The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1886-12-25

b st qualities of his style are Gale
forth.
The last-named picture was g commi
. sion from Mr.. ID F. Walker, and II
purely ideal in character. We gave a
extended notice OF its merits a. the tim
{ of production. and also when exhibite
, at the Territorial FAIR. We viii not II
capitulate those comments, but reserv
our space for later Productions. Anon
these the Castle Gate alluded 70 abov
is. We think. one OF Mr.. Tullioge's yer
best. The hazy eSsnlng effect accord
well with the materials of the seen
The last ray Of light touching the fac
% the sphynx like mono,ith- was poeti
thought, sEiiifully realized. In The pain
ing. too, OF TIE great wall OF rock, IN
sub1uei mOnotOnes are equal 10 any
thing he mas done in that line, and witt
him II Is a specially. 1t was sold 10 Mr.
/ Glendenning Immediately after compile
I ton.
MORNING X THE CANYON
L another striking example Of the soft
/ ness Of expression and tones. The pictur,
/ Is a study in warm and cool greys. a
yellow morning light pervades the sky
and distances, and II comes streaming
over a low, dark hill. lighting up the
edges OF broken cliffs. flooding the
middle distance aud touching here and
there among the foreground trees. Fol-
lowing the downward course Of the
stream, We see a biz OF camp life. 4
hunters tent in an open glade, with
the smoke OF their camp fire rising per
psndicularly in the still air.
Lake Mary has not been better painted
by any local artist than il Is in the eI-
ample of the artists wOrk owned by
Mr.. NJ. H. Walker. The view chosen is
that looking towards the high white
cliff above Lake Martha. This picture
has always been a fsvorite OF ours.
Solemn. yet beautiful, II recalls our i'm
preston Of thu scene itself and
the emotions inspired by il. \
View In American Fork Canyon. with
the old mill. nov destroyed BY fire. as
Its central object, is g companion 70 the
above.
MARINE PICTURES.
The Tempest should perhaps be first
mentioned of this class of work. Il is.
as the Germans have it, a work evolved
from the inner conscience. 4 ship off
q lee shore is laboring amid tremenz
dous breakers. Across the bIackness of
the night streams a fare of lightning,
giving momentary glimpse of waves.
the rock-bound shore and the vessel in
is helpless plight. The Art Club
which unhappily died out for want of
encouragement or want of unity among
he artists themselves) was the cause OF
he picture. The subject, Fury, was
given out as one OF the sketchiDg
shGwaac Tho nj .,fT.l
st was Mr.. Tullidge's contribution 10
he list
Sunset on the Coast, in the collection
II J. I. Gilmer, is a glowing sunset.
Ieep cadmium and crimson hues falling
N water and rocky headlands, and IL |
Eliminating the western clouds. 1t is |
ONE time since We have seen this pic |
ure. but ii remains in oar minds as |
EXCEPTIONALLY good.
Various scenes from the shores OF |
ireat Salt Lake must be included in |
his list. One still in his possession /
marks the climax of his work in grew |
axe scenes. y squall is passing across
s surface, treiting il with white caps.
he gulls are in commotion. bat the /
citation viii be of short duration: al
eady the light begins to break through
be clouds.
Sunseta Black Rock has been PAINTED
lany times. All of our artists have
saved TO portray the brilliant tints
he'd By old Sol across our briny sea,
1meumes with success, sometimes
18th failure. One of the most meri-
'rlous was that painted for Mrs. Mon
)e. Its color was rich, harmonious
nd beautiful.
A pair Of portraits, commissioned by
r. ;. :. Walker, we're the result of the
int efforts Of Tullidge and Weggeland.
Spot on Duty and "Douris and Spot"
be landscape portion and the dog
spot, were the parts allotted TO Tul-
ige. Spot was a fayOrite dog, ~ Law
'ack English setter, with q noble, dig
ned face, which was well caught; his ,
oSsy coat, too, was a skIllful piece of
allSm, quite TO be wondered al when |
2 take into consideration how little of
at sort Of work the artist has ever
me.
FREsCoFs. Is
Aside from his lsbors at the easel
T. rs. decorative work calls for spec
commentator. The frescoed cell
g of his studio is a good sample. Not 5
wing time TO revisit it We append the
.tice made at the time of its opening.
The freedom of the design is beauti- .
|. \ happy combination of nature :
ID art. A rustic framework passes !.
ound the edge which serves as a :
sllis for masses Of grapevin, $, long \
ms OF which shoot diagonally across ;,
e ceiling. Clusters of white and pur- !,
z grapes hang in the deep shadows. :,
le rich tones Of the leaves themselves :
ghtly crisped by the early &utumnsl :,
'sts. tell finely against the pale grew =
nes Of the sky shown between their =
adows-" Another fine example OF l.
e same kind of work was done for n