The Minneapolis journal. [volume] (Minneapolis, Minn.) 1888-1939, 1904-12-10
ART INTERESTS


The Boston Museum of Fine Arts has
made n as a notable recent purchase Of a
Philip ". of Spain. il is thought pos
sible that this is the earliest known
work of the artist, as it represents the
king as more youthful than in any other
of Velasquez' portraits Of him.
Professor Adolf Furtwangler of the
University of Munich recently spent
some time studying the objects of clas-
sic art in the museum. In recording his
impressions he said: tFIn the sections
Of Greek vases and terracottas nearly
represented, some of them by specimens
Of great excellence. The collection of
vases is already worthy Of comparison
with many Of the famous old collections
of Europe, such as that Of the Vatican
and others, especially in it's examples
of the finest period of Greek vase paint
ing, which is illustrated by specimens
of the choicest kind and of the greatest
value, while the collection of terra-cot-
tas ranks not only equal to the best in
Europe, but in some respects surpasses
them.
Robert Reid, who painted the large
panel in the Boston statehouse having
for it's subject tJames Otis Arguing
Against the Writs of Assistance has
just completed the remaining panels Of
his commission and these will soon be in
place: They portray the incidents Of
Paul Reyere's Ride and the Boston Tea
Party. Between the three, in smaller
panels, are medallion portraits of states
men, with coats of arms and flags, all
rendered in tones that harmonic with
the largest work.
News comes from Venice Of the dis
covery of valuable frescoes in the
church of the abbey Of San Testo, near
Aquileja. A well-known writer on art
is of the opinion that the paintings with
which the whole church is covered be-
long to the school of Giotto, and the pic
ture Of Christ at the Cross in the apse
certainly bears strong resemblance to
Giotto's painting in the Scrovegni
chapel at Padua.
The new president Of the Royal Insti-
tute Of .(British) Architects, John Belch-
er, calls Part nouveau "an abominable
affectation, and mathematics the
movement as "degeneracy under the
cloak of art.''
A specialist writing in the December
homes Of hollow fireproof tile can lie
built at less cost than of wood. In adj
dition to being freproof they are i'm
perishabie, sound-proof, vermin-proof,
With all these advantages it would
seem as if more people would overcome
their hereditary. prediction for wood,
and would use this material. In addi-
ton to the saving in first cost, there is
big cutting down in expense Of insur-
ance, because the only fire damage pos
Gil 10 ho To f,,r icb nd into
ior woodwork. q.
| Among the subjects announced for
the Masters in Art monographs Of 1905
are George Frederick Watts, Fra Flip
Pc Lippi, Sir Henry Raeburn, Jan Steen,
Nine. Lebrun, Claude Lorrain and Man
| tegna.
In the current number, dealing with
Veronese, whose name is really Paolo
Caliari by the way, this Venetian paint
er is spoken of as the very crest Of
the renaissance. His art was the most
gorgeous Of the Venetian painte school
and by many is ranked the highest Of
not with him. 'tVeronese was I'M
doubtedly the frankest, his nature the
tmosts5joyous, his creative power the most
tinexhaustible, and he was moreover
the most independent of all the painters
| of Venice.''
- The leading article in recent num-
Der of the International Studio is an
appreciation of Frederick Sandys by
Percy Bate. Mr.. Sandys, who died in
the summer at about the same time az
Watts, was one Of the last of the Pre-
Raphaelites. Watts once said "Some
artists see, some feel. some imagine
the greatest do all. - Mr.. Bate quotes
this and adds: "Sandys not only saw
and imagined, he felt as well. He was
able too, to visualize his ideals, to real
ize his dreams, and to render them with
that unerring. touch, that resolute
draugh Craftsmanship, which is so notable
a feature Of his work, that mastery
handling to equal which we must go
back to the drawings Of Durer, and the
panels of the Van Eycks.'
! In pen drawing Mr.. Bate considers his
work unsurpassed in a period of fifty
years, notable for it's productiveness in
this field. He names as his only equals
Phil May. George Reid and Charles
Keene. He used peculiar method of
chalk drawing for some very beautiful
pieces Of portraiture. He put fiat,
even tint over the whole face, and then
worked up the features in black and red
chalk This beautiful convention is
similar To tha used nv Holbein.