The record-union., 1898-02-08
THAT GREAT PICTURE.
DELORME'S BLACKSMITH"
STILL ON EXHIBITION.
A Criticism Of the Painting-Three
Great Features-One Week More
in Which to Study It.

Thousands in the past week have
viewed Delorme's wonderful painting
now on free exhibition at Weinstock,
Lubin e. Co.'s in the annex building, bur
there are other thousands who should
view it this, the last week of the exhi-
bition here.
We undertake to say that no picture
has been shown here since the Califor-
MIA Museum Association exhibited Ros-
enthal's Constance de Beverley at the
Art Gallery that is so strikingly origi-
nal or so strong in all respects THE
Blacksmith of DeLorme owes it's Won
derful attractiveness to three features.
First and foremost the artistic handling
by which the light shade and color eff
fects are SO marvelously worked out. BY
keeping the darker tones down and the
high lights sharp and distinct he has
produced that marvellous fire light eff
feet, that on the fore front of the figure
of the blacksmith makes it the nearest
possible approach to the real and
brings into such strong relief the fine
figure Of the man at the forge.
Second the detail. In this there is
painstaking that is remarkable. From
the debris of the forge and shop, to the
CODWSUS IdIl ODSCuIlS lue
light, the CLINT of sunbeams beneath the
door, the multitudinous tools of the
trade, the forge apparatus, the coarse
fittings of the shop, the details of the
low smoky structure-these are wonder
full in fidelity and ease.
Third the figure painting. We have
seen no figure work in recent years so
strong as this. The pose of the smith
studied about it, The muscular devel-
opment, the vigor of the head and neck
the unkempt hair, the solid. massive,
well-poised torso-all speak of power
full physique and reveal to the behold
er a splendid type of physical manhood.
For figure work it Is simply adnlira-
BILE. Indeed, as one artistic beholder
exclaimed in our presence 1T is glori-
GUS" So it is as art. The subject, it is
true, is homely one, suggesting moth
ing beyond itself, revealing nothing for
play of the fancy. All dependence for
effect is upon what is seen, nothing is
left to be imagined; except perhaps in
one respect. We know that outside
that grimy smithy there lie fair, green
and fiowery meads, fields bathed in
sea of richest sunshine, life-giving, soul
uplifting.
The average spectator who looks upon
this magnificent work is apt to place
most stress of praise upon the freight
effects as worked out upon the face,
breast and arms of the smith, upon the
glow of the fire in the forge and the
dash of sparks flying towards the work
ers face. We do not by any means
intend to belttle that effect. 1t is
wonderfully strong; it is as fine an ex-
ample of handling of pigments as we
have seen in later years, and the draw
ing is good also, practically fiawless.
But honestly, we place more of con-
tent with the picture upon the outer
light effect as shown by the sunbeams
beating through the mantle of CRIME,
cobwebs and half obscured window
panes, than upon the fire-light The
blaze of the coal seems a bit overcol-
ored just a suggestion Of too much
crimson, just a little too much of SOL
idity-and the sparks seem too solid
also. But, who could give them more
of scintillant character? In this, how
ever. there Iaust be some failure Of
technique. 1t is simply impossible to
convey suggestion of motion to sparks
The thought of instant flash and dash,
and then of absence of the onslaught
of imprisoned fire bursting in wrathful
spite towards the provoker.
We have said that the picture de-
ponds wholly upon its immediate re-
vealments: that it suggests nothing, or
little, beyond its bounds. But this be-
ing true it is all the more a powerful
picture for that very reason-its self
dependence. For as one studies it,
it's revelations multiply. New effects
constantly develop and new beauties
are disclosed. For instance. one does
not at first realize the fine artistic work
of the painter in the commingling of
natural and artificial light. the merging
of the spnbeams into the sharper,
stronger glow from the forge.
So other remarkable effect develop
in the figure work. in the handling, in
the technique, in detail, in anatomy, in
the intensity of the figure pose and yet
it's perfect ease. 1t is a masterpiece
unquestionably. 1t is a lesson in art:
it is a satisfaction to the artistic sense
1t is marvel of light and shadow; it
is a splendid example of the soul of art.