Oxford Democrat. [volume] (Paris, Me.) 1833-1933, 1893-06-27
[NTHE ART PALACE
A Look at Some Of the Paint.
lngs on Exhibition.
STORY OF A DOMESTIC TRAGEDY,

II is the Greatest Picture 70 Bs Seen at the
wsrid's fair and IL Entitisd "Aisss In
the world "-rsssdssey Of Modern Paint
Ing Toward Dramatic Easet Essmplinsd
In the Dispisy.
WORLDS FAIR, June "a tspeciai.l -
In former letter I spoke Of the tendency
II modern painting. ~ exem plihed In the
exposition Art palace. toward dramatic
effect. and hinted that might some day
write about the many fine examples there
Of to be found here. II is topic which I
think you will like. II am able to dono
moro than TO whet your appetite for per-
sonal study Of the powerful paintings
which the artists Of the world have hung
IN these walls. shall bs content; and
then, when you come TO see them for your
elf. and are stirred by them ~ thousands
are stirred every day, you will thank me
for having called your attention TO them.
by common consent, II seems, Of both
populace and critics, the greatest picture
Of the exposition II "Alons In the World" I"
Il il by Josef Israels, who l. Hollander,
and now an old man nearly ready to lay
down the brush and palette. But before
we talk of his picture let US SEQ what tri.
umphs he has won on the field Of art be-
fore producing this, his masterpiece and
the most talked-about Of all the paintings
Of the Columbian salon. As long ago As
1857 he won third medal at the Paris Ex.
position Universal. and was decorated with
the Legion Of Honor. At the exposition
Of 1873 he took first medal. and was made
an officer of the Legion. Hehas won many
other medals and honorable mentions.
His MASTERPIECES Il quiet, unpretentious
work. II shows the interior Of peasants
house, without details. The peasant has
come home from his toll and found his
wife In bed. dead. Her hands are clasped
outside the coverlet. There Is look Of
peace ON her face. The workman has not
burst into tears he has not fallen upon
his knees by the side of the bed he has
not grasped one Of the cold hands and
begged but word from the lips which lie
knows will never speak again. Instead,
he has seated himself on bench, and
turned his face from the bed. Ills cap and
pipe have fallen to the floor. His feet, In
cased In wooden shoes, are far apart, and
on either knee II one Of his big. work.
widened hands. The fingers are sprawled
In abjectness, M II there were not remain.
ing In him energy or spirit enough to con-
tract their muscles. His body Is bent
slightly forward, and the eyes are staring
at-nOthing. The man Is stunned by the
blow. lie IL dazed by the one phase of con.
sciousness left to him--that Of loneliness.
II Is curious To watch the effect which
this picture has upon the people who pass
Il. Not one In thousand Of them knows
II Is famous picture. or that It's painteris
one of the great artists OF the world. They
do not need To know these things. The
picture speaks for itself. II tells Its simple
story Of domestic tragedy In way that
reaches all hearts. The people pause to
look at 1t. They retouched. In my judg.
ment this is tie true test fora picture that
In simple, Of common, II not commonplace
scenes. The critics may, or may not, be
satisfied with II. They may assail Its
technique AMI condemn its color!ng, but
no matter. II IL arrests the attention OF