The times. [volume] (Washington [D.C.]) 1897-1901, 1900-09-30

steps of their master. One no longer
sees anything in the exhibitions which
remotely resembles his art, and 1t is
| doubtful il a picture the equal of
! Churchs, but by another hand, could, at
| the present time, pass any frst-class
exhibition jury. The fashion has changed
entirely New York has progressed with
| the other art centres of the world. While
| II is perfectly clear that the new pro-
| gressive movement is in the direction of
purer. truer. and higher art than that
! of Church and Richards, the writer is
catholic enough to wish someone was
| trying to combine the skill of these two
| men with modern ideas, as expressed in
the art OF Constable, Corot, Rousseau,
| Wyant, and Inhess.
| Church captiyated the people because
| he sought out the grandest views, both
! at home and In remote corners of the
earth. Sublimity and magnifcence were
the first requirements of every picture,
| and not infrequently these combined 30
many attractions that II WIS difficult, il
| not impossible, to get d single impress
sion from his pictures; they were many
pictures in one. The modern idea is that
landscape should convey single i'm
preston and in the painting everything is
| stripped from the subject that does not
| directly assist in the effort to express one
thought, one idea. This results in the Sc
lection of simpler subjects. The subtle
qualities of tone and contrast. color and
texture, are dweIt upon. II is called
charm" poetry music" The time
viii come when these qualities are better
understood and more generally known and
the language will contain words accurate
iy descriptive of these valued peculiari-
ties. for they are definite quantities TO
| the painter and connoisseur
Frederick L. Church, n A., was born in
hartford, Conn, May 4, 1926 and in his
| youth became pupil of Thomas Cole. On
account of his feeble health Mexico had
/ been Mr.. Churchs winter home for some
! years Returning from that country last
! Trii he died in his seventy-fourth year
/ Charles Dudley Warner, in the very ap-
/ preciatiye introduction to the illustrated
/ catalogue of the exhibition, says: I'VE
/ can scarcely oyerestimate the debt of
America to Mr.. Church in teaching il 10
appreciate the grandeur and beauty Of its
own scenery, and by his work at home and
in tropical lands in intoxicating a tasts
and arousiDg an enthusiasm for land
+. scape art-that is. landscape art as an
expression of the majesty and beauty of
/ the divine manifestation of nature"
Mr.. Warner in this expresses well the
/ opinion of the people. That he is also
conscious that the tide has turned, and
N'AtA tait III tStht ann 10 LOT
is obvious from the following paragraph
from the same Introduction:
During the quarter of a century that
this spirited artist was forced TO be little
more than spectator there have been
great changes and fluctuations In the world
OF art and many waves of shifting public
taste. From time to time expectation has
been excited of new methods that were to
make absolute all the canons of art Of the
historic masters, just as in poetry new
lights discovered that form was a bondage
to inspiration"
There are fourteen pictures in the col
lection and they are all large. The can
vases vary from Sx4 feet TO Axe feet. THE
Heart of the Andes and THE Niagara"
occupy the places of honor on the two
longest walls of the gallery. and of the en-
tire collection the latter picture, which is
owned by the Corcoran Gallery, and the
Aurora Borealis,' loaned by Mrs. Blod-
gett, are the most artistic and complete.
They possess unity and singleness of pur-
pose which the others lack. THE Mag
ara" Is probably the most widely known
picture painted by an American and it is
SO satisfactory work that it is simply