The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1902-01-25

and Bierstad and Church, Moran, Colman,
Jervis McEntee, Inness, Winslow Homer
Chase, Dow, Inman, have shown that there
is inspiration and artists to be inspired by it
to portray the splendors and beauties of
American atmosphere. There are interesting
notes on Eastman Johnson. j. G. Brown and
other genre painters. and our artists III.
marines are duly recorded, About a quarter
of a century ago, the results of European
study on American art students found ex-
preston in their canvasses at6the Centennial
exhibition and other art exhibitions after
wards, the trend to technical perfection being
very pronounced in the new school wherein
are many artists who do little besides reflect
ing foreign art The author interestingly
criticiZes the artists Of the later school, nota-
bly, Ryder, whom he credits with the 'creative
faculty.
The second volume is devoted to Ameri-,
can sculpture, the art Of illustration. the
condition Of American art in Europe, and
there is a chapter on latest phases in Ameri-l
can art, In sculpture We can boast Of such
names as Crawford, Powers. st. Gaudens,
Joel T. Hart Story, Harriet Hosmer, II. 4.
Browne, Rogers, French; Ward, fMacMon
MES. In Illustration Thomas Mast was. an
early development of the civil war and he
our first great cartoonist. La Fargo and
Howard Pyle are at the front as illustrators.
Frost and Vedder, Abbey, Kenyon Cox Cline
Inst, Smedley, G. D. Gibson, Remington,
those artists. The author gives much space
to Whistler, who stands high as an etcher,
but lives in London. Very properly the
author condemns the tone of many American
artists residing in Europe who dispafage
their own country and pride themselves upon
being the product of foreign schools. He be-
lieves that we should have. more thinking
painters like Hunt and Fuller and lnness and
others who were ''insensible to mercenary
temptations and faithfully accomplished the
ideals of their youth and whose genius was
powerful enough to struggle against the in
difference of a whole nation These volumes
are profusely illustrated.
Little Pi1grimages Among the WOm-
en- who Have Written Famous
Backs By Haf nd5ten and &C.
& Co. Minneapolis: Nathaniel Mccarthy.
Price, s150
This is u remarkably attractive book. 1t in
cludes sketches of twenty one women VINO nave
written themselves into literary conspiculty.
Perhaps some others should have been added.
Elizabeth Stuart Phelps naturally comes first,
for she has been a popular writer from her
first essay at bookmaking. Her first story,
Coates Affair."" has been printed and sold to
the extent of several hundred thousands OF
copies. Mrs. Burnett is in the book, OF
| course, and she will always be associated
with Little Lord Fauntleroy," as her best
literary performance. "a Lady of Quality"
is not much to her credit. Her "The Making
of Marchioness'' is the best of her books
after Little Lord Fauntleroy." Sarah Orne
Jewett began to write at IA and she has been
improving ever since. Miss Marshall Saun-
ders could rest her fame upon Rose a
Charlotte" alone sprightly little Kate Doug
las Wiggin now Mrs. Riggs, is accorded due
attention. Miss Glasgow is one OF the more
recent southern writer's Of fiction. Miss Mur-
free Charles Egbert CraddocD succeeded in
concealing her identity for some time. Her
full name is Mary Noailles Murfree and her
! address is Murfreesboro, Tenn There are de-
lghtful sketches of Mary E. Wilkins and
Mrs Amelia Barr and Of Moilie Elliott Sea-
we'll. The latter is a Virginian 10y birth,
brought up in an atmosphere of books and
of good literature in one Of those large, old
| rambling southern country houses where
there was a library containing many books
| which Thomas Jefferson bought in France and
| England for her great-grazdfather, Judge
TYLER The portraits OF the twenty-one women
| in the book are very fine and make an at
| tractive feature.
Florence. By Grant Allen. In two vol
umes illustrated Boston: Il. Z. rage
| &: Co. Minneapolis: N. Mccarthy. Price,
$3.50 per volume.
| The simple word "Florence" is so sugges-
tive of art and letters that these elegant
| volumes need no longer title. The author
rightly says, that the old town IS a museum
| of its own history and in giving the reader
the details of the contents Of that museum
he opens up the history of Florence and we
| discover why the city OF the Arno became
such a center of art. It became the Intellect
! ual and artistic capital Of Tuscany during
! the middle ages, after being a Roman NUM-