The Wheeling daily intelligencer. [volume] (Wheeling, W. Va.) 1865-1903, 1893-10-24
IN THE ART PALACE.
Old and New Schools OF Thought
In Religious Painting.
SOME CONCEPTIONS OF CHRIST.
Foreign Artists Who Have Sought for
New IdeaIs-some Of the Most Nota-
BILE of Their subscriptions of
Some of the RAst Paintings at the
Worlds Fair.


itself was the new thought in religion
brought out more strongly than 1t is ia
the art palace. Many OF the pictures
are thoroughly imbued with the strong
feeling Of brotherly love, which is in
this nineteenth century making the
whole world kin, while others picture
the Messiah in purely spiritual light,
never dreamed of by the old masters,
who, in their attempt to depict teach
or, painted a man rather TO be feared
than loved.
The Christ OF to-day, in art as in re-
lipion, is a man OF the people, brother,
one to whom SHINING soul goes with
out fear and with infinite trust. And
as the Son has grown nearer, so has the
divine mother.
1t is noticeable, too, that the newer
the school Of art, the more strongly this
idea is brought out Italy and Spain
are still conventional, as are some OF the
artists OF Austria and Germany. 1t is
in these sections that the od.time
Madonna is most often found. French
and American art have the most ideal
lied her, and at the same time brought
out in full relief the fact that Mary was
the mother OF SORROWS. To one inter-
ested in tracing the development OF the
new thought, in separating it from the
old, a study OF the religious pictures nj
the exposition is an infinite pleasure.
The most dramatic OF all in the gal
-. Nn 10 ElsNAAaNFie,fa ttGnn II
Man." which is in the Norway section.
Technically speaking, it is not great
picture, bnt it is full OF feeling. 1t is n
picture OF to-day The Savior, an intin.
Grant preacher, has come across the
hills and has stopped in little hamlet
among the common people. lie stands
the center OF o group of men, women
and little children. Lovingly his hand
rests upon one curly head over which
he breathes blessing. Near him stand
three men; the squire oil the village,
who has evidently heard OF the man
whom he fears may preach revolution.
airy doctrines; the established clergy
man oil the parish; and a tourist, drawn
thitherward by feelings Of curiosity.
Thoy are discussing the matter very
earnestly. Away to the left ia humble
cottage and there preparations are be-
ing made to receive the guest whose
coming has long been awaited. Mary
stands at the door with eager face look
ing to her Lord, while Martha kneeIs
upon the caapet she has spread, and
places at each side pots OF Towering
plants to beautify the outdoor tabern-
acle where he win stand. From all
around the people are tlocking in, and
one poor sick girl, strong only in infinite
faith, is being wheeled into the pres
ence oil the Divine Healer. 1t is pic
ture much discussed, picture one per-
son cannot interpret for another. To
the orthodox it is little less than shock
ing; to the advanced modern thinker
infinitely comforting.
In Denmark hangs q picture striking
ly original. 1t is EngeIsted's Sacrifice
OF Isaac" He has not painted the
young man meekly laid upon the altar,
q burnt offering to high heaven, but has
instead made OF him a young rebel. The
altar, smoking, on ono side, and near
by Abraham, and his son, Isaac is
painted as healthy, strapping youth,
and youth by no means willing to die.
He has put his foot on the rope with
which his father strives to bind him,
and with both hands upon his shoulders
expostulates against his cruel tate. The
face oil Abraham, however, is inexora-
bic, and one feels that he will overpow-
or his boy. The picture is OF the i'm
pressionist school, and father and son
are in the midst OF great field Of
blossoms. The blanket in which Isaac
was evidently clothed when brought
upon the scene, lies near him, and
every fold is strongly brought out. The
picture suggests thoughts which one
never dared have before-doubt ii the
Hebrew children were willing victims
on sacrificial affairs.
-.
The greatest religious picture, as well
as one OF the finest paintings in the
Austrian section, is Brozik's "Hussite
Communion" in which John Huss is
seen in the midst OF his followers. The
rude interior OF the little chapel is
magnifcently painted, and through the
half-open door is caught a glimpse OF
green fields beyond. The picture is per-
vaded by an atmosphere OF religion
which the most prosaic must feel. Huss
himself stands erect, holding aloft the
holy cup OF consecrated wine, the very
body and blood OF Christ himself. His
followers believe 1t, else do their faces
speak falsely. Those inside the chaucel
rail, the communicates, have about
them spiritual exuitation which tells
the story OF perfect willingness to die
for their faith II need be, and In those
days to believe rs they did meant Il
death by fire or by the sword. Apart
from them are others, Just entering the
dangerous path, and though, they, too,
would boldly meet their tate if need be,
they have not yet acquired the infinite
faith and trust OF their kneeling BROTH
ere and sisters. There is one woman's
face, the face Of the whole picture, full
Of glory beyond that of this world, OF
faith stronger than death.
Rudolf Bachu, anottier Austrian art
list, has the "Mnter Doiorosa," u beRuti-
full picture, but one without one touch
OF modern thought. 1t is the "Mater
Dolorosa" OF the old masters, not Of the
new. A beautiful woman Of certainly
not more than twenty-five, with the
crown OF thorns upon her lap, and near
her John, the beloved disciple, and the
weeping Magdaiene. In oiden times
men thought the Virgin must be paint
ed only as beautiful young woman; in
these days artists picture her as old and
sorrowfui, the truor conception truly of
kn. y,+hn hnra fhn Savior yyhn LAVAL