The times. [volume] (Washington [D.C.]) 1897-1901, 1900-02-25


fraud that man can practice and keep
out of Jail. Some artists paint good p'ct-
ures aad get good prices for them at
auction sales. These men are respected
and ample rewards follow the sue
cessful picture. Only a few can ever
hope to comprehend and determine the
particular qualities which go to make up
= good picture, and in consequence the pub
lie, relying on its own inadequate judg-
ment and the word of some silver-tongued
auctioneer. buy these fake pictures which
are the lowest sort of a sweatshop factory
product. The first cost OF the canvas does
not often exceed 10 per cent OF the cost of
the frame which is more likely TO be
genuine and respectable article because the
public is better judge of frames than ii
is of pictures.
Now and then a collection of good paint
ings are sold at auction here and generally
bring less than hey are worth. This is
the fake dealers opportunity.
A shipment of buckeyes" as they are
called in the trade. is hurried TO tha same
auction house which deals in good and
bad pictures alike in the most impersonal
fashion. Everything Is grist that comes
to the auction mill and the house takes its
commissions and asks no questions.
The artists. from time to time, protest
but they are not capitalists and influential
taxpayers, and so they protest in vain.
But here is the point which makes the
artists blood boil: The buyer of these
fake pictures, having purchased som thing
at one of these sales 4 bargain they
are always bargains. though the sam pic
ture might have been bought OF local
merchant for half the sum-and having
placed his picture prominently on the wall
at home. seeks out some artist OF reputa-
ton and escorts him to his house. He
offers him cigar, perhaps, and thea asks
for an expert opinion as TO the merits OF
his newly-acquired art treasure. Ii never
seems to occur 20 this buyer that perhaps
1t would he decent thing to ask this pro-
fessional expert for his bill. as he would
not fail to do II the question related TO
| law or the value OF real estate. On. no;
this expert is only an artist whom no
body respects except the chosen few who
| understand and love pictures.
The artist under the circumstances.
may do either If two things; his disgust
may impel him TO say very fine"
Then how the new connoisseur swelis
with pride and tells The artist the very
small price all this glare OF gold and
plush-linei shadow boy cost him. and the
artist walks back empty-handed and sor-
rowful TO his studio. On the other hand.
II the artist analyses the picture and tells
just what he knows il 10 be, .spsring none
of its defects in his candid description,
the new connoissour dismisses the critic
coldly and consoles himself with the re-
Election that this is cnIy more conclusive
evidence of the narrowness, prejudice,
and jealousy Of these professionals. The
artists wish the merchants every possible
success in this crusade against the fake
auction. Il is an imposition and null
ssnce, but when the fake auction disap-
pears the artizts will surely feel lonesome
fo- time.
George Innes'- Winter Picture.
The advent OF 50 important picture as
George lines Winter is something caicu-
lated TO causea stir in art circles anywhere.
This unique picture was purchased at the
recent Evans sale in New York by Mr.. c.
c. Glover. OF this city. Since this picture
was first shown at the Academy, in New
York. some time in the eighties, the
writer has regarded il as his cho.ee Of all
the pictures known 10 him by this great
est master of landscape. II must be borne
In mind that the writer's point Of view is
always professional. however much he may
aim to take 4 broader look at things arts
tic. s,,, sas-'o., ~-.r..-
lines was man with very marked
and singular manner which the public was
slow 10 comprehend. There was a period
in his career when certain black lumpy
clouds ard trees. producing Astonishing
contrasts, we're the earmarks of his work
that enabled one 10 pick out an lines at
glance, and among the pictures o. any
exhibition At this period Innes could sell
nothing. The public passed these things
by for Hudson River men more easily an
derstood. but now forgotten.
The writer remembers well the fasci-
nation there was in the quality of these
earlier things. but those solid clouds and
| the Jumps of trees were mystery. Ma
| ture never looked that way to him. But
lines reduced these contrasts and settled
| TO more conservative statement OF his
| impressions Of nature
When this winter picture was first
| shown in New York the artists gathered
| about ii in establishment. II was rev
citation. Here was an lines picture, win
| ter near the close OF a thaw, remote in
| color and subject as one could imagine
| from the great things upon which his rep
utation rested. The discriminating Mr..
Evans bought this picture. and it was mex;
publicly seen at the Chicago Exposition,
where there was always a flock Of students
about it, Nothing of lines perhaps, has
| so widely influenced the younger set OF
painters. and in the best possible way,
| for this was not picture TO be copied.
| II was not so much the scene. color, or
| composition. Ii was a command TO go TO
\ nature and paint what you find there. 50
| IL is perhaps not 10 much TO say thG-
| this picture has done more toward the
| intelligent development Of American land
| scape art than any other ever painted in
4 Anna Mr Glover loaned
| this picture TO the Corcoran Art Gallery,
where il hangs facing the visitor when he
reaches the top of the grand staircase.
The writer is often asked his opinion o.
| the large George lines owned by the Cor
| coran Gallery-the Wood Interior Well,
one hesitates before the work OF master
1 so Justly adored, but that American of the
/ student type who never grows too old to
learn, is an iconoclast: names and popular
enthusiasm mean little to him. His point
| of view, while not unsympathetic, is Sc
| yerely analytical. The writer has studied
| this picture thoughtfully for years, and
never without lea ming something OF
| method and tone. This picture represents
| a sombre corner the outrageous depths
| of some northern American forest The
| tones are beautiful, harmonious, and very
| charming. The method. the handling is in
| lines best manner. AS piece of color il
| is fine, but not notable for this master.
| Admitting these excellent qualities in this
| canvas the writer admits frankly that this
| is a disappointing picture. The motive IS
so very simple. A late afternoon sunbeam
penetrates this shady spot and illumines
| the trunk Of a great beach. The motive is
a capital one but Mr.. lines was so occu-
pied with the light problem that his beach
looks like anything but beach. II is more
| like a chamois skin bag filled with cotton,