Sacramento daily record-union. [volume] (Sacramento [Calif.]) 1875-1891, 1890-04-27
SINGLE sHANrr. Lak
ART NOTES.

The ". I. Tribune says: All that we
know of Mlllet tends to persuade us that
the "Angelus" was painted in spirit of
absolute sincerity. French critics of Millet
have assured us that the scene is impossi-
bic, since the bell-ringer, being peasant
laborer like the Others, would not leave
the field until all left together when ii be-
came too dark to work. But on the other
hand, there is the fact that this scene has
been witnessed in rural France, and that
similar scenes are not unfamiliar in other
Latin countries. So far as truth of facts
sophisticated Barbizon of thirty years ago,
was fully justified. Painting an actual
scene, and scene which represented
significant feature of rustic life, he cannot
justly be accused of posing" and de
scent into sentimalism," accusations which
have been made by some of the latter-day
French critics. In this picture Millet had
an idea or sentiment to express, proper for
expression in the terms of his art, and he
has made the idea perfectly comprehensi-
bic. Thus far the picture is successful,
but if we examine it candidly we must ac-
knowledge that the design is of dispropor-
tionate consequence, that the coloriAg
lacks richness and depth, and that, despite
the labored, heavy impasto, the painting
seems comparatively thin and cold in
quality. Those who prefer sentiment to
| painting have perfect liberty of choice,
but we cannot say too strongly that the
two must not be confused. A picture of a
pumpkin by Nollon is a far greater paint
| ing than picture of Madonna by
Bouguereau. The very use of the word
painting implies demonstration of skill
in the use of particular medium, and we
must judge the result by rules applicable
to that mediums use. 1t is obvious that
| balance must be struck between mere
anecdotage and sentimentalism on the one
| side and extreme devotion to cart for arts
sake" on the other.
Recently E. A. Abbey and Alfred Par
sons held an exhibition in the galleries Of
New York dealer of the drawings by
them which have appeared in HdI,per'S
Monthly during the past three years
These drawings, contrary to the general
belief, are the property of the artists and
not of the magazine, the Harpers but buy
ing the privilege of first publication only
Abbey and Parsons are each in their re-
spective lines at the head of their pro-
fession. The formers income is not far
from $4,000 per year, and Alfred Parsons
must make nearly $4,000 Their ar
rangement with the Harpers is liberal to
| themselves and advantageous to the for
mer. Abbey receives a retainer" of Sl0,-
600 per year from the publishing house,
an English custom which usually works
very well. The conditions of this con-
tract are that the artist shall submit at
least three full page drawings each month
and all his work in black and white for
whatever purpose must be also submitted,
| the firm having first option of purchase.
Abbey averages about six drawings, for
which he receives from 500 to $500 each
aside from his retainer. The Harpers pub
lish the drawings and then return them to
him. The originals are then sold, bring
ing on an average of $3.50 each. If the
matter is subsequently published in book
, form, as were Abbey's illustrations to "She
Stops to Conquer" the artist receives the
usual authors royalties or owns the book
copyright. 1t is stipulated in the contract
that he may be at liberty to paint ex-
hibit, and sell pictures, not in black and
white, without any encroaching on the
publishers rights, provided the latter is
supplied with three drawings as agreed
upon. Abbey's work in color is not good,
but it sells. A hasty sketch of his which
could not have taken any thought and but
an afternoons work sold recently in Chi
cago for $3.50, and it is safe to presume
that there is an active demand for his oils
| elsewhere. Aside from this regular in
come he was said some time ago to have
Melted from his 'She Stops to Conquer"
over $4,000.