The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1896-05-20

Many different elements entering into the
composition Of a work OF art. much depend
Ing upon the temperament. inclination. taste
and knowledge of the spectator. and an alb
so.ute difference of the terms beauty and
art being Impossible. or at best very limited.
it is not surprising to find. not only among
amateurs. but also among artists. often
such great differences of opinion as to the
merits of a work Of art. For this reason
criticism favorable or unfavorable must
Of necessity be limited according to the
limitation Of the critic himself this being 50
what can We do to enjoy an exhibition OF
pictures. to profit by Il and to learn to
know the best OF the good? The writer
has many years followed simple method
in viewing pictures which has yielded him
good results and which he would suggest
for trial to those interested in artistic mat
tiers. In entering gallery. say Of the size
of that at the Propyiaeum. where the
nual exhibition of the Art Association is az
present being held. place yourself as near
to the center of the room as possible. look
about you. and you viii presently find that
certain pictures viii attract you more than
others; these are the ones that have some
thing to say to you and by approaching the
IL on this closer acquaintance you are dis
appointed. step back to your former position
you may like II better at a distance; IL
1t does not hold your interest then. try an
other; you viii In this way soon find your
favor.tes. though with pictures as with peo-
pie you may find that eventually there win
be those which asserted themselves most
strongly at first, yet every picture with a
distinctive note deserves attention, for IL
true, it has within itself that which is dis
tinctive and best In art. originality. individ-
uaffty. Once our favorites chosen. the next
step Will be TO fad out what makes them
attractive to US, very often a difficult matter
and yet not wholly impossible. Here study
properly begins. In this 1t Is impossible TO
make cut and dried rule; one must be
patient and the seeing OF pictures often is
the one and only way Of gradually learning
to know what Is good.
In the present exhibition there are again
certain pictures which attract me more than
others and / wish only to point out some
Of these and try to define what / have
found attractive in them, hoping In this
wise TO have others share with me to a
certain degree the pleasure and profit de-
rive In viewing them. or necessity, for fear
Of wearying. these remarks must be con-
fined to few Of many which are worthy
of our attention. One little picture has
become very dear to me for Its simplicity
both In subject and In reading. it's master
coloring, "A Dutch Interior" by Harry
Williamson, representing little maid in red
s sssng and wooden shoes knitting hitting ntenty
which the light streams Illuminating the
whole scene beautifully.
In 1873, catalogue number. by the same
n "a
light as Ii falls fully upon the garden with
Its cabbage; cornst stalks tomato plants and
the figure in red making an additional note
Nos. Is and q. by NJ. r. Dixon, are charm
former we have a boy who VII has Just taken sa
THE Last Mouthful" OF goodies from q yell
low bowl, which he holds between his
the spoon in his mouth is a study arr win
recall to many their childhood dayS The
other represents the same boy stretched out
by his side; his perfect abandonment to and
enjoyment OF momentary idleness Is en-
iuminating S' his counsnance The free freed
ease and grace with which these pictures are
painted make them attractive from the
technical side to the artist.
The portrait of Mr.. Bowses by Philip
Hale. is remarkable for its strong and direct
drawing; no signs here OF hesitancy. The
character is admirably given and to the
painted is very individual and by no other
means could have been introduced into IL
such life. and strength of relief.
OF the. many fine pictures j. o. Adams
sent in this year. "A Misty Morning on the
Mississinnewa," attracts ne strongly and
wonder K the artist was not Dripping wet
himself after painting in such an atmosphere.
ns 81 hsn tua iary On nur dsv k
tbs the atmosphere Is surchsnged with DIFF
Iuseo ngnt a..
yet entirely different, is Harry Matthew's
green sward. a. hedge or fence at either
house. behind which appears clump Of
trees. q large and rather barren tree TO one
this picture is slvery and fairly tingles with
subdued light. His The Silent Nisht" Is
of a moonlight night.
r c. Peyraud is draushtsman as well
as colorist. The perspective In Early
a MGenDs the waser recedes Sow solid nh" the
| earth lies. This picture merits much study.
The rosy light from the rising sun on the
csJors No. &C. also BY Peyraud. is a scene
of number of corn shocks in a fed COW
cred with snow: purple shadows contrast
| ture is fun of hustle and animation; the
sky with its fieetiag clouds Is especially
There is a spontaneity about the Melting
Snow" by William Forsyth. which Is as
| fine as IL Is rare. the painting OF the slush-
| the rising steam and mist, gives us one Of
the strongest nature studies OF the exhibs-
/ ton.
name Of little picture much admired by
artists, painted by H. A Vincent, and shows
US the picture possibilities OF Chicago Out
| OF setting OF large grain elevator. gas
| reservoir. smoke stacks and chimneys. river
| craft and part OF the city in the distance
| with the water coming TO the lower edge OF
| canvas. picture OF remarkable beauty. full
| of color, fine in composition. light and at
| mosphere Is wrought
! find in Late Afternoon on the Missis-
| sinnewa." by T. c. Steese. wealth or poetic
| feeling a fine subjective color harmony ana
| a composition OF lines which carry the eyes
| naturally to the middle distance which the
| artist has made his point OF interest, and
which he has elaborated most. This sunLc
spof. which Is delightful for its subdued red.
gold and violet hues. becomes resting
| place for the eye OF the spectators
low. rich color note Is struck by II.
Leon Rocker I'm his Potato Fled In Ken
| lucky" Ii Is the end of day. red-purple
| shadowy ground in the foreground. cart
| partly filled with potatoes. man by ks
| side with a bag of potatoes. make an agree
| able contrast 10 The upper half or the
canvas illuminated by the setting sun: while
the entire scene Is kept low In tone. II be
comes one OF the attractive ones or the col
lection by reason OF rs perfect harmony
| rrn yard.ss No n by Charles ID. Alb