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“Waiting" displayed the beauties of two caged master,— looked it, felt it. How well-known setters, who stood anxiously as many hours of study and thought were well as patiently waiting for the sound of expended upon this work none but the the step of their master. The accessories artist knows. He gave us the strength, as well as types were well handled, and the coupled with the subtlety of the creature's studies were very doggish. There could be nature; he gave us also weight, not a no mistaking the purport of the picture. shell. The third picture displayed two Every touch or stroke of the brush was proud peacocks, “ Just from Town," brilplaced for the benefit of the dogs. The liant with plumage. These he pictured artist's self-consciousness, if he possessed in a country farm, and they assumed the any, was not evident. This picture, later airy strut of courtly visitors to the locality. on, became the property of Mr. D. S. His landscape was a fitting background, Hammond, proprietor of the Plaza Hotel, and the accessories, the wonder depicted New York. Mr. Hammond soon became in the faces of the rabbits, the foliage and the artist's patron, was struck with the foreground details, were important adstyles and decorative qualities of his work, juncts, though not too conspicuous; they and at once commissioned him to paint were a part of the whole. It is needless to three companion pictures for the reading- add, these pictures are handsomely placed room of the new hotel. The subjects and deserve the praise that is daily bechosen were, first, the noted horses owned by Mr. Hammond; these were the brown mare, “Tot," with beautiful eyes and almost human expression, “ Frederica," a black mare with snappish cast of features, “Nellie S.," a white mare, gentle and amiable to look at and live with, “Corona" and “Roberta," two bright, sportive bays. These were grouped on a 4 x 9 foot canvas, in a field, the necks and heads only showing, as they gazed over a mossy rail fence, The composition, as well as color effect, was interesting; in fact, the work was of much consequence in all points. His second picture represented

His Majesty. a full-grown lion, the monarch being seen from the interior of stowed upon them. They have already the cage. There seemed to be nothing become one of the “sights” of New York. of the menagerie about the lion. The Pope has painted a number of pictures native element was evident; he was a well known to the world by the process of reproduction. Among these may be line, firmness of pose and modelling, fleximentioned, “Consolation," showing a bility of skin, and that sheen of surface and wounded hound, convalescent, lying in muscular development always noticeable the kennel. This picture appeals to the in thoroughbreds. sympathies of all animal-lovers. “On Unquestionably, Pope's most serious Duty," another stirring work, shows a canvas was the historical one known as life-sized, magnificent St. Bernard, plough- “The Lion and Glaucus." His theme ing through the mountain snow. He was taken from Bulwer's Last Days of carries a canteen of spirits about his neck Pompeii, and in accumulating the data and wears the intelligent face of a bene- alone he expended a great many days in factor. Surely this is an educational pic- our libraries, studying the best literature

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ture, giving a comprehensive idea of the for the exact details of the work. He duties of this heroic species, and in a depicted a warm, sunny atmosphere, commendable manner, alike for its inci- which permeated through a vast audience dent as well as handling.

seated high in the amphitheatre above The artist has recently painted several and behind a grilling of iron which propicture portraits :- Mr. C. E. Cobb's fine tected the enclosure. In the centre of setter, a lion's head, the property of Mr. the vast arena, the lion stood firmly upon D. L. Demmon, and Messrs. d'Cordova his feet, uncertain, perhaps, in physical and Bown's stallion, “ Layonne Prince,” balance, because of the suspicious condibeing among the best examples. The tion of his instincts. His head was reared latter was distinguished for its accuracy in in air, scenting a trouble of which the

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voluptuous throng were quite unconscious. upon him, and, though still prepared for He saw not Glaucus, who stood with his an attack, is doubtless in a more relaxed stylus, a short poniard, in his outstretched pose than when his lion first sprang into hand. He was, for the first time, intimi- the arena. The incident was well told ; dated. Though hungry, he has no desire the accessories, all important in general for food. He surprises not only the effect and impression, were equally inexcited assembly, but Glaucus as well. teresting. The foreground was in sunHis leap from his cage, accompanied light; a canopy, which was out of view, with a roar, gives place to fear, and while threw a snadow over the background of yet majestic in carriage, the uncertain the arena. The audience was in gay atcondition of nature, the rumbling of tire, and the variegated colors of mantles Vesuvius's undercurrent, subdues his na- and cloaks contrasted agreeably with the

plastic studies in red on the facade of the enclosure. One noticed the flesh tints of the nude Glaucus, the atmospheric shadow of the lion, the evidence of previous struggles in the arena, which

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tive courage ; he doubts, hesitates, delays, and acts unnatural. Glaucus, quite nude, save the cincture about his loins and the sandals upon his feet, stands with wonderment pictured upon his face. He forgets that the eyes of thousands rest

had been strewn with fresh earth, and counts, graphic to be sure, impressive numerous other essential things which, and vigorous, but a bit tricky; had he like a dialogue or conversation, must not painted the animals out of his love for be disjointed to make a complete under- them, shown sympathy for them in the standing of sense as well as incident. In exertions they are making to win the race, the disposition of light and shade, as Pope did for the bewildered lion, his the resolute style of handling, the way efforts would have been more lasting. in which he disposes of the things Pope shows his mastery over beasts, not seen, he approached the master; his shows that he understands their natures. grasp was manly, and inspired one to They, dogs especially, follow him as he have respect for the artist's labor. His follows them; one trained to chase at previous study in fashioning clay and the heels of his master alone will, by anicarving assisted him in his work. He mal affinity, be coaxed to leave him, by modelled his lion in many positions, used Pope's insight into the nature of the the forms of cats to get at the anatomi- creatures. Possessing these traits, it is cal construction, before he fixed even the conclusive argument that he should paint charcoal drawing on his canvas. He de- them into his subjects. Affection also monstrated that preliminary work must enters largely into his work : he caresses be thorough to complete finish, — that the dog in color; makes him laugh through “thinking out” was really “working out” his painted eyes; makes him speak his his problem.

silent language, either by firmly closed Aside from its anecdotic phases, the jaw or by the loll of the hanging tongue, picture conveys an idea not noticeable the wrinkles about the nose, the accent of

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even among the works of the few who uplifted paw or alert pose of the legs. undertake the historical in art. Wagner Not a motion escapes his attention; the augments the dust of the arena; this meaning of every motion he interprets and adds movement to the horses and gives satisfies himself about. The lion, dog, and weight to the chariot, but there is not an horse give him their affections. No wonimage of anything evident, ensemble alone der the painter paints as he feels and sees.

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