The sun., 1897-03-21


called Clouets for convenience, are thought to
be the work of his followers. The question in
wolves the other question: II they are not by
Clouet himself whowere the remarkably talented
artists who painted themi So far as the merit OF
the little portrait at Boston Is concerned, 1t makes
no difference whether Cluuct painted IL or not;
probably he did. 1t is just as we'll to think 80
and credits IL to him. Then we can say this or
that Clouet and be done with 1t. This one Is n
masterpiece. 1t represents a man who in real
life would hardly 30 considered fine type. cx-
cept that qualities OF character might be found
in his face. There would bo no beauty of
features. He is OF horid complexion and wears
sandy beard. He has a cap on his head, and
the blond tints of his face contrast with
green background of delicate tint. II Is as
hnc as Holbcin, we may say for u
comparison. IL is beautiful and admirable for
itself. There very few pictures by Van der
Nicer of Delft in this country, possibly not more
than two. There are not many in Europe, and a
good example, II 1t came into the market. would
be eagerly sought for by the great museums.
We have such one in tho Woman In Blue" at
the Metropolitan Museum.
At Copley Hall there is another. It is an inte-
rior with three figures called " The Musicians
tNo. 9Sl, and has turned tribe black in the
sombre passages where shadows darken the
corners Of the room. But the three figures,
the soldier with his broad belt over his shoul
der whose back il turned to us as he sits be-
fore a harpsichord and tho two women. may
be seen in all their tender artistic beauty.
The black and white marble tiles of the floor arc
as fine to see as when they were painted. There
is no fading. loss from time in the lovely
notes made by the yellow sleeves and the penrly
white satin gown of one OF the women, nor in the
head and queter hued frock OF the other. This
y "A nirtnre and he cnllai nv IN
other name but masterpiece.
Daubigny painted countless good pictures.
Indeed, we rarely one that cannot be called
good. He was a remarkably even painter. 1t is
much moro difficult 10 name masterpieces in his
case than it is in those of Corot and Rousseau.
They quite often fell below the mark, but at
other times rose SO high that their chief works
come easily to mind. Daubigny carries Off
tho landscape honors, however, at this Boston
exhibition. for it contains one of the most
individual and most imposing compositions
that have been seen anywhere by the hardest.
most truth.loving, and honest OF landscape
painters. 1t is "Landscape-Group OF Oaks"
No. 20, and is Of large size. Two great oaks
growing on high bank overhang a stream or
pond in the foreground. A patch of hill to the
left OF the trees and u gray sky complete the
composition. 1t is broadly and mantully paint
ed and is especially noteworthy as work
by Daubigny because the trees themselves form
the motive OF the picture. They are studied
from u near point of view, contrary to his usual
habit and the whole interest OF the picture oen-
tres in them. The sky and the other factors are
al in their places, but they are accessory feat
ures. Chief OF seven Corots. which in
clude the charming THE Lake. No. 9,
the interesting figure piece DIANA" No. IL.
and Soon-Ville d'Avray." No. o. which
is too high on the wall to be well seen, is
"Nylnphs and Fauns," No Is. II shows some OF
the finest atmospheric quality TO be found in
the good works of the great poet painter OF land
scape. and is an important and very complete
example 1t is distinguished by popularity of
composition which consists in placing largo
tree in the centre of the canvas and con-
centrating the effect OF light directly be-
hind it. 1t is so formal and so evidently
pdrti-pris that it attracts notice at once.
Though it shocks at first glance one grows to
like IL As the symmetry and harmony of the pic
ture impress themselves and the depth and COM
pleteness OF the rendering OF the subject become
apparent The picture belongs In the group
OF Corot's best works, and, like the Dau-
bigny, possesses special interest by being
different from the Of his style. As
one enters the gallery and looks up and down
the room the most striking picture the
walls seems TO be a portrait OF a lady in a green
The brilliancy OF the head and the fine color OF
the costume carry long distance and as one
draws nearer the picture in general aspect
, holds up To the promise OF the first glance.
1t is evidently the work OF master.
The splendid quality Of the green shows that,
as do the serenity of the figure and the
complete harmonious look Of the canvas. But
when Is before the picture tho face and
hands seen to be painted without vervc, and
the noble look of the face changes to a sort OF
wan placidty. II is the Portrait of Hen
rietta Maria" by Van Dyke tNo. 95,, a work
that wears the look OF masterpiece, and is
/ one, in fact. in some particulars, such as
the admirable painting OF the gown, but
falls below, considerably below, the artists
best standard in the face and hands. As these
are the most important parts one wonders why
it is 50. and the only explanation seems TO be
that the face and hands were for some reason
painted without enthusiasm. They do not bear
the easily recognizable marks OF having been
repainted or touched up. The auburn curls
about the lady's face are evidently just
as the painter left them yet they are
thinly and weakly painted But even ad
mitting these faults the portrait is impressive
and nothing in its way could be finer than the
wonderful gown OF green. A very large canvas
La Curee." No. H. by Courbet, showing a
! hunting scene in which two splendidly painted
hounds. deer strung up 10 tree, and two
| huntsmen in tho forest the points OF inter-
est, Is picture OF merit and of value. It Is SOM
| bre in color scheme like the celebrated Burial
at Ornans virile in handling, and by It's size and
quality an important example OF the great French
| realist. 1t is essentially 4 museum picture. A
| Jules Dupre, Landscape" No 2s. is ar unusual
composition for this painter. 1t shows the tops
of cliffs in the foreground, on which some horses
and cattle grazing n hollow bpf them
| the sea beyond with the horizon line very low on
the canvas and n tnesky OF gray. It. is a soberly
treated work, remarkable for contained strength
and for delicate color and modelling OF
| great masses OF clouds. Milet's " The Watcr-
| ing Place" No. 62, on the line, and The
| Sower." No. So in an elevated position, are the
two works besides the Goose Girl" which repre-
| sent him in the collection. The former, with n
| girl and COW. Is tine in some ways, but like Tho
| Angelus," is somewhat prettired. 1t is not
| rugged, as is the Peasant Leaning on His
| Hoe. nor suave and pure like " The Cleaners" ="