The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1886-05-02

respectable fruit stand or to fill table at
State fair. banana apple Is an enticing
object If is fond of fruit; but its counterfeit
presentment can hardly be said to appeal TO the
highest sense of beauty and poetry which true
art Is said to inspire. From doughnuts how.
ever, to peaches is step; and from peaches to
peonies, thence to COWS, and landscapes. and
even greater heights, is but series of progress
sive movements Culture is not TO be secured
at single leap.
Among the pictures on exhibition are. as ;s In.
evitable in any collection, many which ara
without special merit. The praises which vera
sounded in advance over the present display pog,
sby causes surprise at the number Of com
mon-pllce exhibits which would not otherwise
have been felt There are many paintings ad.
mirable in execution, but lacking in sngges
ton and originality, that they fail TO draw
the eye. There are many others which bear
close study, and which the visitor we're he
buyer renter, instead of a humble seeker for
culture, would gladly hang upon his walls; but
there are. perhaps, not half q dozen among them
all, which. for their strength and character,
will live in the memory or the
latter, Bromleys "Low-tde" is one
1t is picture restfu in its low tones, suggestive
of space and the outer world and yet full of the
local atmosphere and the interests centering
among the rocks. and pools To look at it is ia
breathe the air of the sea. fault is in the lump
mess of the clouds. but this would probably be
spectator greater distance for observation.
Dillenbaugh's 'Encampment at Sea" will be
remembered chiefly for its sheet-iron effect
iron. both of the rusty and polished varieties,
apparently entering largely into its construction.
Nudity for nudity's sake is not attractive in art;
but it is not the nakedness of the figures in Ths
Duelists" which repels the average visitor SO
much as the Zolalike suggestiveness of the
picture. 1t is out of place In collection In
tended only to elevate.
Portraits and genre pictures are few, circum.
stance that occasions disappointment to lovers
of these forms of art. The disputed prisoner ia
a canvas much admired by some, but the IN
cultured observer is naturally moved to wonder
why Crcassian woman blessed with such pow.
erfu pair of legs should not take to the woods
instead of lingering in so dangerous a position,
There are a number of chromo-like works on the
walls, among them the picture of sheep, by Van
Severdouch, and picture of Lake Park, Chicago,
by j. Frank Waldo. which has been given a prom
inent position. The peculiarites Of the lattes
are due more to the nature OF the subject than to
the careessnes Of the artist doubtless; but more
suitable place for this work to hang would be on
the wall of railroad depot
The gem of the collection is undoubtedly the
kiss of the Siren" although the young persons
who have been exclaiming s.How lovely!' and
''How perfectly sweetI' over the flowers and the
pretty little landscapes, and who grow cross
eyed in the endeavor to see the Siren while look
ing in the other direction, will probably not
agree with this verdict
The story of the sailor and the siren bears, IL
is true. a resemblance in many respects to the
familiar of the ''Siren and the Sucker which
appears from day to day, with variations. in the
police reports of morning papers; but all vulgar
realism is absent from the painting and only tho
poetry and romance of the seamen's legends res
MAN. The grace OF the female figure, the sweep
of the water. and the eager recklessness of the
mans attitude are magnificent. Almost can we
hear the song tempting him to 1.-The purple
twilights under the sea-"
I'VE will kiss sweet kisses and speak sweet words;
D listen, listen, your eyes shall gsten
With pleasure and love and jubilee:
0 listen. listen your eyes shall glisten,
When the sharp, clear twang of the golden chords
Runs up the ridged sea.
Who can light happy shore
All the world DER all the world o'erl
Whittier away? listen and stay; mariner,
Mariner, fly no more"
The water colors in the exhibition are few and
are evidently not highly regarded by the man
ayers, which recalls the fact that Mr. Ruskin
holds different opinion concerning this form Of
art. In a recent letter to the London Times he
says: There Is no china painting no glass
painting, tempera. no fresco no oil, wax
varnsh, or twenty chimney power extract OF
everything painting which compare with the
quiet and tender vitue of coorin its proper
use and place. There is nothing that obeys the
artists hand so eousitely; nothing that records
the splendors of the prism and the jewel are vul-
gar and few compared to the subdued blending
of infinite opalescence in finely inlaid water
color; and the repose of light obtainable by Its
transparent tints. and absolutely right forms to
be rendered by practiced use OF it's opaque
ones, are beyond rivalship, even by tho
most skillful methods in other media.
Properly taken care of-as a well-educafed
man takes care of his books and furniture--a
water color drawing is safe for centuries out Of
direct sunlight, it will show no failing on your
room wall till you need it no more; and even
though, in the ordinary sense of property, 1t may
seem less valuable to your heir, Is it for your
heir that You buy your horses or lay out your
garden2 We may wisely spend money for
true pleasures that will last our time, or last
even a very little part of it, and the highest
price of a drawing which contains in it the con.
tinuous delight of years cannot be thought ex-
| travagant as compared to that we are willing to
give for melody that expires in an hour" All
of which is commended to the attention of tho
association which has so kindly undertaken til
show the community what art is and incidental.
~, to sell or rent us a few samples.