The news & observer. [volume] (Raleigh, N.C.) 1894-current, 1899-04-02

Gallery among the older works, shows
La Farge's Ascension in the Church
of the Ascension, which realizes in spirit
the GROWING event of the life of Christ,
and satisfies the feelings of the devout.
Thus far we have been speaking of work
of high order, in which the artistic
imagination has scared beyond the re-
gion of the ordinary mind. Where there
is no deep religious conviction and no
imagination. the result is either mawkish
sentimentality or the manufacture of So
called religious pictures" carried on, on
a large scale in France, because the pic
lures are Saiahle. Every year the walls
of the salons are hung with huge can
vases-Madonnas nativities, saints, etc.
inspired by a purely mercantile spirit,
and however marketable they may be,
representing in their coldness and hard
ness one of the most disagreeable phases
of modern art With this spirit we need
to have little to do: for in the main our
artists rarely paint serious subjects UNI
less from worthy motives.
This analysis of the standpoints to be
found in religious painting from its very
beginning has been entered into at some
length, because by it the work of every
artist can be judged with accuracy and
understanding.
Is it the result of serious convictions.
Of artistic inspiration, or of the CONNER
cial spirit? BY one or the other of these
canons it stands or falls. Since devout-
ness, h-mindedness, and fine feeling
have always formed an important part
of the womanly character. il is not sur
prising that in the work of several of
our women artists there are to be found
hose higher qualities which warrant the
term religious"
In the exhibition of the Society of Am
erican Artists of 1892 the deepest in
terest was awakened by the Annuncia-
tion painted by Miss Mary l.. Macomber.
The reverent Interpretation of the
scene. the delicacy of the coloring, and
the sweet type of the young Virgins
face. which is lit by an expression of holt
ness and awe as she listens to the heav-
emily messenger, made the small canvas,
inconspicuously hung. one of the most
important features of the collection. 1T
was talked of. written about. and en-
graved. bringing the artist. who was
then comparatively unknown. an envia-
BILE reputation. and this first success was
repeated when it was shown at the Co
lumbian Exposition. The distinguished
critic, Mrs. Clara Erskine Clement, has
written of this picture with the greatest
appreciation and enthusiasm, and says
that she considers the artist "the most
remarkable American painter of religious
subjects"
To hos Of hn 10
donna. the theme which has called out
the highest energies of the greatest ar
lists of the Christian era, must be con-
sidered a distinct addition to those works
of art to which can be applied the words
Andrea del Sarto. $50, such things
should be. Behold Madonna" The
mother, sitting in high marble seat
| holds her baby in her arms, resting her
| cheek lovingly against his little head
Two symbolic female figures kneel in
alteration. the one holding crown of
thorns, the other with her face buried
| in her hands. as though overcome at
thought of the future sorrows of the in
| FAINT Jesus. Unfortunately a limited
space does not permit a description of
the exquisite coloring, or more than a
| mention of Miss Macomber's Hail
Mary" ''The Magdalen," Lots Wife, y
and ''Ruth'-all pictures which are wor-
| thy of careful study and consideration
| Faith. Hope and Love- has been Sc
| lected for illustration. because, while
| it may not be distinctly an Easter pic
| ture, it sets forth those qualities which
are embodied in the lesson of Christs
| teaching, and of his rising and ascen-
| sion. The symbolism of this picture is
as perfect as its artistic qualities are
satisfying. Faith and Hope crouch at
| the feet of Love. Faith robed in white,
| is holding a green branch, and is watch
| ing the flame of lamp; while Hope,
| clad in blue and with halo of rainbow
| hues. is blind and her chained hands
| play upon an instrument of which only
one string is unbroken. Love, whose
white wings shadow the other figures
with Il feeling of protection, has taken
off her crown, and holds it i'll her lap;
one hand rests upon Hopes shoulder,
and her face is bent to watch Faiths
lamp.
"On an Instrument of Ten Strings" is
Miss Macombe's latest picture. The an
gels face is of purity and sweetness
that might well belong. to one singing
before the Most High. This artists
reputation has been made without SEN
sationalism or eccentrcity. OF New Enc
land parentage, Miss Macomber lives i'm
the retirement of a small country town.
She was for some time a student at the
Museum of Fine Arts in Boston, but
i'll health has prevented her studying or
travelling abroad. Her pictures have
received several medals of honor and
the Norman Dodge prize at the Academy
/ of Design.
The qualities Of delicate color, careful
drawing and what is called 'ecclesiasti-
! cal feeling" for lack of a better word,
are present in harmonious proportions
in Miss Helen Maitland Armstrong;
designs and sketches, almost all of(which
have been carried out i'll stained-g glass
windows. Miss Armstrong comes by
70" standards rightfully, having studied
entirely with her father, Maitland Arm
strong, ESD. one of our most distinguish
ed artists, who uses the English stained
glass, that relies more upon these char
acteristics than upon the beautiful color
ing for which our American windows
are famous. Miss Armstrong is aston
iShingly at ease in her work, which re-