The sun. [volume] (New York [N.Y.]) 1833-1916, 1902-11-10
PITTSBC RI ANIMAL PICTURE
ENHIBITION.


IN" loan exhibition now being held at
the Carnegie Art Galleries. Pittsburg,
presents several remarkable examples of
Daubigny's art. Representing appar-
! emily his early period il lie Ru Nalmon-
dois II was in this part Of III" country
. that his childhood was spent. and he re-
1 N"rt"d to II III his first pictures. The water
. "p,lr>"' flows straight back from the front
/ arch"d over by trees that grow on each
! bank; Will" 10 the right is another parallel
! row Of trees that forms n second vista,
| terminating in a glimpse # the village
| u II bold and stirring composition quite
| unlike IN" painters later method and AZ
| iordS fin" study Of tree forms and of
/ p"rsp"ct i've \ Ucll-known picture, for
, m rly IN tn" possession Of Mr. George Peti,
I and now owned 10y tho 4 NJ Byer- estate
! IL SOLITUDE, a view upon the Disc, with a
! fringe of reeds in front and crane stand
! ing in the water while another is in act Of
settling Even moro wonderful than the
! foreground. perfect as II is in local suggn--
I tiun and in the expression Of tranquility.
! Is the troatme Of the low hills beyond the
| water, Yielding such copiousness of in
| '@reSilng detail that is yet rendered with
! an appearance of complete ease and is,
moreover. entirely suhordlnated to the
| general s"heme; hut Nh" most importan,
| "Nampl" here il I,e Moulin dos Goehellcs. -"
/ loaned 10y Mr.. William l. tlkins, a large
| canvas. about four feet high hv six In
length. Cottages and the mill stretch
| across the middle distance. with white
walls and dark brown roofs and there are
| trees behind them whose tops show above a
| further hill spreading their delicate trac.rv
! against sky Of the color of lemon stepped
J IN wln" \ few soft tlft- Of violet cloud
! n'a' in IN" luminous glow, which j. still
/ u"ing eNhnlcd from the gathering darkness
| Il IA" hill and buildings and from tho rich
greens If IN" grassy foreground, threaded
! ~ IN" mil stream II Is pic'ur" If noble
| pW"iud" and ample, genial grandeur, a
mn" example Of tn" artists power of ldealiz-
| ing the simple facts Of the familiar country
side.
toEspiruouSly grand also are two Of tho
| 'orot group: a -Danse des Nymphns." from
| IN" VI Byers estate, ard an Evening
! Mtiqu" Dance, from that Of JAY Gould
| The nu'iv" In each case is similar; a version
Of the classical landscape Of the artists
| imagining, wherein n mood of nature is
| interpreted. in the one Of evening and in
the other OF early morning aud the poetic
pure. fresh gadness Of Corot's soul, is ami
mated by grouppf dancing fig Great
urrs If golden aga Of fancy, that vet
-eem perfectly az home in these idea I'd
renderugs Of the modern world. O..e
may ponder over each in turn. striving 10
! discover whic h Of the two Affects one more
and will find probably that they are com
| Elementary 10 each other. the one express
$50, -.
! morning and III" other the PURIFYING Sc
/ r"ni'y of natures approaching sleep For
! t"ro' Yielded himself in wrapt accord
with either phase. finding in both an equal
detachment for his spirit. and peopling
IA" scene. as his imagination pictured il ,
| with creatures CORES pondingly aloof from
actual existence
Dupres fondness for majestic effects
of SKY Is shown in the Marine" (No 81
The e"a Is greeuish gray, stirred to white
by the breeze, and in the iorepart. darkencd
by heayy cloud that hangs midway up
the ky, a fishing smack il scudd!ng, while
farther back another Las swung into tie
g,eam Of light which spreads from the
horizon, reflection OF the fan-like glare
that radlates from beneath the cloud
Tie horizon itself Is bauhcd with gray cloud
1 threaded with rose, and above the dark
cloud alluded to Is an open space of fainter
hight, Canoped with murky cumuli The
lUHrc-siNcncss of this SLY is ia nowise
forced, the phenomenon il such as one
nhd- familiar, and it, grandeur has been
expressed with a trutl FL Moderation that
lNdh' ~ appeal 80 nlICh the deeper, This
pICtUr" l. tremendous with the meaning Cf
everyday nature, While for that impress
slNeuc-r which Ii hall due TO the selection
! Il scene Of unusual grandeur one may
I pass TO he magnificent example by Ruis-
! ddtl, the Moses of tie Iatrr prophets Of land
! -cal". IL Is The Waterfall" no 1889
! IA NiiCh H." water. rtILcd up between two
cmlAcno"S IF rock and trees, bursts into
| a cataract IN The cent?" Of the composition
| and then spread, to the front, where !, L.
I ,pauucd by fallen trunks Beyond the angle
| OF IL" gorge white clouds appear above
! the horizon, and higher in the heaven are
| rolling masses Of grayer ones, lighted from
| the left Soaring up into this luminous
| space i pr'Cipitous mountain, on the
| night of the middle distance, crowned with
| "a castle. Tie contrast of those silent sem
| tlnel- OF nature with the rIsh and tumut
| Of the water Is stupeudOG>; vet not more
| iull of aesthetic impulse Than the vigorous
| richness Of the local coloring set against
| The atmospheric deliCacy Of the sky A
| lne eNampl" also j. shown 10y Hohbema the
| follower Of Rui-da,l but himself a pioneer
| IN the direction Of the pGySdqc int'rHc.
The Wa,crmill." which came from the
! famous D"midof collection and i now
| owned 10y he Art Institute of Chicago,
! IN the freshness of its color j. well pre-
! served, AMI IN the ample severity mingled
/ with gentle intimacy that pervade- the
| handsome composition il a gallery picture
! of the first rank Yet il represents a view
! of nature tuned TO brown. and one NAV
! realiZ" how audacious IN the eyes Of his
| generation was tonstahle's grasp Of truth
/ when he compares with the Dutch picture
/ his Farm in Cheshire" mo 49, Here, too
/ - mill with water lcaping white from
I beneath the wheel, willow tree over
hanging nearby bridge, bunch of
I larger trees on the right ami a foregr Ound,
/ of grass and winding stream, are he simple
/ features of the countryside, realized in
/ their separate characters. But here, too
3 are the greens of nature, eggs and spinach,
! cabbage or ANYTHING else the world might
! find of jest; yet, notwi'hst anding, natures
! Coloring II il many years, however,
since Constable was slighted, and other
/ men have entered into his rest and Of these
/ lew have shown a more fearless affection
! for the greens of nature or greater skill
/ IN rendering them than George lnnnss.
We have the chance on this occasion
! Of seeing again those two remarkable
! pictures, The Coming Shower" and THE
! tloudcd sun" owned, respectively, hy
| Mrs. William Thaw and the Carnegie Art
| Institute, Green they are, indeed, but
| how differently from Constable's' All the
! difference that inheres in the simple natural
! ism Of the latter and the Americans
! haN ,trr