New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1902-08-05
AT THE METROPOLITAN,
A MORNING WITH Mr.. KELLOGG'S CLASS
OF COLUMBIA SUMNER SCHOOL

,o ,c-,,snx- Of earnest Young women and a
few studious young men followed George sawyer
Kellogg about the Metropolitan Museum OF Art INC
other morning. They were school teachers from
every State in the Union. students at Columola
summer school. listening 70 one or MI heiIoss
- lectures Maine and California logged elbows
- ,o-,nared their notebooks, which contained an
aDnarentIy heterogeneous confusion OF memoranda
cornnosed Of such incomprehensible terms IS
..Tssrh school Eng. inf on Barb School,
Sewer Michael Angelo" Early Americans
r,hotographic style and SO on But the mysuc
notes all had a meaning. They traced Nj hei-
logs talk on The Evolution Of Landscape PANT
ing" from Claude Lorraine back in the seventeenth
century down to AdfIlet- He traced LorTalnes IN
fuence on Richard Wilson and turner anu 80
p, Coro- He explained the English landscape
school having special attention 70 Gainsboroush'
and told of its influence. through Paris exhloltohs
and other means. in forming the baToizoh scnO0i
az French painters Of nature 10 Illustrate Ed--0
borough he took the class TO No S5S, me gypsy
ra-7--ert'' and pointed out the red light stream
ing along the ground, effect seen for only a 1e"
moments lust before sunset he drew attenuon 10
CafnsborouEh's peculiar and CHARACTERISTIC tFee'-
,nen- OF foliage and proclaimed the picture one OF
- 80 highest types OF English landscape paint
ing.
-rro-oas Coles IN the Catskills'' he showed the
class as q typical example Of the Work OF AnneFl-
can 7ain+ers before coming under the influence or
the F2a-btzon school. He described the 7oosoD
River School so called because the
the coterie devoted themselves almost enurely 70
-,si--i-,- the scenery Of the Hudson. He pointed
or the microscopic effects. in which al the sepa-
rate leaves OF the foliage carefully and nnuteiy
PAINTED in an effect faithfully preserved III the
enerav1ugs Of the time .
The artist must know what reproduce. as well
&C how 10 reproduce IT," said Mr.. Kellogg The
Museum is unfortunately poor in the wcrks OF
present CAV American artists he Continued, com
ing 70 pause before No 3f5. Young woman Oy
Abbott Il Thayer. and therefore an going 10
draw your attention TO this picture by ThayeT' al
7,--z DTr
very highest type Of present day American work
and vii repay all the study you can give IL
Of The Dutch landscape artists he pointed out
P,vs5ael who reproduced not the scenes amid
which he lived in Holland, but bits OF ltalian
scene-v in which he loved 10 put water tuInbling
over rocks and all OF which were perNadeo Dy an
atmosphere OF melancholy.
Il No. go Rcusseau's Edge Of the Forest MI
Kellogg declared that they had reached the cui-
uinarIon OF landscape painting
we can 90 no further" he said Ihls Is the
highest The irnpressionists may have gone further
but Il vas along a different line They have
worked ru+ : differert problem, catching delicate
and evasve effects Of nature by a different nethoo-
This Is the highest possible development of land
n he sarbiZ6n forest ana loved his trees much
tHat n talked 70 them and Ihey " Ese 1Rizon
Contrasting Rousseau and Corot he said that the
former Loved 10 depict the eternal strength of nat
urc ana the latter It's traIseI f a he 80 he
leaves all trembling. - 1yaIa.,, ..-ta+
CorOt car be fraudulenriy copied as no oneI plIts
can be- There are probably many so-cdiled C9Iot s
n private collections in America to-day which
never saw lis brush .fo, 81 .5,s c1ass 70
KelIogg called the attention OF tle cIass 10
its good fortune IN being able 10 see me amer
bilf Collection visible the puoLc Tor ms year
only II this collection he called their atJsnuoh 70
Rolsseaus Evening and 10 Daz oIesl OF
FonraineblesuT which he pronounced Lne We
greatest work OF Diaz Then. after pointing our q
humber Of other peasant pictures DOM OF AIiliet
and others he led them 10 The SoWeI;; ,s -,
Here We have a picture above aIo oeyoIo an
criticism" said ne; tine greatest picture o. t s
gresfAsT of the peasant painters, nj 10 rank oesue
the work OF Michael Angelo nlnisell;; .oa.a-.
Nr kellogg declared that no LElne, pedsaHt
uanter was greater than Jozef ls;-aels the Dltcn
artist and that greater work nae coIE In
brush than No 695. -'ENpectatlon ar. ~.
logg pronounced Troyon greater aIlllhsl PH-L4't
thar Rosa Ponheur because OF his nuooucuoh "i
lzndsraDa into MS animal pictures
PM nov and then. when she does me salns
thing F3onheUr is equally great saIo I, az
pointed out in proof Of his words Inc " "a. ~
the Calves IN the Wolfe coliecuoh' VIII III ob
q lonesome rocky. pasture hil4slde 1oSH .tC Z
The covvs come srrtngfng 20 the hudoIeo cowny,
beating group % calves on the othei 9iNe u "'7
fence IA other nar+s
Plenty Of people in NewYork and oth s par - -
the country" said Mr.. Kellogg 20 aDI oar - 80
STUDY museums because they DON'T sIloH 49,
there Is al the Metropolitan, ana are ishofa1l VI
how much they miss here 81 o1sss 6, Tho his
Mr. Kellogg has been giving ms class liz III ta
tory and Interpretation OF art eVeiIIIk -, IL
scl,irs-Ire e,aT1erfes ~ the Metropolitan MondaS
and Friday nights