Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-10-20

ly be seen during the present month. In re-
spect Of color the work Is very pleasant one.
there being Just sufficient warmth Of color in
the grass and foliage to form an agreeable con-
trast with the portions which still retain the
brightness Of their summer green. The second
picture s entitled Autumn on the Cheas
River" The effect rendered is Of the same
season Of the year as that Of the one mentioned
above. but the subject is of an en-
tlrely different character. Although the
river gives a name 20 this work,
ana. OF course, materially affects the form and
manner OF growth of the trees along its banks
very little OF 1t is seen in the picture, and the
enect Is almost that Of the interior of a woods.
On the right of the picture are some fine old
frees. with gnaried and twisted roots and foIi-
age glowing with the rich colors Of autumn.
Through the open spaces between the trees
glimpse OF the opposite bank Of the
stream may be obtained, with its YER
dure-coyered banks partly veiled and OBJ
work also, the effect of sunlight falling upon
the brilliantly colored foliage has been vsrv
cleverly shown. Both of these paintings NOS.
sess the many pleasing qualities to which is due
much Of the popularity Of Mr.. Poole's work,
and they are pictures in which he has main.
tanned his established standard of excellence
throughout every detail.
IT is strange, but nevertheless true. that
works Of certain class, such as those produced
by Corot, and by other painters who worked in
a somewhat similar style, are hardly ever sold
on their own merits, but almost invariably ON
the reputation Of the authors and in case the
picture should prove to be counterfeit and
not really the work of the man whose name is
bears, the purchase is found to be worth only
very small percentage OF the price paid for it
1t IS true also that it Is works Of this class thae
are most frequently initiated, and. further
more. that there are comparatively few per-
sons, even among those educated In such mat
ters. who can positively pronounce as to the
falsIty or genuineness Of such pictures. Some
OF the most enthusiastic admirers Of Coror,
those who talk most giibly about
his wonderful truth of tone" his
mice relation of valuesn etc.. would
hesitate long while before giving the pr1cs
signed to it This is true Of the great majority
Of the ''Corots" now on the market, but it does
not apply to all his works. for it is unquestion-
ably the case that he has produced some
pictures the value Of which Is well un.s serstoOd.
and of a quality which his imitators cannot ap-
should pay such enormous prices for works
which do not possess this quality, whether they
were or were not painted by Corot? Why must
we enthuse over an inferior work because the
same hand has produced q superior onef
What is the peculiar characteristic OF work by
Corot that gives to his pictures such enormous
values, and yet Is so easily initiated that even
experts are deceived? We do not so often hear
tell of counterfeits of works BY Bougereau,
Alma-Tadema Or Meissonier. Such works as
these men produce would sell without sigma
ture at all. or would make famous any name
attached TO them, because their meris speaks
for ITSELF 1t Is really difficult to understand
the excellence Of which he cannot appreciate;
and which, for all he knows, may not be whas
they are sold for, since not even an experE
could positively pronounce them genuine