The times., 1899-06-18

hold of that wide and permanent recog-
milton both abroad and at home which
would have insured him independence. 1t
is the saddest of many personal experiences
the writer remembers. No greater loss to
American art since the death of Malbone.
One must be personal. / became intimately
acquainted with him that year late in the
eighties, when he resided in Washington.
He talked art little, but reveTently, and the
little he ventured was profound. His was
the spirit Of the pre- -Raphaelites. We have
sketched together about the city. but the
material was not congenial to him. He
could not paint French pastoral out of
doors in Virginia. His heart was beyond
the sea. One early morning in June, be-
tween Dieppe and Paris, l saw Truesdell
cows in Truesdell pastures. II was my first
glimpse of France, and yet no French
painter, whose pictures were known TO me,
had caught so truly the real look of Nor
mandy as it burst upon my enchanted
vision that rare day in June" as the
Figaro declared. 1t remained for the
American. Picknell, to show Frenchmen
how their roads should be painted. so it
remained for another American, Truesdell,
to show Frenchmen how idyllic June land
scape with cattle might be pictured.
Truesdell was an exceptionally fine
draughtsman. His life had been given TO
painting in oil. This method he learned in
Paris, where, better than anywhere else
its possibilities are understood. He count
ed among his intimate and devoted friends
many Of the ablest of the French masters.
The gay student life knew him not at all.
He was a persistent worker who avoided
the American colony as something too fiiv-
olous for him. He would not dress fash
ionably, and could not tell stories and sing
songs. He was the opposite of your bright
accomplished. all-round painter, who find
so easily people who praise and buy pic
lures before they deserve it. Truesdell's
life was simple and as earnest as was that
of Millett. He had not, however, Millett's
tremendous physique and power of endur-
aIce, and so was taken at moment when
pictures were about TO be painted whish
would have eclipsed all the previous ef-
forts of his truthful brush.
Progressive America has many artists
who are doing great things for the honor
of their native land. but in the death OF
Truesdell America sustains a loss such as
fell to France when Fortuney and Regnault
were prematurely called away
Visitors to the Chicago Exposition will
recall The Shepherds Lunch noble
picture of Truesdel that won for him
medal there. Truesdell was singularly even
in his work. He was relentless and de-
stroyed every canvas that seemed not to
reach the truth. II might be pretty pic
ture and far from bad but he was welded
TO nature and her dear presence hOvered
about him like guardian angel His de-
votion TO her was loyal to the last. She
inspired his every thought and action. No
canvas which she did not fully approve
was ever allowed 10 live. His friends be-
lieve he made some mistakes in this di-
rection. one OF which Is worth mentioning.
4 splendid sheep picture-a photogravure
OF which was widely distributed by the
dealers in America, and an admirable com
position-was afterward painted out by the
artist simply because he did not think II
reached the standard he was determined to
maintain. As 4 consequence his reputa-
ton is unusually secure. The work he
signed is all Of H. SO good it promises the
steady growth Of q reputation that is to
be one Of the most creditable in the an
mails OF American art.
Since the work OF Truesdell has come 20
Unexpectedly TO an end, it may be said with
absolute certainty that the most impor-
tant, popular and widely known OF his pi2-
lures is in the possession of the Corcoran
Gallery Of Art. This is Going to Pas
ture,' a canvas 6x9 feet. 1t was painted
in France in 1889. beautiful but real
shepherdess is accompanying-not driving
"A flock OF sheep to pasture. The fresh,
sweet young girl and the sheep are en-
tirely unconscious OF the lovely picture
they make as they move toward the be-
holder from barn ON the edge of the
woods. shepherd dog joyously stands