Year: 1870




Echaus, Gallery.


Mr.. Schaus while abroad has made collection OF
very excellent pictures. Their number IL sonewh nat
limited to DO sure; but what does great credit to
him, there cannot be said to be an inferior work
among them. Whatever may be the difference OF
taste or fancy they are all good works OF good paint
ers which ls an important consideration. IL IL
somewhat early yet 10 look for the new productions
OF our own artists These will come later Yen one
mas always an interest In the work OF men one can
see and know, which makes one regret their alb
sence ar any time One Of the most prominent pic
lures Il


"A SUMNER EVENING" BY b C. KoEK-KoEK


This Ia one Of the largest, and, We believe, In many
respects one OF the most important works or this
artist in tho country 1t has many OF his most plea
sing characteristics. The subject deviates slightly
from his general way. II Is a landscape, with
peep into the distance, u large tree In the
foreground, and a brook over which some
laborer, perhaps, IA going homeward to the Joys
awaiting him at his humble hearth. The extreme
care and dclicacy OF this painters manner remind
one OF Dr. Johnsons description Of Pope's poetry In
his celebrated parallel between that poet and Dry
den--that 1t "is velvet lawn shavsn by the scythe
and leveled by the roller" His nature is much Of
the arcadian order In its treatment 1t shows study
thought, cultivation and exquisite refinement Of art.





one often does on seeing some infante prodigy OF
virtue or excellence as though 1t would be an i'm
mense rellef to see something wrong as q break In
the weary and appalling m0n0t0ny Of perfection.
Impulse Ia suppressed. The rugged inequalities Of
genius are sm0othed away. Nature and art revised
and corrected. are presented In new edition.
Still, with the perhaps hypercritical judgment Of
nicely, tribute is certainly due to the exqui
site finish and careful, beautiful rendering OF mas
ter in art.


ale JUDGMENT DE PARIs''-F. wILLEMs.


The scene represents terrace. Three ladies OF
court wonderfully twisted together with that grace
and devotion peculiar to very young and pretty
men, or others not SO young and pretty II they do
not happen to connict In their different styles OF
dress and beauty, are standing to the left. They
are pretty as they await the decision OF the novel
Paris. Treating his subjects in very ingenious and
skful manner, the artist has lost OF the
tial ideas and sentiment of the venerable story In
his charming adaptation. In the tall figure to the
let with classic profile turned 70 the observer no
one can fal to recognize the proud and naughty
Juno, sister and wife Of the King Of Gods and men,
The pretty, laughing face, surrounded by Its maze
companions in the confidence OF conscious supre.
macy. Is the victorious Venus. The third is that of
the virgin goddess, who would seem from the story
to have little OF the reputed vanity Of the sex un-
DERIVING the stern incrustation OF rigid propriety
with which she Is generally invested Her face Is
rather too sensuous and the expression would lead
think that the artist either had little faith In
the sincerity OF her prudery, or had abandoned in
despair the portraiture Of any such feminine ano-
maly.


A court jester personates Paris, who, with q
comic mock dignity, presents the apple. Is 1t at
all possible that the artist intended the slightest
aluston to the value OF the prize awarded by such
hand to the superior claims OF youth and beauty
there was touch OF satire on the mental or moral
physique OF those who do and always will form such
Judgmentf Pernaps not; put the decision OF fri-
the undue appreciation OF such charms has led to
scenes OF strife and unhappness terrible those
OF the siege OF Troy The treatment Of the picture In
Its detail Is most credltabe, and study in its
terly and careful imitation Of material. The
sprightly vein OF humor Is most charming and ad-
mlrably well carried out. A certain idea of opera
bouffei.m IN art Is pardonable for the cleverncss
raYese and Win s aann ,ar anove
excellent management. dign1es the trivality or
nippancy It might at first seem to have. Apart from
little stfness IL deserves to take high rank as
work OF the school OF painting TO which It belongs


This is fine rendering OF OF Natures grandest
scenes II is almost to be regretted that the
somewhat limited himself SO as not to give more
| complete idea Of the grandeur and wildness with
more OF the vastness OF the scene The is taken
| from point which gives one of the turns OF the
road. with one OF the bridges over the cnasm. No
one, once having behed the scene, can ever forget
the feelings inspired by the deep ravine one side
and the precipitOus ascent on the other rising like
the mountain tops uutil lost In the clouds overhead
! In the picture the view Is limited. The foreground
gives neither the depth OF the ravine nor the height
or the mountain sides. The general treatment Is a
| little conventional. A broader and more decided
manner with the light ana shade would have been
more III harmony with the Wild majesty OF the Pass.
As 1t is, however, one IL impressed somewhat with
the feeling OF awe and soemnty which the road
itself inspires. The distance through the rayine il
good up between the mountains checkered with the
light and shade, and the artist shows that he felt
something more than he has succeeded In rendering
fully.


IA DECORATION" AND "rHE KINGS JEsTERr--
zAMACOIs.


tUn I'm niflha axUlrE nf hi
painter. The former is painted In oils and Is ex-
tremeiy life-like ana sprightly The figure is very
graceful and well drawn. The expression Is capital
and speaks for ITSELF This artist has often vein of
the grotesque In his works, which is here quite
noticeable and not unpleasant. ''rhe Kings jester,
is water color and represents OF those uncoutn
figures OF time gone by leaning against the wall,
ana who, IN spite OF his misshapen form ard
Jescrs dress, has certain underlying pathos In the
expression which greatly relieves the extravagauce
and what to some might seem a coarseness OF the
figure. The treatment Is both broad and with a re-
gard to detail which are not often combined
A figure by Passan Is not SO pleasing as enc could
wish from painter OF his ability, and suggests very
strongly the lay figure instead OF the living model.


An exquisite little work Is Dy von Bremen. 1t is
so simple so expressive and 80 full Of life ard feel
explanation. II speaks FOR Itself, and tells sweet,
smpie home-Iike story which appeals to all the
hoer domestic feelings In ones nature


LOOMING TO THE PARsoN'-RoGERs.


This Is one or the best or number OF very excel
lent groups by thus gentleman. As Is the case with
every conscientious and hard working ARTIST, ne has
greatly improved. Ills works have generally mad
certain sympathetic element in them, besides being
animated and ea y and having considerable char
acter. This group shows more freedom, a more
thorough understanding and more piactised treat
ment. The subjects, doubtless, have done something
for Mr.. Rogers works. They are always such as
appeal TO the heart rather than to the mead. and as
something In the way OF heart Is far more common
than anything In the way OF head, they reach far
larger class and, perhaps, more sympathetic be-
cause a less critical and more inprlsive one. Add
to this the fact OF the works being treated with
tender aud honest manly feeling, and the great
popularity OF these cnarmipg little groups IL
planned They almost invariably call forth the
puTest ana best feelings OF human nature.


In this group Mr. Rogers represents q country
couple In the basbfu simplicity OF first love coming
TO the country parson, whe sits by table and looks
up at them from his newspapers with a mingled
expression OF inquiry and waggishness. The girl,
shrinking and snirking with hat seductive irre-
spOnsibility we ind In the sex as lar back as In the
story OF the apple and the d., Is yielding, not
without some show OF resistance TO her fool OF q
Io.or liz l,or