drawn but more often not, but
they have an impressive dignity about them.
His pictures have a tendency to fiat
ness due to weakness in drawing. There
are four Of them in the collection.
By the side Of this hangs one Of GerOme's
largest and latest pictures. 1t is one of his
most important pictures in point of subject
and number Of figures. The subject is
Louis NV. receivingone ofhis high officers.
The king stands in the centre of the picture
on the first landing Of a broad flight OF
stairs, which branch and run up to his right
and left. The stairs are lined with courtiers
and soldiers. The dignitsry at the foot Of
The stairs is making his salutation to the
king. / DO not know the historical point
illustrated, but part Of the great value Of
Gerome's work is due to its historical truth
in all respects. This picture has Gerome's
care and accuracy, but is very cold aud
disagreeable in Its color and is fat. Flat
ness comes from not having a strong hold
on the whole scope Of q picture. Parts
may be quite accurate in themselves with
out being true to each other. Gerome is
getting old and may De losing his power,
which was always greater in care than in
intelligence, in respect to the quality men
toned. Fortunately he is represented here
by three other pictures, all Of them painted
in his best manner.
Thee are three pictures by Fortuuy, one
is q mere sketch, another is an unimportaut
water color and the~third, called the Fan
tasia,' does not represent him well. 1t is a
group of Arabs in some sort of religious
frenzy, likely. The principal figures are
whirling around in the air firing of guns.
They are in such violent action as to give
the painter but little chance Of careful study,
and would be a poor test of his skill in rep
resenting texture and form, while it is a
good test Of his ability as a draughtsman.
! an sorry Fortuny is not more fully rep.
resented in such a fine gallery. Fortuny
has MANY ~imitators, who have mostly sue
ceeded in initiating his in6rmities only.
Yet they have made sufficiently good coun-
terfeits to make an unskilled critic shy
Of the original. Fortuny often treats a pict.