Evening star., 1936-08-15

discontinue. But this picture, while
momentarily amusing, is not really
humorous. Well painted from the
technical standpoint, it Is entirely de-
pendent upon its story for interest.
The note Of the universal is not so
obvious, the interest in it is passing.
Quite to the contrary is THE For
ester at Home" by Ludwig Knaus,
born 10 years later than Frere and
lived IA years longer, but, like him,
gave himself to picturing child life
in some Of its most attractive aspects.
1t is not, however, youth, but old
age, that he portrays in the painting
owned by the Corcoran Gallery of Art.
The old German forester Is seen in
his home, contentedly smoking his
long-stemmed pipe, while a maid
kneels before the stove and fuels the
f1re. On the wall behind the old man
are his gun and trophies of the hunt;
at his feet are his dogs. Here again
details are remarkably well delineated,
but a unified effect is preserved. There
Is no real story, the observer merely
looks In on pleasant domestic scene;
the stage is set, and very well set, for
the domestic drama which each on
locker may devise to suit himself. The
homeliness of this scene is an attrac-
ton, but perhaps the fact that much
Is left to the imagination is added ap-
peal. Knaus was pupil Of the Dues
seldorf Academy and his work is rep
reSentattve of the Dusseldorf school,
1t was to Germany that American
students went in the third quarter of
the nineteenth century to study art,
and the influence of the Dusseldorf
school was strongly felt here. In
fact, some think that its impress was
notable in the development of our
distinctive school of illustration be-
tween 1880 and 1900. But again let us
remind ourselves that every one, both
young and old, always has, and al
ways will. like good story well told.
There are many such among the
paintings in the Corcoran Gallery of
Art, not the least amusing of which
is The Long Story" by William
Sidney Mount, Long Island farm boy
who turned painter. Three men are
seen in bare room grouped about a
small stove; one with bandaged hand
Is telling a story, to which one other
listens, smoking, with Unconditional in
tereSt, while the third stands by in
detached boredom. What is it all
about? Who can guess? Here is true
characterization and excellent group
ing. Mount began by painting signs,
and With little or no instruction went
far. OF him Isham has said: "He
painted better than almost any one
else about him. His figures were well
| drawn and well constructed. He saw
the farmers, field hands, tavern keep
ers of Long Island; he understood and
enjoyed their life and painted it in
its uncouth simplicity
RUT to return to the European genre
paintings. The "Schism," by vi
bert, will always provoke smile be-
cause of the amusing character of its
subject and admiration for the ex-
celence Of the painters technique.
Painted with miniaturelike minutiae
and perfection, this little canvas re-
calls the works of Meissonier and For
tuny, which at one time had so great
a vogue and commanded so high a
price, but which today bring very little
comparatively in the art sales room.
Like the oversize canvas, the mere
matter Of measurement seems to have
been too great determining factor
in style and effect. 1t is to an extent
the "fineness" of the painting which
calls for remark.
On Pincian Hill, Rome" picture
of cardinal questioning a group of
young acolytes, painted by Ferdinand
Hellbuth, German by birth but of the
French school, is another favorite in
the Corcoran collection. Here the
story element is not great and the
| figures may even seem to have been
introduced to ornament the scene and
provide human interest. Certainly
they take their place admirably in
the composition.
And this brings us to an interesting
point in the consideration of genre
painting differentiation between
the picture which actually tells a
story and that in which figures are
introduced as factors in design.
Thomas w. Dewing, one of our con-
temporary American artists repre-
sented in the Freer and National Gal
lery collections, as we'll as the Cor
coran Gallery OF Art. painted many
interiors with feminine figures, and
exquisitely, but as another might have
painted still life, for its sheer esthetic
beauty. Recall the paintings of Ver-
meer, matchleSS in their charm, and
we must ADMIT that it is not the story
they tell or the people represented
that arouse our emotions, but the
place they fill in the composition, the
way in which light plays over them;
again, the appeal is that of beauty.
Or turn to the example of Chardin To
be found in the Clark collection;
picture of a Woman with a Sauce
pan" standing by water barrel, SUD-
jectively very commonplace, but act
ually so sensitively seen and portrayed
that it becomes intensely moving, sat.
iSfying.
Unique Wood Sculpture
By Sculptor OF Santa Fe.
INDER the public works of art
project and Federal art projects.
an interesting and very unusual wood
sculpture in relief has been executed
by Emilio Padillo of Santa Fe, and
mounted in a wall niche in the d. A. r.
room Of the Palace of the Governors.
1t represents the triumphant occu-
patton Of the city Of Santa Fe by
Diego de Vargas. in 1857. De Vargas
is seen on horseback, after having
passed the FranciScans who are bear
ing the image Of "NueStra Sonora de
la Conquista." Next in procession
come soldiers representing Spanish
military power, followed by oxen and
OK carts. The panel Is block of New
Mexico pine, 4 feet wide, 6 feet high
and foot thick. Padillo's technique
is said to bear close affinity to that of