The Sunday Oregonian. (Portland, Ore.) 1881-current, October 01, 1905, PART THREE, Page 30, Image 30

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EXCELLENT- as areth works In
galleries A, -B, and-C,' anM'much as
we enjoyed studylngr them,- we
should not leave "the Museum of 1 Art
without an examination, of. the. .treas
ures of the remaining four galleries, for
some .of the best things are to :bo found
In them. As our time Is limited it may
be necessary to pass many good things,
though very loth to do so.
Beginning- with. T w'o iind Thomas
W- Dewlng's two pictures, "The Gar
den" 'and "Woman In Purple, and
Green," (3D7 and- 308) are worthy of
attention. "Wo hardly 'know, where, to
a .previous article . of ttiis .series, -and
praised' its sunny light and vigorous life.
We will sec work of his in B and .F of
another kind. Cullen .Yates' "Lale Au
tumn" (317) Is very line and poetic. Janot
D. Wheeler, who had .the lovely mother
hood study called "Adoration" '(238) In
gallery C, has here some smaller pieces,
all done in her charming manner of sun
Tiy flesh tints, softly veiled, as 'it were,
rather than crisply defined and empha
sized, as in Robert David Gauley's work
in'BC and G.
WIHJain Chase has an interesting studio
Interior (220). showing his skill in compo
sition and light and shade, as well as
ngure painting. By tne way, we spoko
of him as' our dean of American-born
place his style of painting, we do not4 painters, forgetting, that bur gifted and
remember having seen anything like it
before, so conclude it is the product of
a most individual and refined thought.
Gould you sit for your portrait as did
the woman in SOS you would feel sure
this artist would divine and portray
all the beauties of your Inmost soul, as
well as the features .known to your
friends. The next canvas, "The Inn,
Moonlight," received a silver medal at
St. Louis, for Edward F. Book has a
most unique "impressionist" manner,
which he employs with the tenderness
of a poetic nature. Examine his other
canvas In D "Belated Flock, Moon
light," (372) for corroboration of this.
E. Irving Couse has several of his fino
Indian pictures here, of which we will
mention only "Indian Drinking" (313)
a woman kneeling at a stream In a for
est Paints at Three-Score and Ten.
Mrs. Charlotte Coman has several of
tier wonderful studies of green land
scape ajid blue distance in these rooms.
This artist has passed the "three Acore
and ten" milestone, yet each picture
she produces is finer than its predeces
sor. What a beautiful crown to one's
life work are 314 "Connecticut Hills,"
"Under the Hill," (329) "A September
Morning." (436 in E). Were I commis
sioncd by somo philanthropic resident
of- Portland, who desired above ,all things
to help the growth of his (or her) city in
higher ways of education and refinement
by purchasing some of these art treas
ures for the permanent museum on the
corner of Fifth and Taylor streets, I
should certainly include one work of Mrs.
Coman. Wo have had Edward Henry
Potthaaf "SoatbuUder'a .Shojj" J$L$l la
highly esteemed Boston artist, Wlnslow
Homer, fills that honored position by "vir
tue of 13 years' seniority. Mr. Homer nas
one study, "Cape Trinity, Sagucnay" (396).
in gallery B. It la a monochrome and
fills" us with a" true sense of' the dignity,
even forbidding character, f the scene at
night. Douglas Volk's two portrait can
vases, "Boy -With Arrow" (322) and "Maid
Marian" (323) . attract a great deal of at
tention, and one hears remarks that would
certainly cause a glow of' pleasure In the
artist's heart. These are two real human
young people. You -feel as if you could go
up and talk to that boy, and the girl Is
so sweet and modest, as she rest with
clasped fingers beneath the trees You feel
it would be a pleasure to know her, she
looks bo lovable. Bmll Carlsen of Dan
ish birth shows a flqe large "October"
(32S) and a striking picture In E, ' "Night,
Old Windham" (430), which took the Webb
prize. Mr. Carlscn received a gold medal
also at St Louis,- 1904. Daniel - Garbeij's
singularly beautiful treatment of. green
foliage In "The Copse" (330) "has found an
admirer and purchaser, we aro glad to
Pictures of Busy Iilfc.
There are a number of subjects in these
four galleries that would have been con
sidered a few years ago aa the very last
to be. chosen for high art representation.
What!" city houses, brick and ugly, sky
scrapers, smoking factory chimneys and
Jostling mobs' on Broadway! But It Is a
faqt that It is not tne suoject out ine
Interpretation, that counts, 'and our brave
young men and women, for Lilian JIa
thilde Genth has one of a Venetian street
(337) have laid hold of these "suppoRedly
prosaic New York City themes and. the
result are & surprise and a id&Jsbt, Ex-
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amine especially Colin Campbell Cooper's
"The Chain Gate" (263) and "The Circus
Parade" (265), both In gallery C, and "The
Ferries, New York" (4S5), in F, and "Trin
ity Church. New York" (573). and "The
Flatlron, New York" (574). both in G. and
then see the four by Paul Cornoycr
"Winter, Chelsea Square" (331); "Morning.
Madison Square" (334): "Afterglow.
