New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-28


| copiously represented. and in Munich they nave
not ONLY the traditions 10 which pictures Ike
| those OF Hamburger testify, hut Others when
| come rcarcr 10 those Of the frecr, more spirited
| schools Of the South and America. Such as "
| is. there is body Of painters in the herman
| section which gives some notion OF the nr"dh'r
| work done by the school. IL appears IN the
| portraits Of IIirt du Frcncs and in the darkened
| inferior scenes Of Joseph Bloch and Ernest
| Opplcr There are specimens of il in the military
| compositions Of Roch0l and IN the pictures
| in which Deug and lIaussman have shown ny
their flexible treatment Of form that the German
| woman Of the bower cl'ssos is not always what
| she is usually represented to be-whoy without
| surpleness and grace The pictures of IIummel,
| Falat. Gysis Iiebermann and Flcischer are OF
| the same quality as these. Description OF them
| is unnecessary They are freely handled. looseo
| from the difidence Of the common German
picture Some of them are OF SUBJECTS IN .i''
| smoother walks Of life. Most OF them deal WIN
| the peasant who is indeed a favoritc model oil
the German artist. and figures in the only re-
| ligious picture in this section which deserves 'h'
| name Because he is sincere and has genuine
| feeling Fritz Won Jhde can do what the French
| mon lately referred to in The Tribune are pow
erless to accomplish He can employ realistic
| art in the service of religious ideas and carry
| ment TO the Shepherds" waits for no comparison
between it and such picture as Berauds " De-
| scent from the Cross to disclose the character
| of it's sacrcdncss" The faces of the shepherds
| and of the very tangible angel who benos over
them, tie light which vaguely sufuses the group
will awaken sympathy. There is nothing III
genius or eccentric in the composition or III thc
lightning II is as realistic a picture as conio
be drawn from living men and women l'u' 'ie
| temperament of the artist has put reIlsio">
meaning into the work. 10 uenne III d. '""'
rarcst of artistic tempcraments IN Germany as
one that is IMAGINATIVE. is 10 some extent au-
missible To define it as one Of sincerity, sym
| patty and reverentid belief is perhaps nearer
| the truth ,.
Ihdc's strength comes partly from his hcart,
| q fact which has already been touched upon ~
connection with the German artist In genera
| who's, work is not simply shallow some ic'ihS
occasionally enters into the portrayal oil IN. pas
ant, whom the German so often paints lie m.
not into the depths Of the peasant ha."i'' D,' d
| as far as he can see he Ii accompanied py MIN
| of human friendliness. At least some 1eeins Oh
the same temperate. unadvenfurous sqrt MIL, y,
| looked for in German landscape. In realty II
practically never suggests any OF the aHeciioh loi
nature which will give tol"rably skliful paint
| cr's landscape some echo of outdoor charm f"hr
| painters Of unprctentiOuS landscapes Ill 'hc Ger
| man secton-Douzctte, AlDrecht, Banter ANA
| Keller Reut lingen-haVe q certain amount o. 'H'
vitality of nature in their pcturS IL Is hcau,'
| they have appreciation of tone ana OF Color l!
| il because, they know not thOS TWO tI:iHHs INA
the long list of landscape painters is barren u
other names to which il is profitable 10 give A.
| tention. There is much work Of ordinary value.
| not crude or hard, but not OF any real Dcauly
either For luminous deep color the four men
| who have been mentioned present the ret SUI
stitute they can. They are clever and their ct.
| a margin to be realized. Even they have no
Transparency. quality which is uniformly an
sent from German art, from figure paintings rom
| landscapes, and from the pictures which neeh IL
| 81 lp
not ing Of the Ovcliness Of sea color IN the WORKS
Of Hans Guide Schnarrs- Mpulst ana the professor
! Saltzmann who has painted the present Emperor
| Of Germany hunting whales from the deck OF the
| Duncan Gray. The Emperor. by the way. Is well
remembered at this Exhibition. Besides Professor
Saltzmann's marines there arr two Pain'ed anu
three sculptured portraits of William H. lie also
| is one of the figures in the enormous Apotheosis
| Of William H. by Keller. theatrical ana lllent-
| IL painted but thin, sleek canvas. quite without
| serious artistic interest. which fills all of one end
of Gcrmanys galleries The royal family, IN iac. has
| istic support 1t is an ambitious school; 1t has
few strong men in It's ranks and scores OF ~
| members have points which are good. II not a.
WAYS purely artistic. As il is represented AT Chi.
caQo il is entertaining in what it has to sa.. and
| sometimes attractive in its methods OF communi-
cation. For a more genera! grasp oil thc lahenigc
| with as much confidence the national in>"nsi-
| bilty to tho rcfnemcnts and charm Of coloi and
the national hcaviness Of hand will permit
| THE AUSTRIAN SECTION.
| Something of what has been said in relation 20
| the German section applies also TO the Austrian
But in the smaller collection which is hung In the
latter there are fewer pictures showing the school
| in its happier moments, and the exhibit is easily
| comprchended in the brefcst note. Those few
| pictures which not valpclcss for purposes
Of exposition III this place are of interest, more
| ESD cialy as illustrating the difference between
Vienna and Berlin. Austrian art has the same
| foundation as the German. IT IL OF literary,
| sentimental tendency, and 1t is sane. II treats
| honcly life with the same sympathy, and IT Is,
~ a rule, as CONSCIENTIOUS In IT'S me'hods, 'hrhh-
| ing no less than German art does from lorc-i
effects In addition TO this II has az times
what German art rarely has, natural facility, NOR"
| lightness and elegance OF touch ana style. III
! color too il occasionally strikes richer KEY.
| But the superiority in color is trifiing. Makart
| and Munkacsy colorists are only rcatiy"ly
pleasing The first is ripe; nnt nov rG'n%a ,n xg
| effects wherein he sets nm example ms pupii
| rrozik has not failed to emulate The only art,
| lists in the Austrian section whose color Is OF
| positive value are the andscapist Eugene letter,
| a man cultivated and Of real capacity III ms
| art and +. Charcmont, whose pictures OF richly
dressed pages and soldiers in admirable taste
| The names of Pettenkofcn and Canon might, per
| haps, be grouped with these. The charactcrisucS'
! however which are Austrias own. ana which are
| said II is 10 be added that they are not Oh
tanned at the sacrifice Of precision In In" por-
| traits OF Hans Temple, the decorative panels o,
| Rndolf Rbarz, the sentimental composition OF
Eduard Inbelski, tho religious subjects OF Rudolf
| Iiacher, the peasant studies of Hans SchWaig"r
and especially tn" pictures Of costume by Charlie
mont. the workmanship is clever and it is accu-
r,tn II is strange that Defrcggcr, who is an
Austrian by birth, and has two picture, in this
| section Should not DC in harmony with the NOR"
oracof nl painters among his countrymen The works
| hc has Hanging in the German section are lar
mere appropriately surrounded. But Dc'reggcr IS
| typical Of some Of the most cstimabe qnaiil"s
| in Austrian art lie represents It's serious slu"'
! and an that side lies the most potent factor III
| such sncccss as il may be destined TO win.
| THE STRANDED SCHOONERS BREAkf%G CP
| Long Branch y. j.. June - (Speclal-Th" three
roe,cd schooner Thomas w. IIavens that went ashor"