New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1890-03-02
THE JCENGLTNG EXHIBITION.

Tho nroofs sketches paintings and studio effects
Of the late Frederick Jucnellng exhibited in the
rooms of the >amagundi Club, NO. l21 fiith-ave.'
WHERE, they will be sold at auction Monday evening.
There are fory-seven paintings and sketches, which
show that like some Of his brotherengravers Mr..
Juengling was constantly attracted by the free ana
forcile expression possible with the brush His chief
work in color was the Boys Playing Marbles an
ambitious and by no unsuccessful genre. which
was shown at :" Prize FUND.- exhibition ms Is
ore of the better examples eli the artists method In
oil. which primarily derived from Munich II -
a method which involves heavy impa>to. rather
dry bru,work. and certain lavish and forcblc use Il
the medium. The PAINTINGS and the brutality which
are familiar results Of this method may
bee noted in some II these -tudes but they are less
apparent in this large genre. 1t Will be seen that
II Mr.. Juenglng Influenced by some of the Munc1
teachings. he was also interested in the pein arr
effects familiar in Paris atciers and exhibitions
These paintings are pitched in high key and they
Indicate an effort TO express outdoor lsht. tbs
" Boys Playing Marbles is frank attempt 70 realize
an actual scene. and the figure of the girl ana acuon
Of the nearest boys show no mean degree OF percep
tinn and skill in expression. Another large p'tue
introduces Us TO a German IIau,frau7 and elsewhere
we find a well characterized s;gdy of fisherman
Sc Boy with a Pitcher" Il genre entitled Food ana
Eaimcutr and The study which IN some respects Is
preferable. and variety Of studies OF the inquire "0n
, are accompanied by studies made III Venice anu
Iavara only last summer. There Is also group
of watcrco,or studies. chiefly genres, and single
figures which show the artists interest IN Color anu
ms earnest effort 10 realize his ideals. In addition
IA Mr. Iueugngs worl. there is carly figure study
by Mr. Abbey. which shows an expression oil 'olo'
and even texture by a method fairly naive III It's
SIMPLICITY There other studies by Mc'srS' ihona'
Moran Peter Moran and otto stark.
Mr. Juenglng's best work in ART was done win
.N ,r,vor upon the boNwood block, and this cOllec-
ton contains proofs of his finest ensravlngS Mr..
Jncnrling was an ensraver of great personal force
IA well as Of large technical resources The personal
oualltv of his interpretations was sometimes mora
marked than the painters could desire, and again. tns
,icor Of his style proved hardly i'll adapted 10 such
delicate landscape work as have had, for example,
from Mr. kingsley. The landscapes IN tn, COLLECTION
are well rendered, for Mr. JucngllnS understood MS
art too well to be guilty Of slovcHy work. but III
seem, TO H. that he at his best in henic work.
and We may infer that the technique with Whi'h no
sympathzcd most of all Was the technique OF 'he
Munich school. Ills engraving after Nj.
Chases Head of a Spanish Peasant has been cited
As an example of almost brutal treatment but the
treatment was that indicated by the painters technique
and the cncrayen simply carried Ont the theory OF
initiative engraving The limitations Of that theory
NAV not now be discussed, but there viii always
Inc a oueston a. to the advantage of such direct int
tation Of brushwork As We ind IN the shy of Nj.
Ginord's landscape Nevertheless Mr.. Jucngllng was
alive to the advantages OF iranker method, as we
can see in the USE OF Bewlcks much quoted White
line and the white dot in the engraving after David
veal which is an example of simpler linear work.
Ills Professor after Duveneck. Is an admirably
effective cngavins less subtle and on some accounts
less expressive than Others but undoubtedly truth
ful realization OF the effect Of che original As
roa,,sr NJ course an engrayer OF this school
riasely follows the medium OF his original
and 80 we lind not only the pantness oi certain p.c
lures by Chase and other Munich men, but also The
eNSs effect Of Charcoal drawings which placed
before the cngraver. As compared with Mr.; Cis
scns interpretation OF George Fuller. IL may be felt
that NJ. juengings work lacks dellcacy. but il must
to remembered that Fuller peculiar atmosphere Is
les nuparent in The R,many Girl' than In the
"Nydia." The comparatively free engraving after
IN : law. which preserves the artists manner, and
On the other hand the clever rendering of texture IN
The engraving after the medallion of Bayard Iay lor
show that Mr. Jncngling not artist of "a
range The engraving of Dewings Prelude the
large cngrsW OF uliichs Land Of Promise" signed
bS both painter and engraycr. and the engraving
after Curriers' carpenter may be cited inter
csting examples Of " vigorous art. We mention
only "a few of these proofs but there very few
which will not reward careful study. and We truso
that the merit of Mr.. Jnengng's work may he fully
recognized ut the sale Monday evening. Tho
engravings are accompanied by few ctchngs, ana .
variety NJ studio cUecs&