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Bishop of Bamberg.” This is a scene fra 12-ies missbibbero sed oedIt one of Goethe's plays, and it is serata is b eter i Teed ass aisc is is bects of scene; in a note made before the picture and raise ICSEI, -je asia power!:00e. while in ignorance of its title I fiod isese words.

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. Ricista gres 25 another tableau-a 'mise en scène,' it. -A 100 VISS Ca be Baratan perfunctory, and painted largelt ja*

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COME SCEGE *1123" tunity of still-life rendering." The act the 25 c a safe, 50 iza Saars.be Cose scene appears trivial, but the sumptuousness reo a chat t i beccts, was the interior and of the stuffs and terres dis-D CETE : IST 10 the fact-stotiy played seems to warrant the impression corred2235cisase.ba: bearing suggested the above note. Albough paisted 30 se c: corda vages ard with a certain address, it is in no war distis- bzgibe inget T

, and is guished in its color sense, but of an orisus inicio de art at TS. Is the and heavy color scheme.

I o ibe pago 10-day as pesad alThere is more true freedom in stroke and Dost ever bere jur the past. O oty action, and purer and finer color, in 4 veas enort . GermaST, a3d som t o g Schreyer's "Battle Scene, Arabs Makisg a Lé. 1o be immedbe, ispute is oétbe pas tour.” This is spirited, of a knowing ciars. démodé, DI 50 ch because of its agedical curo, and rich in tone. Here one misses be SOTT- g sit, is reasons ar scial, vibrating charm of Fromentin's Arabs, but that orious, pasite and iranscctaris another story, and the work of another tem- acter. These immediately ones to sad the perament and nationality. It may be enough fare of Jes Bas, ub, bwerer och be to say that this is a handsome picture and a pasted risic genre, he il restod a baterer be good Schreyer.

ciwb a true Posttratio of nature, Dot Only Although a Hungarian by birth, Munkácsy in a wei-considered composition wb.ch par. is listed with the German school and is prac- tsk oí a kod o inevitabit disposition of the tically its product. His “Pawnbroker's Shop' souse, but is tha: use as hapur recording of is a sordid subject, but more “felt than the the t'DE 290 CM of natural scts *b re

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vealed a sincere love of the outside world of did passages of painting such as Delacroix sight. It must be assumed, then, that the often displayed, a subject more for verbal destandards of painting in this country did not scription than for an essay in paint. The exact this, that the German vision was not so dramatic presentation of an old man tired of sensitive to, or had not yet entered, that realm life discovering the lifeless body of a young girl of art where objects exist surrounded by the which has been tossed up by the sea on a element of air which is the heritage of latter- gloomy shore, may have moved the painter to day painting.

some academic exercise in the studio; but the One notes a tendency to break from this result is neither beautiful nor edifying, the arbitrary and purely pictorial sentiment in a painting not impressive because the splendid landscape by Oswald Achenbach in his “Near opportunities of a faithful study of natural Naples: Moonrise.” This is an accomplished effects have not been made use of. It savors of piece of painting with a premonition of present the studio and of false sentiment. day “seeing." The trees and herbage are not To review somewhat our point of view, I would sufficiently differentiated, nor is the tone of the not be misunderstood by leaving the imprestwilight road subtly felt; but there is an at- sion that I disapprove of German painting betempt to give the dull haze of a hot summer cause of its disposition to be literary, anecdotal evening and the effect of a dusty roadway that or illustrative in theme. All painting at all bespeaks a temperament sensitive to the acci- times has been illustrative-story-telling, if you dental effects of nature. It is all too heavy in will. It is the lack of sound painting, sound touch to satisfy the close observer of to-day, observation, sound taste and judgment which but, as has been said, it hints at the finer vision marks most of these subjects, rather than the that is the possession of modern painting. incidents they depict, which disappoint.

Moving on to still more modern work, may be It is with renewed regret that the absence mentioned “Gossip," by Carl Marr. Here is is marked of such men as Leibl, Lenbach an interior in which is discovered some charm- and Menzel in this collection; but doubtless ing observation, particularly in the still-life this break in the sequence of German art will accessories to the scene. These two peasant sooner or later be remedied. For it is through girls spinning, are seated in a room into which these more progressive men that we will the the light filters through a low window curtained better understand the movement that is taking with gauzy white. They are exchanging con- place in German painting to-day. Although fidences and chatting, but it is the prevailing late, this nation is now looking out with new tone of silvery gray managed with considerable vision on the natural world, and it may be insubtlety that suggests the modernity of the ar- deed that of the recent exhibition of their tist's vision. The pots of blooming flowers in work there will remain behind certain examples the window, relieved against the white cur- which the Museum or some public-spirited tains, are of an observation that is distinctively citizen may have acquired to more fully comfine, and were it not for a lack of mellowness plete the story of an art which is too meagrely in the general tone of these different passages represented in this great conservatory of the of white, there would be little to detract from painting of all nations. Such acquisitions can. the beauty of this canvas as a whole. As it is not be urged too strongly; for we have so lately it indicates a wholesome step in the direction had proof that Germany is coming into its toward which German art is now tending. own, artistically, that it will become more in

There is another picture here by Carl Marr teresting as time goes on to follow the develop which we fancy was painted earlier, and in any ment of a people so great in other intellectual case it shows less of the modern spirit in its fields, to note the inevitable capitulation of treatment, and was probably done while he that citadel of art which, in spite of long years was still under the domination of the school of of attack, has not yet wholly yielded to the Munich. It has more of the German literary civilizing, persistent appeal of beauty to which and metaphysical inspiration and less of the other countries, not remote from her, have newer sense of light. The title, “The Mystery more readily done homage. of Life,” is of itself, unless productive of splen

FRANK FOWLER.

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