The diamond drill. (Crystal Falls, Iron County, Mich.) 1887-1996, 1888-08-01

A strange figure must Narcisse Diaz
have made, the third OF this group OF
painters who worshipped nature and
defied their critics, as he stumped about
the woods OF Fontainebleau on his wooden
leg. A man OF great size and OF martial
appearance, he was far from handsome
His hair was black even in age, he wore a
heavy moustache and imperial, he spoke
brusquely, and was impetuous in manner;
yet this man so formidable In appearance
was gentle as child, an enthusi-
asst by nature, aud an impression
list In his art. Albert Wolf, 10
whom we are indebted for most Of
the substance OF these sketches, says OF
the artist Diaz: Gle had neither the
science OF Rousseau, nor the poetry OF
Corot, still less the severe grandeur OF
Dupre. He was a virtuoso OF
| the palette. He showed you the
enchantment OF the fields glowing with
| light, OF the forest half plunged in shad-
owe, and illuminated by the rays OF the
sun glinting down through the leaves. .
| His wooden leg brought consolation many
a time into the desolate cottage OF Millet,
but poor or rich Diaz was ever the same,
and when riches came he was enabled TO
crafty his artistic instincts and buy rich
rugs and help his friends. That was all.
Jules Dupre, born In 1912, was the first
OF this group Of realists 20 begin his work
| by taking his inspiration from the great
| source Of nature herself. He was at IL
years OF age the artist OF porcelain manu-
featuring establishment operated by his
| father at Parmain on the banks OF the
Disc. He was taught reading, writing and
nothing more, nor was he ever the pupil
OF anyone. This boy was born with the
genius OF artistic truth within him; he with
drew himself from what was artistically
vicious and found out the principles OF
nature as shown In the paintings
Of Claude Lorraine, Hobbema and
Ruysdael without having ever seen
their works or heard their names. Great
as landscape painter and simple by
nature he still lives, and like all his
friends, the men OF this group, he Is loved
OF men. He was the precursor and is the
veteran OF modern art, and has all his
life worked entirely from nature. No
wonder that his work speaks TO the soul
as well az 10 the eye; or that the Duo de
Nemours, Who bought one OF the first Of
Dupro's canvasses, should say when they
were both old men, "Your art, uziikeps
two, never grows old"
A late choice OF vocation, a laborious,
self-searching, incessant energy, an obsti-
nate effort to attain perfection, this IA the
history OF the life Of Eugene Fromcntin.
He was born In 1880, and after an incon-
sequential youth, his father, a physician
OF La Rochelle, sent him up TO Paris 10
study law. He was admitted 20 the bar,
but after dawdling about while worship
ing idly at the shrine OF beii1s-lctire an
hereditary instinct for art awoke aud he
knew that he was TO be 4 painter. Re
monde, Bertin style landscape painter,
was bis first teacher, and after him Cabat,
| TO whom he always said that he was much
indebted. Marilhat, who died too soon,
impressed him greatly, but no was soon
IN position 10 Impress others. lie was a
painter Of the Orient, his trip TO Algicrs
In 1916 decided that; and as a painter OF
Moorish scenes, and particularly OF Afri-
can atmospheric effects, he was a master.
"From 1919 10 1859 undoubtedly an imi-
tator Of Diaz, Delarcoix and others, he
/ finally became one OF the best painters Of
his generation, the best, says Wolf, 'ff
we consider the hneness and brilliAncy OF
his coloring, tho general finish Of his pio-
lures and the manner with which the
tones arc blended 20 as 20 give value 10
each other" LRI0n LIocErT.