New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1907-03-12

II IS a long time since Mr. la Fargo produced
the drawing called The Wolf Charmer" which his
admirers have known chiefly IN a small wood en-
craving He treated the motive in water color too,
believe. Recently he has painted it in oils
a large scale. and the picture has been placed on
exhibition for the present week only. at the Mon
tross Gallery Later it Is 10 go 10 st. Louis where
II will form part OF the permanent collection in
the public museum. No who values the work
OF greatest imaginative painter will neglect the
opportunity TO this picture. 1t is an impress
sive manifestation of Mr.. La Fargos genius for
what may call the illustration of poetic feeling.
The central idea is precisely either historical
or dramatic. This page out OF the folklore OF Brit
tany tells very elaborate story. The piper who
draws the wolves after him with his piping may
be the hero OF any number of eerie narratives
cited by rustic hresides. but the tales told about
him have not crystallized in single fabric Of
nance universally known. His charm is vague and
subtle. II consists, when all is said, in just the
fantastic incongruity OF human being consort-
ing with wild beasts some strange understand
ing that might in an instant be broken, with dis
astrous results. II is music that is tho tenuous
bond between this uncouth shepherd and his green
eyed. savering flock. We're the notes to cease
but for a moment the who seems to be the
master would be torn by the that follow his
wild strain That. at all events. Is one Of the
thoughts provoked b. this picture; the magma
ton IS filled with a OF sleeping terrOrs OF
forest mysteries. of adventure in a world that
TO the mortal eye is a sealed book Mr.. La Fargo.
with the magic of his art makes us free of that
world
1t is characteristic of him that he does this not
with the aid OF gTOtesque accessories not with any
ingenious manipulation Of light and shade but by
the simple process of giving the piper and his
wolves intense reality upon the canvas Even in
the small engraving this has always seemed a
superb composition. Its beauty fl this respect is
enormously heightened in the present version. The
explanation lies not in the greater scale which
the figure end the animals painted but in the
holder and broader treatment given TO the back
ground. The weird. huddled procession comes
toward us through passage between giant rocks
and beyond these see the forest. place Of vast
tree trunks and ilimltable distances. The glamour
Of the wildwood is there. and in 1t feel that
panionship OF man and beast There Is a great
deal contributing to the effect of the picture in the
details Of movement and gesture. The piper bent
over his task and slowly advancing. the wolves
padding around and after him. bring Tany little
touches of expression into the scheme. But It Is
as a unit OF imaginative design that 1.-THE Wolf
Charrner'' bevllders and fascinates. 1t is
strained in color and this completes the illusion
OF something seen in a dream. pOlgnantly realized
while the dream lasts, and yet Gpprehended,
things are so often apprehended In dream, with
an indehnable consciousness Of supernatural impu-
cations. 1t IS as though the living world and the
world of faery were made in a kind of vision.
This canvas IS surrounded by a number of paint
ines executed by Mr.. La Fargo at different periods
Most Of these have beea seen before in New York
They include notes Of travel in the East and in the
Pacific islands flower studies and water colors Of
subjects executed in stained glass On more than
one Of these paintings it would be worth while to