The Salt Lake herald. [volume] (Salt Lake City [Utah]) 1870-1909, 1895-01-13
ART AND ARTISTS.
REzaTARKAHLE EXHIBITION NOW
OPEN An NEW YoRK.
Asezst Edssin Evans, Of Lehi, Dis
courses on atmospheric and Sum
light Eaects-of Interest TO OurI
Artists.

The most re1nagkabae art exhibition |
now open to the pubic is that in New
York where are to be seen 2a2 paintings |
by the greatest landscape painters Of
Che latter half of the nineteenth CEN
aury. George Inness. 1t is al
pleasant recollection that we have
painters best works but we alave seen
the man himself. He was slight of
build and short of stature. thsn-faced,
with a. gray straggly beard, delicate IN
11ealth, poorly dressed and careless of
his appearance and utterly without os-
terliiat5on though he knew himself 70
be ranked with THE greatest artists of
Modern tir11es. That he wra<s among the
great ones, had been accorded to him
Tor years, net only by the painters Of
this country hut by those OF Europe.
HIS works were eagerly sought, and ne
had but to put his brush 20 canvas TO
have 1he product purchased s1lned-
lately by the most aesthetic art collcSs-
fors Yer he never descended 10 the
degradation Of painting for the sake OF
selling Every one of his works was an
expression Of The high ideal thai pos
eessed dlsIll the rendering of distinct
Impressions from nature. We have
seen some OF his early pictures and
ss1ey show u careful attention 10 detail
sfaar would be fatal to the ambition OF
q iaatea'-Kiay 2a-fist and yet it Was by
chat road that George lnnsss found
ais WAY To perfection. Like the great
English landscape artist, Turner, whose
name disav be linked with his own, 1n-
ness sltrove hard with accurate ana
r1.5na,ee detail before he threw away
rhe staff with which he had walked
ana took unto himself wings Win
-s1hseh it,s saar. But IN his later work
acoulred became simply the means by
which, he could and did give expression
"a fhe models that inspired him. he
lSeuf abreast and ahead Of all recent
art devegop1neut and up to The time OF
his dsaith was leading the way 10 lne
highest ideals of art If he mad be-
arrszed 10 France. England or Germany
thes- would now be roaming co4oss7l
monuments TO as memory .pnt pelle
a sin1nie American, nothing but ms
Dictures will mold h5z name in fpnor
end reverence
IN Inc last issus- ST the Sunday
World there is q fun length production
nf the life-size idealized painting py
ar Constant Mayer OF Du Maurlef' 8
1,s-r,fTe, T1iifv IT is far more oeauti-
sni Than that Of Du MauIier, and tar
more commonplace. IL will pc lof-
e,yttssn long before Ftlle real 1flFpy.
MGEGF
iaealify to the original creation. Dut
he is vastly mistaken He mas
on uhe contrary. taken al the adeahty
Out of Il.
THE portrait exhibition In New York
having been relegated to the shelf,
Chicago has taken up the IDEA anu
revels in a display that takes a cat
afpv,,e of eighty pages to mention IN
art srssetegs. the Windy City is nosn-
ing il ROT original; yet ii Is sometllng
n NOTE how wondrouS many pictures
of tins one class have found a nestlng
place there. Among those esf1blted
are several by Sir Joshua Reynolds,
some Van Dykes. Bely1s, Rnellars,
Rcmneys, Galnsborough, a Glppert
STUART washington. q Hogartn,s .,i a.
Holm Qpie a Cabansl and so foINh
Verify. the worlds great paintings are
drifting westward.
There is an attribute in painting
that is Unlisted upon by ell the 0each-
ers, and which artists DO not olee ~
syainsav Simplicity. In landscapes, II
means TO focus interest ana 10 pre-
serve unity Of fe-ht-to subordinate
-sN The material of a subject TO one
central idea Prima facia, it Is a
requisite of d good picture, and 1t Is a
principle that has been generadly
adopted 10y modern masters WlthNgood
reason and effect But there IS an
other l,ul,pose that is also universally
aimed ait. and that is, truth; and truth
end simplicity do not always run 20
gether. In human character as III
outward vision of the world. a
true impression may zoe mos mos
complex and disunited. This is often
the case among the grand scenery OF
our mountains. wherein greater part
OF the interest Is created by the very
variety and opposition of materials. A
rent "a. mass of rocky crags, a Hut5er
of flying clouds, may at one time form
a combination of related Interest that
sets unity at defiance, and yet be IN
every sense pictorial. A panoramic
View from a mountain summit has no
unity whatever. but everybody wants
TO see it painted Nothing is more COM
mon ITO the mountain artist than to
have It said to him by some climber
You Should make picture from tins
top Of that mountain. 1t is simply
grand. You can see for q hundred
miles range above valley. peak above
forest. Slopes and cliffs, rivers and dis
1ant lakes. / would like to have paint
ting of IT, Then the artist tells him il
is impossible. that it wouldn't do a.
all; that nc one paints such subjects
there is no unity in them, and so on
And he gets TO some nook and sketche:
the stream running down Through tht
pines. or a glimpse of a, mountain
lake, ard feels that he knows a grea
dead better what to paint than tbs
climber who stood breathless with ave-
and wonderment on the sunnit-Df TIT
mountain with the vast eXpanse o
Gods creation stretched out beneath
him. thrilling his very soul with ndmi
ration and delight But does the arts
know beStt2 May not those who Vaul
high to see far know what they really
want better than he? Is the 'one prn
Cir4e Of unity always and forever no
her Eaan expansion, distance variety
Eubilmity and an expression of infin
fly?
Mr.. Eisele. the artist is rapidly re
covering fronh a protracted Hines
which came near putting an end to hi
career. During the past two month
he has gained about forty pounds il
weight, and he is now at work again
In bis studio.
In a recent issue of a New Yorl
pictorial paper is a reproduction of Dial
inns statue Of the angel. Moroni, Cs h
stands on the pinnacle of the Salt LAX
temple; but IL is described as "a sta,tu
representing 'Rumor' that is about [,
be erected in one Of the public parks il
Boston.
It was not Evans Worlds fair pic
ture that was criticised as lacking art
anosphere. but was the one Sn eTbgbi
tion at the gallery of the Chicago AR
society.
Norman st. Clair thinks It is r,,rsou
that architecture is not popularity in
cluded under the head OF art.
ART CORRESPONDENTS