The record-union., 1899-02-26

two equestrian groups in bronze, by
Frederick MacMonnies, which, mount
ed upon massive granite pedestals, are
to. adorn the Ocean Parkway entrance
to Prospect Park, has recently been
placed in position, and has since peen
attracting the admiration of every one
who has passed near the spot Inc
bronze represents the figure of slen-
der, athletic youth struggling to obtain
the mastery over two fiery horses
which are plunging and rearing IN their
efforts to shake off his control. Mount
ed upon one animal, the rider retains
his seat solely by clinging with tense
leg-muscles while with his left hand
he holds the bit of the other horse in
powerful grasp. In his right hand is
a flexible rawhide whip, with which he
is prepared to administer punishment
to either animal. The group is little
larger than 1ifesize. 1t is a fine spir-
tied piece of sculpture, in Mr.. MacMon-
MES familiar style, and adds one more
to the admirable bronzes which Pros
pect Park now possesses. The COM
penion group, which is to stand at the
opposite side of the driveway entrance,
is similar in design, and is evidently
intended TO portray another phase of
the conflict between the same rider and
his steeds.
When all the work upon which Mr..
MacMonnies is now engaged for Brook
1yn's beautiful park shall have been
completed there will be on view in that
place an unusually fine and varied rep
resentation of his artistic skill. Two
groups for the side-piers of the Mem
orial Arch, to harmonic with his splen-
did quadriga above, are yet to be fin
ished by him at his studio in Paris. The
photograph from the plaster model of
the one typifying the Army has already
been published in the Tribune The
design for the other the Navy, is not
yet finished. Besides these, Mr.. Mac
Monnfes is working upon four small
bronze figures of Winged Victories"
each of which is to decorate one of the
four columns at the main entrance to
the park. 1t was originally intended
to have eagles upon these columns, but
the sculptor thinks the Victories will
be more attractive and satisfactory.
Burne-Jones, in recently quoted pri-
waite letter, set down this caution to
the writer's of biography: 1.-THE lives
of men who dream are not lives to tell,
are they? You can tell life of men
who have fought and won and been
beaten, because it is clear and definite;
but what is there to say about poet
or an artist ever? To those who can
see with eyes and read the ineffable it
may be clear enough / never want
life of any man whose work I know,
for that is his day of judgment and his
DOOM
The. artist writing in a playful mood
one day, asked: Did you see that a
certain photographer set up in Paris
once. and advertised his work thus:
Resemblance frappante 5 fir.
Resemblance orddnaire, fir so C.
Air de fanille, 80 c.?
Il should never get more than SOC for
my likenesses''
Mr. Storey the English painter, in his
recent book of "reminiscences. tells this
anecdote of Edwin Landseer: ION an
other occasion Landseer was riding
down Bond street and saw the follow
ing notice in a picture dealers shop
window: "A fine Landseer on view with
in He said to himself, I should like
to see "fne Landseer."' The dealer,
who did not recognize him, but thought
he was some rich customer, ushered
him into back room and proudly
pointed out the work. 1t was rather
an early one. The dealer was, of course,
loud in its praise, which was very sat
isfactory to the artist.
And how much do you want for it?''
said Landseer.
Two thousand guineas, SIR was the
reply.
Two thousand guineas? That seems
a long price for an early work
I could not take a shilling less
said the dealer. He's gone, sir touch
ing his forehead significantly; he's out
of his mind; he'll never paint another
% Is he. indeed?' said Landseer I'm
very sorry to hear that
And as he was coming away he no.
ticed a large picture by Stanfield
May 1 ask what you want for this
Stanfield?'
That sir, is also two thousand
guineas'
'Whatl' said Landseer, touching his
forehead, and initiating the dealers
gesture. has Stanfield gone, too?'"
Art Amateur: The fall of Landseer
IS probably due, in great part, to the
rise Of Swan. 1t has been discovered
by the critics that Landseer's dogs and
donbeys. are. as Nietsyche says mer
are. too human" Swan is supposed
to avoid that fault, "as the old masters
always did" There is here a congeries
of errors. A few good old animal paint
ecs, such as Snyders. did certainly
make their beasts more stupid than
nature; but most old masters went far
beyond Landseer in humanizing the
animals that they introduced in their
pictures With them it was, perhaps,
only habit of hand. But, in any case,
they were not so far wrong in the re-
suit The higher animals have emo
tons like the human, and the corre-
spending muscles are moved in ex-
pressing them. Landseer exaggerated
this play of expression; Swan omits it.
The latter painters real superiority is
solely in his somewhat better under
standing of brush work.
New York Post: In a recent number
of the Artist" is a paper by Leslie w.
Miller, principal OF the School of Indus
trial Art of the Pennsylvania Museum,
Philadelphia. The subject is THE
Practical in Design; is it Barrier or
an Inspiration" in other words, chow
10 reconcile the artistic endeavor with
the stern realities which dominate ac-
1ual production Mr. Miller's conten-
non is that artistic Improvement must
come from inside along the lines of
improved technical education AS to
the effect of machinery upon artistic de-