Broadway" (439), and "Madison Square"
5S3)i Jen; iy Wllliara at, be
fore turning to the more legitimate sub
jects for the brush according to former
belief-look at Paul Dougherty's "The
Towers of Energy" (433 In E). and you will
appreciate Just what Is meant by the re
mark about the interpreter dominating
his subject
Somewhat In this line of work Is ""Close
of Day" (522). by Julius Joseph, a West
ern artist although In this case the fac
tory jchjmneys are kept in the back-
, ground and the two laborers approaching
ine town are ine cenirui uujecu ui mc
foreground, as they stand on the hill "and
j look toward the busy scene below. But to
; return to gallery D. Henry 9. HubbelL
who painted "The Long Seam" and
I "Morning" (294). already reproduced In
' these columns, has a subject In this room
' which calls forth comment for two very
different reasons i,ts excellence and Its
name. It represents & dear, old French
woman pouring hot water from a copper
kettle into a white pitcher and the ugnt ot
the fire in the stove casts Its glow on the
woman's face and the metal and earthen
ware In a way that is. magnificently de
picted and greatly admired, even by those
who have not heard that her name, "Au
gustine." Is a very common one in
French feminine for August, Just as
Josephine Is the feminine for Joseph and
they In consequence think at once or tne
Salrit Augustine and cannot get any prop
er connection between him and this sub
Tlie Poet, a Great Picture.
A most remarkable canvas by this art
ist and one that I should add to that
collection I am to purchase (In imagina
tion) Is 587 In G, "The Poet. A Montmarte
Type," lent by that great artist and- con
noisseur, William M. Chase, of New York.
This 13 a picture that would repay one
for study at some length, to carry away
at least a mental photograph of this ex
quisitely grand picture. Try to enter in
ns you' gaze to the thought of one to
whom the ideal, so-called, is the only
thing that constitutes the reality of life,
that for which he Is willing to- suffer loss
of much that the world prizes. "even en
dure pangs of hunger and of cold and
grieve not over tne absence ot apprecia
tion of hl3 efforts In the cause of truth
and beauty and his beloved Ideal. You
are sure to leave this picture uplifted In
Ijt us go back to D again, "for we have
not exhausted its good things. Louise
Cox's "Mother and Child" (543) has been
Bhown In these columns, but the wonder
ful painting of that ro3e-red velvet could
not be conveyed in black and wfiite as
the graceful pose of .the mother and
beautiful face of the child were.
Minor's Notable Canvasses.
We now come td some of the most
notable work In the whole collection, the
canvases of the late Robert C Minor.
He Is represented by five subjects. "The
Oaks" (344), "Nightfall In the Forest"
(345), "Sundown Ner Easthampton"
(345). "Sunset" (363). "Spring- (25a;, an
in D and "Evening" (COS In G). It seems
as If every good point to be named In
landscape painting Is to be found In these
works. Great depth and richness, yet
great delicacy, breadth of handling, yet
suggestion of detail, strength yet delicacy
and great atmosphere, warmth and har
mony. This artist receives an honored
place ia my mental gallery. In this room
D is the canvas that holds first plac
with many: "Autumn In tho Adlrondacks"
by Alexander H. Wyant whqsrj maglo
brush was laid down In 1S92, when in his
prime. Such men a3 . these enrich tho
world they leave, by their works, and
are held in most grateful remembrance.
Mr. Wyant's "Evening" (2S0 in C) and
"Sunset" - (356) are also among tho best
things shown. We learn that thl3 Adiron
dack picture has never been exhibited
before, - and. further, that it la a first
study, which makes it all the more re
markable. The beautiful golden-red tints,
the white birch -trunks, the undergrowth
of ferns, tho mellow distance are beyond
praise; they are nature Itself, and hold
one spell-bound. Next to this; hangs a sil
ver medal picture. Allen B. Talcotfs "The
Pasture Oak." You will admire that
strong, bare tree; but look at that stono
wall straggling so comfortably down tha
hollow and up the slope and the few sheep
browsing so in harmony with the color
Inness' Valuable Paintings.
Three of the most valuable canvases
in the collection are those by George In
ness. who, though an American, died In
Rutland. 1R94- Tho sublects are. "Sum
mer Medfleld. Massachusetts" (354), "A
Silver Morning" (355) the nearest to Co
rot's manner of any of our nrtlsts and
"Storm, on the Delaware" (355). The at
mospheric effect of this last one is most
unusual. One eels the hot. electric state
of affairs, sees the rain, and the rainbow
struggling up from the river adds to the
realism of the scene, yet the whole is
done In the most ethereal tints possible to
pigments. It is a remarkable picture. Is
lent by Mrs.- W. H. Granbery. of New
York, who also owns "A Silver Morning."
A moat pleasing study is Janet D. Wheel
er's "Ethel" (361) and Lucia Matthews, a
Western artist, has a quaint little miss in
brown curls and white dress, hands folded
(36S). The other landscapes are worthy of
mention, but space forbids.
Two Remarkable Pictures.
Gallery E has two remarkable canvases
which first catch the eye on entering,
"Summer Clouds" (391) by Charles Harold
Davis, and "Ploughing . In Arcadia" (424)
by Horatio Walker. The treatment of
clouds by Mr. Davis is a revelation to
Western eyes, for the effects are so' dif
ferent from what nature prevents In the
West that the truth of his Interpretation
Concluded oa Paa Thlrty-Oae.).