Year: 1878




class of subject. and that he means te
shake himself out of them His meadow trees are too
obtrusively round-headed but glad TO see some
thing from this artists hand that does not proclaim s
author across the His large drawing In the North
Room. "Thc Cathedral at Qumper," wants richness
looks richer in fact In the little sketch In the catalogue
than in the original. but this comes much from
the subject, which belongs to somewhat Sc
we're type OF architecture. Mr. Colman hnds riva
in his own field OF architecture in Mr. Louis TIFFANY VINO
has produced In his "Church in Brittany" No l19,
strong and interesting work. the defect Ill which, no"
ever is in the want OF balance III the composition ny
which the picture is made to appear somewhat top
heavy. This comes think, as much from the inslg
nifcance ,of the foreground objects as from the
disposition OF the light-it is more natural
to look down for darks than up-put
Notwithstanding this objection, the drawing Is hhe
one in its field the finest perhaps in the exhib'
ton. The artists other large drawing we cannot pring
ourselves like the tone OF color Is not dsagreeaDe
but the composition is nothing, and the human beings
It is TO be hoped all the virtues Of the savage
since they are so pentifuly lowered with his looks
Seen from the corridor, may easily mistake
the scene for bit OF New-England coast IN SUMNER
when the halbreed Indians settle down on some SANDY
strip and pitch their entsand sell their Dows ana psAes
to the ooarders the hotels The familiar sycamore s
here and tho stalks OF the maize but our lhdlans'
homely as they are and all ororn, are better looking
than these Arabs This subject might have suced Tor


sketch, but cannot fill out such square
as this.


Mr. Henry Farrer has hardly more tact in this matter
of choosing subject than Others albeit several OF DIS
smaller this year have been so fortunate as 10
please many persons. We have already spoken OF his
"Quiet Pool" but his "Sunset-Coast OF Maine," NO.
I3s is as good in its way and generally he does well
when he is content not to try to do too much In
his largo drawings he loses delicacy and does
not get strength has he really enough
to say, to make it worth while 10 make
such a effort is required to cover such
large pieces OF paper 1t puzzles some persons to recon
cile what appears to them inconsistency but after all
II is purely and simply miscacuation Of strength-tbc
artist tries to do much, that Is all In the "Quiet
Pool" he husbands all his means, understands and en-
Joys his subject and trusts with simple faith to the
power OF nature to help him through. The RESULT Is
drawing that in its way nearly perecone that in Its
single self gives character to the Exhibition


Tne work by the elder Farrer, Thomas Charles, a
specimen of which hangs pendant to this beautiful


little drawing by his brother, is learned and shows
more experienced but the sunset glow upon the old
tower which charmed the artist and made him choose II
for subject lie has not been able to make charm us as
well The doujon keep Of old Rochester looks small
and the pink walls pink In the evening glow, are much
too suggestive OF sugar candy. There Is, however,
good deal sentiment of the time and place in this draw
ing and the cOupOsltiOn Is managed with skill To make





Mr. A. H. wyant is another OF our clever landscape
painters who seem not able yet to cope with con-
siderable subject. His large drawing in the North Room
No 49, is no doubt the work OF skul man, but are
convinced Of this rather from the study OF his smaller
pictures than from this one His admirers compare
nim to the great Freucbmen to Rousseau, to Daubgny
and who not it is not with these at their highest
he must be compared but only If at ALL TO them when
they are IN a more tame and work a-day mood Even.
admitting, and we grudge the admission, that
in quality Of mere painting, MT "yaht
may be comparable to Rousseau yet there we must stop
pcrforce the Frenchnan uses MS paint to tell
Us a world more tban Mr.. Wyant has to tell IL IL the
Old distinction Rousseau and Daubgny poets they
create and their creations charm Mr. Wyant is only
a skilful workman, whose work we forget as so0n as
seem Yet that he has capacity for something beyond
this, his smaller drawings show aud II he can only re
sst paton to spread the little ne has To say over
large spacpsO print his ballads in folio, with river OF
margin-he Will find bis admirers Increase instead oil
diminish.


Mr.. F. Hopkinson Smith, Mr.. A. 7. Brichcr, and Mr H.
W. Robbins have drawings very ambitious III size and
subject but no Of these gentlemen has anything To
tell us about landscape that could not have been told
as well much smaller space We do not greatly Ike
Mr. F. A. Sva's productions. HIS No. 20, " Gathering
seaweed-Coney Island" Is very thin and metallic
in execution. but in subject it is interesting IN
every part, and there is much light and air
In IT, one OF the Old Dutchmen would. however,





have got more light and air still with
ou half tho apparent effort Mr.. silva makes, but II we
compare his little picture with either Of the big ONES we
have just mentioned It will be found that he has put far
more material in his small square, than Mr. Hopkinson
smith, Mr. Brchcr and Mr. Robbins have in theirs But
tiis is a common mistake with artists they too
often forget that Dig picture cannot be made out oi
the stuff that may suffice for little one. Even
so skul an artist Mr.. william 1. Richards
does not always remember this. And, indeed.
We are continually surprised to see how little
those OF our artists who spread themselves over
arce canvases take 10 heart the necessity OF doing
thing the other with picture that is TO moDopolze
hig bit Of wall space. Either it should be iu Of mat
ter AZ to give delight near at hand as pic
lures must he Of houses or decorative
effect should be aimed for that the picture may lookwel
far of How large pictures that we find in our ex-
hhitions either OF these recommendations They
painted be looked at near at hand, and when
looked at from distance they disappear. &C.