The times. (Owosso, Mich.) 1882-1897, 1893-06-30
IN THE ART PALACE
a Look at Some Of the Paint
ings on Exhibition.
STORY OF a DOMESTIC TRAGEDY.

It is the Greatest Picture To BE Seen at the
Worlds Fair and is Entitled "AIone in
the World ~'-Tendency of Modern Paint
ing Toward Dramatic Effect Exemplifed
I'm the Display.
WORLDS FAIR, June %. = Especial. -
In a former letter / spoke of the tendency
Of modern painting, as exem plifed in the
exposition Art palace, toward dramatic
effect, and limited that I might some day
write about the many fine examples there
of to be found here. 1t is a topic which 1
think you will like. If / am able to do no
more than to whet your appetite for a per-
sonal study of the powerful paintings
which the artists of the world have hung
on these walls, I shall be content; and
then, when you come to see them for your
self, and are stirred by them as thousands
are stirred every day, you will thank me
for having called your attention to them.
BY ommon consent, it seems, Of both
populace and critics, the greatest picture
of the exposition is "Alonei In the World"
1t is by Josef I~sraels, who is a Hollander,
and now IN old man nearly ready to lay
dow the brush and palette. But before
we talk of his picture let us see what tri-
umphs he has o on the field of art be-
fore nrodncinR this. his masterpiece and
the most t~alked-about Of all the paintings
OF the Columbian salon. AS long ago as
1867 he won third medal at the Paris Ex-
position Universal, and was decorated with
the Legion Of Honor. AT the exposition
of 1878 he took first medal, and was made
an officer of the Legion. He has won many
other medals and honorable mentions.
His masterpiece is aquiet, unpretentious
work. 1t shows the interior of a 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 q 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 q word from the lips which he
knows will never speak again. Instead,
he has seated himself on q bench, and
turned his face from the bed. His cap and
pipe have fallen to the floor. His feet, in
cased in wooden shoes, are far apart, and
on either knee is one Of his big, work
widened hands. The fingers are spraSyled
in abjectness, as If 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. He is dazed by the n phase of con-
seriousness left to him-that of loneliness.
1t is curious to watch the effect which
this picture has upon the people who pass
1t. Not one in a thousand of them knows
1t is a famous picture, or that its painteris
one of the great artists of the world. They
do not need to know these things. The
picture speaks for itself. 1t tells its simple
story of a domestic tragedy in a way that
reaches all hearts. The people pause to
look at it. They are touched. In my judg-
ment this is the true test fora picture that
Is simple, of common, if not commonplace
scenes. The critics may, or may not, be
satisfied with it. They may assail its
technique and condemn its coloring, but
no matter. If it arrests the attention of