Richmond dispatch. [volume] (Richmond, Va.) 1884-1903, 1893-10-22

IL Is no wonder. then, that fnness Is
among our favorites Three OF his land
scapes were quoted. one Of them twice.
since cannot attempt TO describe IN de-
tail the fifteen beautiful pictures which 10
well represent this artist. let US glance at
these three az ''samples"
The DAY In June."<a largo picture,
hangs on the east wall Of room 20. Its
foreground. which is simpli.ied In master
~ fashion. n all In shadow. but the entire
canvas Is suffused with warm glow.
Two trees rise on the left. Their bare
trunks extend across the picture and a
few spray OF leaves droop back into view.
Behind them the pale moon is seen and
the distance, interpreted with farm
houses and straw-stacks, is touched with
sunlight.
GRAY LOwERY DAY.
very different state of weather we
have I'm the Gray Lowery Day in room
Q. Everything from sky TO vegetation Is
full of moisture. II Ia the kind OF a pic
ture that suggests the prosaic umbrella,
as was said OF Constable's OF old. On the
north wall OF the same room hangs an
other favorite. 'Near Mansfield" a COM
position rich in color. It's trees glow with
the warm sunlight. Near II, as II for
contrast, Is the "Sunburst" Here a storm
has passed. The clouds are breaking and
flONt away UfIOTP ttiC sun y DttotdoiFC
darts Occasionally, however. Mr.. Inness
falls into the error of the last generation
OF American artists-putting too much
into a picture, as in the white Mountain
Valley" In room 20. where we have so
many discord0nt elements that. however.
well painted. the effect is patchy.
WANTS beautiful Sunset in the same
room is n III pendant for one OF Inness's
best. but II r. above the artists average
a. n. lott 20 yorlr % wa
have In this.
A great favorIte among the artists
themselves Is d. w Tryon. whose pic
lures are in landscape what Dewings
are in figure work-all tenderness and re-
finement but full OF individuality and
strength rs well.
Autumn" at the east end OF room g..
is one of the most delicate I'm color II
reveals a level plain. A few trees are
ranged across the middle distance. rising
from a copse OF wan. purple-tinted under
growth. beyond which the plain reappears,
softened In tone by the Intervening atmos-
phere. The horizon IL near the top OF the
canvas. leaving but a narrow strip or
cool sky. At first this picture seems like
n continuation OF No. 9Ss, "Springtime,"
which hangs in the same corner The
arrangement is similar. but a second
glance shows the nice discrimination OF
the artist Between the color schemes
so nearly approaching each other we feel
the contrasts Of eKuberant springtime and
the waning glory of autumn.
Another favorite with the connois-
seurs IL 1.-THE Rising Moon" on the south
side OF the same gallery. To the un-
Initiated this picture would seem but an
example Of dull and uncertain painting
The space is equally divided between
earth and sky. Its elements are the SIM
plest-a level field. a clump Of trees IN
the distance on the left, straw stack
In the middle ground, on the right; over
the whole however a touch OF eve
ming glow from the sunset behind u.s.
while in the distance the cold moon has
Just lifted herself above the horizon.
In matter OF lighting. here Is task most
difficult TO do. and most triumphantly has
1t been done.
Morning" IL another "washed-out'
picture. according 10 the verdict or the
average visitor, yet within its borders
we find very beautiful harmonious color
ing. The horizon here Is little above the
middle Of the picture. The middle ground
is occupied by three trees, interspersed
with low shrubs, among which rise the
indistinct silhouettes of two or three
farm houses. There is a Corot-like feek
ing in this glimpse OF early daybreak.
The picture is full Of the restful quiet
that pervades the world just before ma
lures awakening voices make themselves
heard in clamorous morning song. The
little pool I'm the foreground seems TO
sleep. The dew-iaden grass Is heavy with
slumber, and neglected to nod to the
whispering breeZes of dawn.
OTHER PICTURES.
No. 99S. October" low horizon, earth
thinly covered with snow, q few SILVER
ing trees In middle ground sky warmed
by the setting sun, which has already dis
appeared.
No. 996 "Winter Afternoon" snow-clad
landscape, through which the summer
faded plumage thrusts itself; foreground
Swallowed as by passing cloud. Distance
touched by softened sunlight; sky or IN
describabe tenderness.
Yet another favorite Of mine hangs on
the west wall of room D. IL Is 99i'
Evening" 1t IS as simple as the others
in its composition. but the glow OF the
declining sun makes poetry of its homeiy
elements.
William A. Coffin was pronounced by at
least one French critic The best painter OF
landscapes without figures In the Ameri-
can section of the Paris Exposition. 1t Is
difficult amid the bewildering display OF
our landscape paintings here. TO either
affirm or deny 50 pronounced Judgment.
with such an average as our exposition
offers. it is enough TO say that Mr.. Comm
IS we'll UP TO the standard. Some OF his
pictures are very delightful, as "Twi-
light" Evening" and, perhaps, best oil
all, the Early Morning." which is ike
a strain of sweet music.
silence" by William Bliss Baker, has
attracted ME since the day the galleries
were opened. Such a pity, 1t seems, that
-. "a rff W. mot SHARED IN give
us more works like this. Somewhat SINH
lar in feeling. though not in tone. Is
ShurtleTs Autumn Forest" \ glimpse
of Gods temple" Is the light pouring
in golden food through its Gothic tracery
George Moore In his :"Modern Painting
claims that Mark Fisher is the best land
scape painter in England. lie unwltunSN
cites three OF our American residents
there, among the five English painters
who were so pre-eminent In talent that
they would not be eligible TO the Royal
Academy. While showing breadth and
cert.,.aty OF touch. Fishers work seems
10 NE lacking in delicacy. 1t is vigorous
but crude. This is criticism that good
dozen OF our landscape painters never
expose themselves to.
ponoho's GA Marcellerie" won him
medal In Paris and again with us. II has
been compared 70 the work or HarpiSnies
Charles H. Davis IL one OF our most
serious painters OF landscape. i have seen
far more interesting pictures from him.
however. than any OF the six which ne
has sent us. His Brook" is one or the
most perfect things that have ever seen,
INT II Is not here. ''The Valley and "A
Winter Evening hang In room q.
ocHTMANs LANDSCAPES.
Ochtman's landscapes are among those
which / have learned TO love. In 7So,
"AIong the Mianus River" the elements
OF the picture range themselves in parallel
lines as in many of Tryon's. The Tore
ground Is the grassy bank OF q river
shadows of unseen trees fall athwart Its
rich green carpet. Above the slope OF
the rivers bank appear the roofs OF two
or three cottages. over them. like senti-
nels stand half dozen trees. with foil
age all richly aglow with autumn's vary
ing hues. Between them appears the
placid stream. and on beyond, indistinctly
outlined, the further bank. Finally the
deep blue sky. The picture is soul
satisfying one--a summer vacation in II
self. All is rich, warm, yet subdued. We
feel Il TO be the work OF one of those
rare men among painters--a colorist.
His Harvesting by Moonlight Is hard
II, lose beoutif,tl He treats most skill