Wheeling Sunday register. [volume] (Wheeling, W. Va.) 1882-1934, 1885-01-25

tint where kortnny would make Q form BY
q tint. His brush touch has meaning as
form light and color, and where he has lost
his grip is made the more evident BY the re-
ahty Of the rest Of the picture. while q PIC
ture which is nearly right in all Its parts but
not quite right in any win not offer the eye
any reality from which it can detect the IN
reality Of the rest.
There is a picture in the same gallery, BY
Meyer Won Bremen, which is 9 strong con-
trsst to the Fortuny. il is 9 good example,
BY a popular artist, Of bad technical paint
ing. This picture is careful, labored and
studied; bat is as far. from the truth IS q
man wo uld be who tried to skate by imitat-
ing the attitudes Of skaters and the ar
rangemsnt of their parts, without feeling the
laws of gravitation, velocity etc. The tail
ure would be more evident in the latter case,
however.
Yet not one person in q thousand bat
would pass the Fortuny by with hardly a
glance aDdadmire the Meyer Won Bremen
by the hour, which is all natural and right
enough, as the latter's picture tells an In
teresting story which is the chief end OF art
aud almost the only end with the public.
And a painter who does nothing more than
make a good representation Of matter has
no cause TO complain if the public gives
him the goby. -,
V~elaseuez is the only painter would
-rark with Fortuny in ease and simplicity OF
manner and technical skill. By tech
niaue' l do not mean mere p~hysicaLski kill
and knowledge Of paint, manipulation or
method, but the means, mental or otherwise,
BY which an appearance OF reality is pro-
duced.
Vanderbilt has ak pictures by j. T. Mil
let. all of them good. The most important
is the "Sower," an evening scene looking
toward the West. The landscape is a large
rounding hilLfeld; a man with two oxen Is
blowing on the distant edge Of the
bill and the sower scattering his grain in
the foreground. The soWer is simple and
natural in his work End the whole picture
is of that quiet, earnest nature which causes
one 10 think of the things the picture sug'
gests rather than OF the picture itself. In
ali of Millegs work, his effort has been TO
tell some simple story Of humanity and %.
ture, and he makes no effort to catch the
eye with skillfal painting. He is not a
| skillful painter, as that term is generally
used, but takes rather a deeper hold. And
| does il with such earnestness as to give his
pictures a lasting force. Millet was one OF
the soulful order of painters, but he was
genuine.
No. l55 Is BY the great j.. NJ. W. Turner,
and is called the Fountain OF Incidence.
There are clouds, buildings and figures, but
they are like nothing in nature. This can
be said, particularly, of the figures.
Most of us are familiar with Turner
through Ruskin's writings. Rushn is an
aggressive and very positive writer and
may have taken up Turner in opposition to
other art writers and argued so well
in Turner'S cause as to convince himself Of
Turner's greatness. | have heard that
Turner'S earlier work was very true while
his last was merely fantastic. This picture
is either his very last one or else missed
rbe kew to it. But a man is not to be
judged by one picture.
No. l64 is a picture Of a clownish looking
artist who has before him on a table a hogs
head, with the skin of, from which he is
making a drawing. II is very good and
was paid by Couture, who calls it The
REALS" and intends it as a kick at modern
French art. Realism does not mean coarse
ness.
No. 1876 "a Committee on Moral Books"
by Vibert. Two priests examining books,
one of whom has found something interest
ing which makes him smile while the other
is trying to peep over his shoulder. The
story is so well told, BY the natural expires
sions of the two figures and by the whole
picture, as to strike home in the spectator.
Eibert has scarcely an equal in this line of
PAINTING; there is never anything forced in
the strongest of his expressions and no one
attempts to paint stronger expressions than
he.
No. ll9 is a large Munkscsy, the subject
has Lot much in il. And when his pictures
lack the dramatic power, which he feels so
strongly, they have not much left to impress
one.
Resting on the floor against one side Of
tie room is a,picture by Detaiile, o "Skirm-
ishing near Paris, 1870 The canvas is
about four feet high 10y ten or twelve feet
long, and is, for some reason, cut into four
sections by the frame, although the picture
is continuous. This painter and De Neu-
vile have become famous, together, paint
ing military subjects. They both served
in the Franco Prussian war and illustrate
war scenes in a very realistic manner.
There are w. small pictures by Bsrque,
a pupil of Gerome's, which are notable on
account of their exquisite finish. One is
an oriental dancing girl in a most'rich and
picturesque costume. glittering with span
gl"s and so skillfully Gnishedss to bear the
closest scrutiny without seeing brush marks,
to bring up the idea oil paint. 1t is rich in
color, architecture, furniture and arrange
NEST. The other picture is called the
Artist and his model aud isl very dainty
piece Of painting. This man is not skilltul
in the way OF Fortuny, but in the way Of
minutenesS and care.
There are l69 pictures ia the collection,
and it would take a long letter written On
he spot, after many visits, to do Justice to
them. Among the pictures not mentioned.
nut about which much could be said
are two by COrot, one Of which is a very
re- alistic piece Of painting and free from his
usual pale, green, feathery mannersm.
Two landscapes and a figure picture, by
Diaz. His landscapes all look alike in a
sort of harshness Of form and yellowish
greyness of color. One by the great En-
glish painter, Millais, The Bride Of Lam
mermoor.' She and her lover ara coming
through a wood. His face is stern and hers
srietstricken. The picture would have been
good, but bad drawing has caused the ex-
preston on the faces to be labored and
unnatural. One Of Rosa Bonheur's sheep
pictures. She has two brothers who are, at
least, her equal in painting, yet in this
country and England they are scarcely
known. This would argue that part Of her
lame comes from being a woman. But her
work, itself, cannot rank among the great
masters. Three pictures of Medieval times,
by Baron II. Legs. These pictures are pc
culiar, and, without being very well painted,
are yet striking and convey forcibly a feel
ing of life as it was in the middle ages, as
we know it through books. The painter
seems IN have studied his pariod thorouphlv