The Seattle post-intelligencer. [volume] (Seattle, Wash. Terr. [Wash.]) 1888-1914, 1890-07-06
GEMS OF A PALETTE.
The Exquisite Studies bya Gen.
JUS in Art.
iMPREssioNisT
IDEA.
Exhibition OF Paintings by . Pupil OF
Some Famous Masters-An In
novation in Seattle.

refinements of life. The opportunities for
gratifying that taste are not plentiful in a
new Western city like this, but news of the
arrival of any picture of genuine artistic
merit, either through private purchase or
otherwise. quickly spreads, and the lovers
of art flock to it as to shrine. The art
rooms under the Arlington are the favoriie
resort of these and the list Of visitors there
may be taken to represent the cultured
phase of Seattle society.
Just now art-loving circles are deeply in
terested in some works by Miss Grace
Mosher, young lady who has just re-
turned from five years of study in Europe.
Some of them are regarded almost with
veneration by enthusiasts, for they we're
painted under the same sky. beneath the
same trees, in the same atmospheres, o to
speak. halowed by the transcendent ge-
Mus of Milet. One of the most notable
groups in nineteenth century art is that
formed by Diaz. Milet and Rousseau, who
left the beaten paths of the French school,
betook themselves TO Barhizon-one of the
grandest OF the many quaint little hooks in
France-and made it famous. 1t lies close
upon the edge Of the noble forest OF Fon-
tainebleu, which has yielded so many ever
lasting beauties through the interpreting
brush of Disz and of Millet.
Miliet, with his fine and tender ideality,
got very close to the heart of his humble
peasant neighbors. His wonderful ''Sheep-
fold, 1.-THE Sower," the woman at the
Churn," and that masterpiece, the good
old couple in the world-famed "Angelus"-
such subjects appealed most sympathetic
ally to his soul and found responsive an
swer in his touch.
Here he and his friend, Artists Diaz and
Rousseau lived, loving each other. working
together in a spirit of camaraderie, dream
ing of their future greatness.
Miss Grace Mosher is devotee at this
shrine. Gifted with genius. she was so
fortunate as TO sit at the feet of the great
masters of the time. During her five years
of devoted application to her training she
studied with Oudinot, the favorite and
famous pupil of the still greater Corot,
under whom he was content to work for
eighteen years She then took mp drawing
from life at Julian's studio, under Bour-
gereau and Fleury, taking advantage also
OF the tutelage of Carolus Duran and
Henner
Later she made pilgrimage to Barbizon
and Fontainebleau, followed by visit to
the romantic coasts of Brittany, where
scenic nature and mankind are united in
picturesque beauty, no more a part of the
hurly-burly world than the ideal pastoral
life of Vatican.
The versatility of Miss Mosher is shown
By the equally beautiful work in
portraiture and landscape. OF the
former the most remarkable example
in the collection now on view
at Bake, Cole & Co.'s art store on Front
street, in the Arlington hotel building, is
the three-quarter lfesize picture of girl
with coil of marvelously tinted golden
hair. The pose is technically known as
"profle perdu." The figure and face are
turned from the spectator, showing a pro-
file so cleverly outlined that the features
may be imagined. The rounding OF the
shoulders and graceful curves of the neck
are set off by the black lace drapery of the
figure. The flesh tints are exquisite. The
model was pupil of Henner
"a Street of Barbizon" is probably the
scenic gem of the collection. The quiet
rural thoroughfare, the only one in the
out-of-the-way village, is perfectly charac-
teristic. The effect of the little, low. red
rooted cottages. tinted with age; the warm
summer air, the drowsy foliage and the
primitive highway, form charming repre-
sentation of peaceful provincial life.
In striking contrast as to artistic skill is
a copy of church interior by Saintin. the
original of which is in the gallery of the
Luxembourg at Paris. The old stone pill
lars are worn by age, and the white walls
afford strong effect with the foreground
OF the dull-red floor tiles of the medieval
age. It may be, however, best described
as "a study in white" and would be fine
decoration for room where white and
gold prevails.
"A Peasant of Barbizon," with blue
apron, red kerchief, heavy wooden sabots,
shades her eyes from the glare of the sun
dainty piece of detailed color.
Somewhat similar in treatment is the
Breton peasant woman. A young, pensive-
faced girl attired in the quaint communal
cap of the old, old province, sits knitting
in the deep alcove window of the ancient
Chateau de la Grand Cour. The sunlight
effect on the figure is very fine. The quiet
CAIN on the countenance contrasts, yet
seems in harmony, with the sombre walls
and the old-fashioDed water jug which
stands by her side.
Another charming land scape is bit of
deepiy-timered forest near Dinon, with
two peasant girls-one sitting on a knoll
and the other coming down the narrow
path. Here, too, the effect of light is
most skilliuily thrown upon the variegated
foliage.
Of another school and another age ia the
copy of a group from Murillo's imperisha.
BILE Birth of the Virgin Mary" from the
original in the gallery of the Louvre. This
IS one OF the most precious treasures in
that unequaied treasury of art.
To those edt1ca.ed in snacrIot;,-. -. A.
most absorbing studies are two concep.
tons In what has become known as
the lmpressionist' idea. One i,
bit of scenery-'Sprin g;ime in
Fontalnebleu. and the other
a copy of Millet's Church at GreyiIle."
the home of his childhood, the original ri
which is in the Louvre. The effect is
unique. and is studiedly in antagonism 70
the strict rules OF comparative perspective
and incident The main object is the old
church-to that the eye is directed and
the group OF sheep, which lie beneath the
shadow OF the churchyard wall and a
peasant form approaching from the left
are so subordinated in relative Importance
that the attention Is not distracted. IL has
something of the effect of looking at q
landscape through q glass which develops
the central figure and relegates surround
ings TO the minor relation they pronerlv
bear TO the picture. Only an artists i'm
aglnatisn could afford the conception. bu.
the result is most charming. To those
who have seen only the mathematical cal
cuiation of relative perspective. the idea il
delightful surprise
These notes viii afford fairly s,,perficiaI
ana approximate indication of the studies