Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1889-08-11

zone wear AGO at the exhibition of the
Moran collection in New York the pom
nets were FIVE deep trying to get
glimpse Of half a dozen red prelates VINO
were listening to mlssonary's story. ana
later ON n HIGHLY cultivated and intelligent
American citizen was 50 entraDced that he
bougbt the missionary. story and all, tor
tho price Of a brownstOne and carried nm
away that he might enjoy him IN person.
Many of these devOtees went INTO raptures
over the brass nails in the sofa and were
disappointed when they could not read
the monogram on the Bishops ring,
- A man only rises to his own level. In
art. as in music and literature, he only ex-
presses himself. Each selects his own
method. The school Of MessOnier, If |
NAV so express it, is not content with few
Grand truths simply expressed. They want
multitude of facts; they tell Their story
in their own way. They are the Dickens
and Walter Scott of art. It's lteratlm and
reiteratim.
- Nv Cardinal must not only have red
stockings SAYS Nileert, but they must
also be silk; every detail must be elabo-
rated
- Well. what Of it?' you say. What do
you cIticise, the drawingT'
1.-THE colorl
mo.
"'The compositon?
ono.
"'Docs the painter express himself?
Perfectly.
"'Nhat thenI'
TOO WELL TOLD.
"Just this. He expresses himself too
perfectly. At first | am delighted. The
story Is 700 we'll told. The weli-fed pre-
late. the half sheer, the cynical smile, the
earnest missionary telling his story-but
the next day well, be is still telling 1t.
By the end of the week the enjoyment is
confined to allowing time 10 tell It to q
fresh eye, and that eye anothers, ana
watching his pleasure. At the end OF "A
wear II becomes . part Of the decoration Of
the wall You perhaps feel that the frame
needs retouching. and that Is all the I'M,
preston it makes upon you except as would
an old time-piece with the handspring
gone. The works are exquisite, and the
enamelling charming, but 1t mas been
O'Clock for forty years"
So much for the modern French school
of advanced Impressionlsts. In contrast
to their works MIR. Smith turns TO Mlllets
masterpiece.
THE ANGELCs.
"In the library" he continued, hangs
an etching which you often look Atm
fact, you never pass it without noticing 1t.
Two figures, a wheelbarrOw, q spade, a
sketch of country, q splre pencllled against
a low-tone sky, and yet somehow you hear
the tolling Of q bell and the whispered
prayer. Nillet has taken you into his
confidence.
He saws come and see what | once saw.
Do YOU remember any such old couple
| working out in the 6eld?"
but if he added See, my old man
wears woollen jacket trimmed with
worsted braid your impression immediate
! " fades You might remember the jacket,
but the braid never.
THAT is my opinion of the great paint
! ing that Mr.. Sutton has just bought. Why
didn't Millot receive larger price for 1t
than he did? Ii has taken thirty years to
| educate the art public up 10 Mlllets stand
ard when he painted the Angelus."
snILEr's DEATH AND HIS WORK.
Didn't his death add greatly to the
value of his work."
Inmeasurablv. Millet died and there
ore no more Millet painters. That pre-
vents Implications. An etching is made
! a great etching. One hundred prints are
struck of then the plate is destroyed
Are they not worth more than they
would be if the plates were preserved and
| hundreds of copies produced every year! =
1.-The death Of any artist increases the
value of his work. But the times have
! changed since Millet lived. Tho artist of
! TODAY II becOming "a businessman. lie
protects himself. The needy genius who
| must sell his works TO greedy dealer for
| bread and lodging is going out of date.
| Now he is only known as young man. AS
soon rs he makes his first reputation the
necessity TO sacrifice disappears.
AN ART GUILD.
eve have in this country an Art Guild
! for the protection of American artists. 1t
| costs each member - year. Tins IS the
wny il works: A dealer, or the agent of an
! Art Exposition, say in Milwaukee, or De-
troit, or any other town, comes to me and
wants some Of my paintings TO exhibit ana
! offer for sale ] ask him whether he has
| been to the Guild. He saws No. Then he
goes TO other artists who put the same
! ouestion 10 him. In a short time he finds
| that he cannot get his pictures except
| through the Guild. Then he goes there.
| 80 You can have one, two, three, half
dozen paintings bv our best American
artists saws the Guild, provided You de-
post 81 600 as n guarantee for the safe re-
| turn of the pictures and to pay for what
ever damages occur TO the canvas or
| frames, and provided you pay us small
per cent. commission on your sales OF
! New York paintings to maintain this insti-
| tuition. You can send the money you
| allow for the artists to Us and we Will dis
| tribute it,
GOOD PLAN.
Good plan, IS it not? II brings the art
ist into direct communication with the
buver and insures him his price or the safe
return of his works. Ii makes it possible
for the New York painter to place has wares
! before the whole country without fear OF
| loss. and the result is that we now sell
more pictures out Of New York than in this
city ,u.-
| this cOuntry!"
Not picture-painting surely. No Ameri-
can artist in this country can grow rich
painting pictures. The highest price now
| paid in America for an American water
| color was $4,000. The artist was Abbey
and the picture the Old Song McGrath
/ got -. 500 for his pretty Greek dance, also
"A wateT-color. Not exorbitant pricesl
AMERICANS AND THEIR ARTISTS.
Americans have an instructive distrust
/ Of American art until some European OF
| acknowledged taste sets the seal of APP
proyal on his work. There is William Gid
new Bunce. When he was at Biarritz last
| spring the Queen Of England bought some
Of his water-colors. He was Immediately
inundated by orders, and a golden future
awaited him in London.
will not go TO London he said, and
| he did not go. Because the Queen had
fancied his work did not make it any the
more valuable in his eyes and all the gold
| of England would not have made him
paint what he did not love and where he
did not love to live. Take George Inness
now. The world does not know q better
outdoor painter, yet he is not rich. When
Benjamin Constant, the French painter,
came here year ago he saw some OF In
neSs's pictures.
DISCOVERED ABROAD.
"'Great Heavens - he exclaimed. Where
have you kept that man so longl We have
not in Europe better Landscape painter.
When Inness exhibits his collections in
Paris this fall predict that he will open
the eyes of the art world with wonder.
With this approval high prices are certain
| to follow
3" The best-paying art work In this ccun,
txy Is decorative painting. La Forgs and