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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
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,
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
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
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
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. “ The Truant,” his latest work, is with peraments; the artist has fused them with out question the best piece of painting he character natural to themselves. has yet produced. The subject shows two Shall we say imagination is lacking in English setters; one, a golden-brown and this work? Well, if we do, we shall be white, stands in a woodland pool, with his obliged to drop Gérome, Tadema and like head toward you ; the other, a black and artists from the list of painters, and relewhite, is emerging from the bush on the gate them to the precincts of the great edge of the pool, and gazes steadfastly Dutch school of painters, — and not a upon his comrade. The background is wholly deserted quarter for the worship
composed of alder bushes, Aecked with pers of wholesome art, be assured, is this sunlight, which augments the half-tones of great camp of realism. the secondary lighting. The incident is Pope reaches for truth, his grasp upon not a common one, but happens among it is firm. He never gesticulates, does not dogs as well as in the human family. It draw the attention of the world by the seems that the setter in the water is a noise of his art, is not self-conscious. truant in the chase, and is hiding from His tastes are simple, his compositions, if the party, but has been discovered by his ever faulty, are made so by his desire to more courageous companion. What cares exalt his subject ; and so earnestly and he, so long as he is comfortable and out surely does he keep the eye centred of danger ? He is cool and happy, upon the figures, that accessories seem of doubtless knows that, like the coquette or little consequence. Of late, however, he flower, he's fair to look upon, is a pet, and gives more attention to “ little things," as won't be crushed for his actions. The witness in “The Truant"; the background types are the extremes in looks and tem- of elder bushes is perfection in detail, a veritable study from nature. Be not sur- never better interpreted. Melin's “Boar prised, conceited contemporaries, if Hounds at Full Cry," a superb painting, Pope, by his indomitable will and patient does not contain a better example of application, reaches the goal, and that, too, dog instinct than is shown in “The by a path of his own making. You who Truant"; and like Melin, Pope gives us
the muscular anatomy, textures, and movement, without detracting from the spirit, the genuineness of the animal life. All of which summed up means that Pope's pictures have soul, force in them — realistic or not, perfect in drawing or not, great in color or not.
I like the remark of that most able of our painters, Mar
cus Waterman, who, Model of Lion.
with true apprecia
tion of the artist's win the laurels of the academy, where the genius said, by way of comment upon fashions are taught, and come out into the “ The Truant": world to preach them, shall have your
“ It is a grand good dog. He has succeeded. day, and the future shall know you as a His energy and study must tend enormously to representative of an epoch; but the perfect his art. What patience he displayed, natural force of the man from the shop, under the most adverse circumstances, for several the man who has learned his trade and weeks over the lion he found in Philadelphia !
Such men usually achieve their ends.” wrought work with tools of his own invention, must paint for all times. Again Pope in his studio, in the Phillip's witness that indescribable, powerful, exter- Building, Boston, reminds one of the nal and internal portrayal of the English artisan. He is surrounded with his masetter; — who shall ever say it is hasty in terials all ready for use ; stuffed animals, style, tiresome in manner, unnatural in models, casts of all kinds, representing a color, or unlifelike? The type will never variety of creatures in many poses. A be better executed, the nature of the dog large number of these he constructed