The Pacific commercial advertiser. [volume] (Honolulu, Hawaiian Islands) 1885-1921, 1885-01-30

ally expected something above the average;
nor were we disappointed. AT private ex-
hibition Of the picture to the press Of this
city, the glowing splendour Of the volcano
created surprise and genuine admiration.
Words cannot describe such a living thrill
ing piece of work. 1t is the Volcano itself.
1t is actually red-hot; it looks as if one
would burn ones fingers by simply touch
ing the canvas. II will undoubtedly create
a sensation this evening, and We congratu-
late Mr., Tavernier in advance for piece of
work which bears the stamp of genius.
The scene which Mr.. Strong mas chosen
for his picture is in striking contrast TO the
weird scenery which Mr.. Tavernier has so
graphically reproduced. 1t is view of the
Great White Mountain -Mauns Kea-taken
on the road to the Volcano, about ten miles
from Hilo. In the foreground is a wide stretch
of slightly rising ground. between which and
the huge purple mass of the mountain belt
Of forest land lies-making a dark border
for each, Mauna Kea is snow-capped, but
the snow does not descend very far Down
the slopes of the moan cain, the winter haV-
ing up to the present time been a compare
lively open one. Mauna Kea has been q
source of genuine inspiration to Mr.. Strong
whose picture is to our minds by far the
best work of his that we have had the
pleasure of inspecting.
Both the pictures are painted in pastels.
and few words Oh this style of work may
not be out of place in this notice of them.
Some time ago there was quite a sensation
| created in the art world of Paris by an ex-
| hibition Of pictures, entirely of pastels, au
| Club des Herlitons. Life size figures by
| Clairin; lovely landscapes by De Vettis, the
Franco-English artist; still life by Vollons
and Mile. Henriette Browne. As seen by
the late article in the Century, pastel paint
ing is now greatly in favor among modern
painters in New York. The idea that pastel
is not durable or lasting is an erroneous
one, for the paintings of La Tour, Prudhon,
Mignard, Vatican and others, in the Louvre
at Paris most of which were painted during
the time of Louis XIV are as fresh and deli
cate to-day as they were when first painted.
They need only a covering of glass, as a pro-
lection from dust, and will keep their color
and tone with the best of oil paintings.
Artists have found certain delicate quality
in pastel which produces effects almost i'm
possible to attain with oils.
Pastel seems to be particularly appro-
pirate medium for the tropical warmth OF
color, sunset glories, and contrasting lights
and shade to be found upon our islands.
| from the grandeur of the Pail, the poetry of
Waikiki to the splendour and desolation of
of the Volcano.
The pictures by Messrs. Tavernier and
| Strong are fine examples of what entirely
opposite effects can be obtained by the same
medium 1t hardly seems possible that the
startling splendor, the almost frigh tening
realism of Mr. TaverniCr's Volcano is
painted with the same material as Mr..
| Strong's poetical, delicate snowcapped
mountain of Mauna Kea.
Mr.. Tavernier, who has French prepa-
ration by which pastel can be produced
upon metal, wood or canvas, has painted
many pas tells in San Francisco, one of which,
| 1.-THE Cremation of Care was bought by
| the Bohemian Club, and an excellent engrav-
| ing of it appeared in Harpe'''s Monthly; and
one of the most beautiful things he ever
painted was pastel of Red Clouds camp,
| where the Sioux chiefs, in full Indian wal
| dress, were grouped about wigwam pre-
pairing to go on the war path, their gay
trappings of robes and blankets, feather
bonnets, and war paint, made bright patch
| of vivid color against wide, snow-coVered
landscape.