Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1890-02-12
No. III.
rwRrrrrN roR THE pIsPArcH.i


crowded, 1t is true but all roads seemed to lead
to the superb collection of paintings Once in
the gallery, 1t was with no small degree of in
terest observed closely the character of the
people there assembled, and the intense inter-
est they exhibited in the works upon the walls.
If art ever manifested the truth that it
is at once noble and popular. appeal
ing directly to all people, in the
most excellent language ever used to express
poetry and truth, it did this yesterday. The
feast was for all alike, and no one might claim
an advantage over another except by virtue Of
superior intelligence. Indeed, this is the only
distinction art ever makes. You may have
millions; you may have social distinction: you
may have great power; but, to extract from
the limitless storehouse of art the deliclous and
refining influences contained therein, you
must have intelligence and pure and single
minded love for the beautiful. No other pass
port will admit and this one as often rests
under a rustic coat as beneath velvet gown.
So
REYoND possible question, the people OBJ
served were intensely interested. Friend
passed friend without recognition, so intent
were all in an examination of the paintings.
If there has ever existed in the minds of the
artIoving people of these cities doubt as to
whether or not the people at large are desirous
of understanding and enjoying the creations of
art, that doubt must In the presence of this
exhibition, disappear.
THE fault, If fault there be, does not lie with
the great number of people who cannot, if
they would, create the opportunity to cultivate
a taste for and knowledge of art. Few, indeed,
can make an annual or semi-annual pilgrimage
to New York, where such opportunity exists.
Until we rise to the sublime conception of a
mans duty to his brother. and, in spirit I'M
measurably above that of charity, place in the
midst of our city of wealth permanent col
lection, which shall be fountain of pleasure
to all who desire to come thereto we will not,
think, have measured up to the opportunity
of our day.
IT isnot my purpose to critioise the works
now on exhibition at the Carnegie building
Neither is it my purpose to refer to all the
paintings, but only those which serve definite
purpose. Therefore, it is certain that many of
the finest works will not come under notice.
Criticism is beyond my province in the prepa-
ration of these papers. Nevertheless. in an at
tempt to briefly consider the several schools
there represented, it may be neces-
sary to compare one work with another,
Persons of insufficient thought might at first
glance take it to be out of taste to even make
comparison of works generously contributed
to loan exhibition; but feel assured that the
donors of these pictures understand too well
my admiration of the collection as a whole. and
my purpose in using it to help establish for the
public those standards which should prevail in
the highest art, to misunderstood either my
motive or purpose.
This exhibition, it must be remembered.
TO
many thousands in these cities, for the
first time, an opportunity of seeing really
fine pictures, and any degree in which they can
be helped to form correct judgment as to the
merits or school of painting, would be appre-
clated by none more than the public.spirited
citizens who contributed for this very purpose
to the exhibition. Therefore. there need be no
Of anything which may fairly, in
struct1vely or Worthily be said regarding any of
the pictures on exhibition.
4s=
I F you will 60 with me into the gallery we will
turn to the right. 1 have heretofore
spoken Of a painting by Harmand-"The
Whipper-in." mo. b2). Next to 1t is a small
canvas by Frere. NO 34) IThese are two beau
tiful examples, representing distinct schools of
painting. The one is the perfection of
ietail; the other harmony of color
upon rendering with absolute fidelity,
The most minute part of the whole; the other
upon preserving refined scheme Of color, in
ow tone. It is simply astonishing how well the
painter Of the first mentioned picture carried
'ut his purpose. even to the perfect delienea-
ion of each button on the coat and each fold
n the dress. He painted from nature, every |
part of the picture, and painted we'll He de-
serves the full measure of credit for what he |
has done, The Frere, in its way, is equally |
rood.
Let us look for a moment at forbidden |
Longings" (l04) miscalled in the catalogue |
The Monk" This picture contains superb |
painting. 1t is a beautiful work, and worthy |
If a place in any collection because of its |
many merits / know my friend, the owner.
will appreciate my motive in calling the stu |
lent's attention to slight defect So far as |
he story expressed by the title is concerned, |
he young monk is the important figure. He it |
s who entertains forbidden ongings. So far |
Ls the painting is concerned, the old monk Is,
probably, equally prominent. The story would,
doubtless, be more directly told if the monk, |
ipon whom the title hangs, had been given
more prominence, or rather the other figure
ess prominence.
have spoken of the Port of Antwerp (No.
81 by Chase. Compare it with the strong and |
collection, too late to be catalogued. They are
10th so mastery that l fear a quiet bit Of
tvalry exists In this corner of the gallery. We
must hasten past Kammerer 1927 especially
trong in the figures; one of the most complete
md satisfactory lacquer (No. 59) ever brought
o this city; a superb little head by Henner
md q painting by Cattaneo (No. 2I), which
ellis and tells well, the saddest story Of human
ife Ihave spoken at some length of the Moreau
No. l8) and Corot (No. 17). You will be
bundantly repaid for all the time given to
heir consideration.
ET us cross to the other side Of the gallery.
want to speak of three paintings:
Ichreyer (110). Meyer Won Bremen (79), and
dillet (7s). The sohreyer is a large and I'M
ortant one. The prevailing tone is agreeable
nd harmonious. There is not to be found
within the frame false note. In this respect
is one of Schreyer's masterpieces
The Meyer Won Bremen is in color, the finest
have ever seen. This is the position given it
y all the artists who have seen it here. 1t is
d perfect tone. Five thousand dollars have
cen offered for it since 1t was hung IN the gal
sry The Millet hangs upon the line beside
hese larger works. In tone and refinement Of
olor 1t rivals its neighbors. false note
7ould, IN their presence, be instantly detected;
crude color would not escape notice. It
beautiful and refined little work of art.
Iillet is an American painter. Readers of
Tarper's are familiar with his illustrations 1t
probable that the demand for his paintings
not so great as the demand for Schreyer's
yorks. The demand very often fixes the price.
you can buy such works as this. by American
ainters, and save the duty, even though you
g free trader, buy them. Buy only on the
round of quality.
Another illustration is the Chase referred to.
hase is Q New York painter. His picture
angs beside a superb Rico. Go and compare
L u. A1.nA iA !