New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1888-04-09
xlxxxps /. NoyEMB ER.

- ~ HIS FEW LANDSCAPES NOW IN THIS CITY
r.sssS ~Nevcmber,' tho largo landscape whci
- s,hIbited In the Salon OF 1870 the last Salon u
,hch Millet contributed, has been brought TO this
"a. hv the representatives OF Boussod, vaadon &
% OF Paris and we presume may be seen In their
.ooms at FIfth-sve and Thlrtyfrstst, by those whs
,, 10 study an unusual phase of the master OF Bsr
,l,,n This Is called the only Landscape which Mulef
tainted but senser makes mention Of other landscape
rr IN oil There wcre shore views at Cruohy
.tudes OF Normandy landscapes and buildings, and b.
,ha large painting OF shepherdess with d6
,.s the figure Is really incident In the Landscape
The bcst landscape which MIllct painted, Tho Ho1
rrost- IS owned In Brussels. The admiraae
ooIection OF Mr.. Irwin Davis, Of this city.
contains a small landscape by Millet Millors
Landscape work In pastols Is. Of course, res
,onably familiar But It may be said that the presence
~ the November will afford many, perhaps mosd
q, our amateurs ther first opportunity Of studying
MIllet as a painter Of landscape alone.
The simplicity, even ansterty of the design Is en-
t,rely Characteristic OF painter who "went straight
10 his end" abhoing needless details and all manner
Of acoque,erics." Tho subject is nothing more than
a brown hillside turned up by the plow underneath
schlll gray sky. The hill stretches upward and back
ward from the foreground which Is unbroken by any
aatais or staage with the exception OF harrow left
standing in the broken soil At the top OF the hill
nm the right are few slight trees, and among them Is
IN. only figure land that tiny Onel sportsman just
dschargng his gun On the left above the hilltop Is
great flock Of crows relieved against sky overcast
gray and heavy in the nearer reaches but luminous
toward tho high horizon line Tho broken surface OF
the ground Is firmly pantcd and tho distance, upon
which so much depends, is accurately expressed
when this picture first exhibited In Paris 1t was
criticised for want Of texture and naivetc OF COM
position and technique, but few Of US would cars to
substitute the ordinary examples Of sophstication.
The tonalty Is perfect, and the ooorIng suggests
the mellownoss OF o Dutch master. The picture is
simple in composition and broad In design and treat
ment ana II is a picture largo In feeling There IS
the chill Of the late autumn air. and the emptiness
OF the country swept and garnished and made ready
for tho reception OF winter but thore Is promise of
fruttllnesS In the upturned ground, and the scene
was never meant to have tho meaning which the al
ways dismal sensler finds in 1t.
Here Is sensier's melancholy description OF this
beautiful work This great landscape austere as daS
OF Toussant, has all the severity Of the season OF
tempests and inhosptality. There is field, which
the aborer has recently narrowed after the sowing,
rising in regular fluctuations UP 10 the place where
appears struggling trees nearly stripped OF thor
leaves. mis- landscape Is vast ana sOiemn
ana NJ Mlllet has aHOwn how to evolve from this bit
OF earth, common as thing without h1e the
terrible cry OF 1t Is cod II Is on The c'I
DAYS Of November, Ia the days OF the black month
winch engenders the anger and tolrors of winter.
There IS necessary a Brat knowledge OF rustic lie
10 TO this degree In that BIT OF clay and TO
succeed In expressing Uy its conf sIrat.On and Out-
lines the great poetry of tho cOantIy, the majesty
and terror of the heavens the regular mOdualuDs of
the earth, the poverty OF the vegetation and the wan
light Of evil days II Is pleasant to turn from The
forced gloom Of sensicr to The estimate of Reno
Menard, although 1t may he impossible entirely TO
agree with him. NJ NJ nad declared tia the NOvenl-
be- violated every tradition of the classical school and
OF picturesque nature In It's composition The pa nj
ing nc say, IS ptianle that is, the clOds
of cath In the first plano are cOttOny and the harrow
which Ought at least TO present some accents IS
mute the rest. Aud yet what noble air this pct
ure has and how Ierfectly II represents autrmn.'
Over against the cold pCdantciSm of tho claSSciSts
Mcnard sets the work Of Mlct, and no adds that this
IS great ait, the art of the future. which dos not
look tehnd n and will not perish, because II add
itself TO the heart and holds only nature"
Neither SenSer nor Nenard menfiOns curious CT"
cumstance which the close observer of This picture
can discover for himself II We stand near ~" pct
IRE and look across thu canvas from right TO the
left the firm. strong outlines of the Sewer" and
the impasfo Of the frIre are distinctly shown. Tho
figure seems even larger than tho "SOwcr" in tho
Vanderbilt Gallery. with which regards the fee.
splendid action Il lS almost identical. one canvas.
therefore. bars both noble landscape and al least
the strong lines OF OF Nilet's nOhlest peasant
figures. The explanation Is thai Nllet after nearly
finishing his fg-'re. fOnnd his design too large fOr
the canvas and raOted III" Landscape over It. SnnslAr
painted in 1850 II executed with Fury hut
having reached the ond of his work Mnlot found Iilo
Michael Angelo. that tho stun ms fi"iert He
traced tho tines % the figure exactly and rTOdrced
It's twin hrothNr which aprearcd IN the exhibition Mt
the end OF 1850 II Is This twin brother helirve
which Is IN the Vanderbilt Gallery Tho first
bv Nv Quincy A. Shaw. ~ roSton. A thi"d " Sow"r'
has heon also I'm this country. II twenty
years afor thc fret Z" Sower" that ~" November"
was ratrted Strangely enough. SonSior whna e"IO
rl7rg fho Voverhnr" maFeS monitor % IN" fact
thqt n was raintod urnn OH which already
bore the figure OF fourth Sowrr"