The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1893-08-17

age of Slxty-Seven, was sketcher and
massive formulator of the effects of
light and shade on landscape. He de-
lighted in evening scenes.
Jules Breton, even better known,
was ten years younger; he was poet
as well as painter, and put poetry
and humor into his sympathetic pic
lures. He delighted in peasant women
and shepherdesses, washerwomen, etc,
and landscape backgrounds.
Carolus Duran, who has brought up
Ubl and many of our American artists.
and was educated in Paris and Rome,
lived among ks, and began to
paint portraits with strength twenty
five years ago. He looks into charac-
ter acutely, paints accurately and
draws out effects almost like one
bringing notes from a trunk. His
style is somewhat Flemish and some-
what Spanish, and withal French.
There are three painters of different
nations whose names are pronounced
by the public ''Millay." The English
painter, Millais, of these, is about six
ty-fve years old, and he ran away with
the wife of Ruskin. Though born in
Southampton, he roved away his youth
in France and the Channel islands, and
began to paint tableaux, such as Pizar-
ro, the Huguenots, Joan of Arc, etc.
The English, on the lookout for great
painter, took very kindly to him, and
his engravings are found throughout
the British homes everywhere He
paints portraits which are thought to
be profound, and seldom gets less than
ten thousand dollars apiece for them.
He is what is known as Pre-Raphael.
tie painter.
The French Millet died at the age of
sixty-four, subsequent to the German
invasion of France, and was brought
up by Paul Delaroche. He was OF nine
children and had no means, and a
priest, who was a relative, brought him
up. He knew many a cold and hungry
day, but he had good health, and he
began to paint the people he knew
about--the peasants, the plowmen and
the shepherd. He only painted about
eighty pictures in thirty-one years,
thought much over his themes, looked
well to the sentiment, had no models,
worked from the memory and the OBJ
servation, and his pictures at his death
sold for $4,000, most of them unfin-
ished. At another sale the amount
realized was about $50, 1000, and only
one foreigner out of twenty purchas-
ers bought anything The French
are well aware of the value of paint
ings to be treasured up and sold at long
subsequent dates.
Francis d. Milletis an American who
studies at Antwerp, took prizes and re-
ceived important orders from America,
and is not only q good artist, but a
bright newspaper correspondent
Whistler, who is a good deal talked
about for his pertinacity in exhibiting
abroad, came from Lowell, Mass, and
his father, an engineer, took him to
Russia when child, and he returned
and was educated at West Point and
removed to England at twenty-one,
studied in Paris, and began to give cx-
hibitions of his own twenty years ago.
The furious critic, Ruslzin, said of
Whistler that he was a coxcomb who
asked two hundred guineas for 1inging
pCG Oh paint LIE uiS pupiic Q luSO'
Whistler sued him for libel and got
one farthing damages. The queen of
England, however, bought collection
of his etchings, and the British muse
UNI bought others, and he has gone on,
Indifferent to attack, so that his name
at least is widely recognized.
One of the most ambitious of Ameri-
can artists is Charles Sprague Pearce,
Boston man, who studied painting in
Paris and visited Africa, .Algiers, etc.
He realizes some of the holder artists
of the first part of our century who IN
dertook to carry American art into bis
torical and Scriptural fields.
Ridgway Knight, who paints charm
ing pictures of French peasant scenes,
with sentiment, went from Pennsylva-
MIA to France twenty-one years ago.
and was one of Meissonier's pupils
The Austrians make much here of
Hans Markart, their great national
painter, who lost his mind some years
back. He was born in the south of
Austria in 1910, studied at Munich I'M
der Piloty who painted historical tab