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MICROCOPY RESOLUTION TEST CHART
(ANSI and ISO TEST CHART No. 2)
i.25
1.4
1.6
A APPLIED II\/H1jE Ir
SV '653 EosI Main Street
r^ Rochester, Ne* York U609 USA
S (716) 482 - 0300 - Phone
S (716) 288- 5989 - Fax
f\r[ /^55oeiatioi>
of IT[or)trea\.
Seventeenth Loan Exhibition
pal9ti9<55 I9 Oils apd U/ater QDlour^,
ON THC OCCASION OF THE OHENIMO OF
The New Gallery.
29tt? f/ouember, 1893,
flis Excellency the Governor^ Pener^al
The Countess of Aber^deen.
i
f\r{ f\ssoe\at\OY)
of /T\oi)tr^al.
patrons :
j4is Excellency the povERNOR Peneral.
The CoUNTLSS of y^BERDEEN.
— • -^♦^ • —
Council foe tbe seat 1893.
Stii DoXAi.i) A. Smmii, k.c.m.c, Presidcitt.
.Mil. E. ]5. GkkknsiIH.i.us, .... I'icc-Prcsidenf.
Mk. C. J. Flkkt, Ticuisurci:
Cvancllhrs.
Fur One Vcar.
HKV. .1. ElKiAll Hi
Mi:. IIlcii Mi Lenxax.
" David Mokkhk.
" W. 0. Mi;ui;av.
" JilIlN TuriiAM.
" .1 AMI'S lloss.
Mn. R, Li.s'iisAY, Secreiarij.
Fur Two Vnus.
Mk. 1{. li. AX(;u.s
•' i;. s. Ci.ousiux.
" \V. li. El MKXIlDKsr.
" A. T. Tayi.i.i:.
" W. C. VAX lloKNK.
" ]). .\. Wait.
Mi.-s I'axc^.man, Asst.-Sccrdarij.
Coa9 ^xljibitioi?, fiouenber, 1893.
Executive Committee.
Mi;. H. H. Asta's. .Mis. E. B. Gukenshiklds.
Mr. a. T. Tayi.ok.
imi>A.%
l«M^/
if M M isspeiAmi.
■ > i i I m 1 1
A tUie Um CsBfetlon How Oa
Tieirt« lie PubiJc.
BratMi Mi« I»rta«TOix.
71)6 pttt)Itc o^Ar<ttitr«aI are veiy much
indebted to tbe Art tunooiation for the
OTjpoitonily offorMof geieiiig the epWadid
ksD ci^eotion ot piettures nowooiexhi-
bftidn in tbenewjcallei^. It 19 decidedly
tbe beat ezbibiticm ever b^ in Mont*
jrei^ and refiecte «f«aki»edit mi our city.
wjtboDt atpf«iei4 going into extended
cnli(si»ifi^i»fer«n88 may be made to a
few >of tbe ^incipal paintings.
TJhese is a remarkably fine portrait of a
ladv by Bambzandt, the great glory of the
early Po^ Bcbo6L The face is made
beantiful by its bright, intelUgent. ez-
preeaioD, apd the pamting is iull of ehar-
acter and strong in color, and in the
attiat'e best period.
Kear it is a portrait by Franz Haln, of
a colonel of the Artists of St. Qeoxttd,
which is a faacanatiog work. Its cotor
and broad free treatment are worthy of
all admiration, and what a face tostady 1
As we look at it we easily transport our-
selves in imaginative to the g^oddays
of Holland, and enter into the life of her
victorious citizenfl, of whom this colonel
is evidently a typical example. What a
bold, stiong face be has, and what humor
in biis ey«.l As be pauses to draw on his
gloire a u^nry look comes over his face,
as some pleasant thought suggests itself
tojiiip. Surely, judging by his portrait,
a brave and cliaver man he was, but as
fiurely would we hea" many a lively and
interesting tale could these Kpe but speak.
Oi the Dutch school there is also a fine
interior and courtyard scene by Peter de
Hooch, the great painter of sanUght.
Inthe£ogli6h sootioD, besides splen-
did examples of Uainsborough and Sir
Josbna Reynolds, thete is a very attrao-
»v« portrait, by Romnay. of Mm. WriirhL
utaeoatalf^uedoss not tell us who Mrs.
Wirisht T<rs8, but charming she must have
bsM). me lives. QB cauTas thiough tbie
genius oitbe „/iisi,, and 's depict^ with
somnch,i|^iittbat, wbile we look, she
almost siMip% to move. There is a won-
derful eham J^ont this picture, and it
will certad^ly be one of the favorites
luxHmrtliijiwtnaK, TJw aiMif^iaad,-
ofltti* _
is the fine pidi^bW by ItSk
Communicii^f4|iril6 Hi ipilMilion
eUMtMiteiidia^.^ui. tew
thas* wbitf i9b|e . «m ftfatoil )^ing
toth«brftel«(HB)«inBia»i TUacbMft^hd
paintfaDg tef tikmf bMA esnwiderad
Bi^on^ moastei^eoa. Mewtt ia « re»
mai^iyble wedc hy XMaemix^HpeBhaps
tbe greatest artist of Fnndik {fiider a
lurid sky a ^tessatis saen^tosBedJiboiit by
the stormy waves of Xiake genneaarat.
The disciplea have net yet arouaad Uidr
Sdaster, but the Ijma has eoma fee 4tiem
toidoBef.and then tfaa eeramaad will
issue faith and the waves, be rtlU*
ed. The scene is grandly depicted
by the great arti^ and the aotioa .«ad
Color are wondexteL We would like to
refer to other paintu^ and hope to do
so later.
lileantima it is.bppod the publie will
show their appreciwon of tne generos-
ity of the owners of these fine works of
art by ^oing in Itfse numbers to see the
exhibition, and by so doing encourage
tbe Art aasodatii|Q In ^the good work it is
doing lor the cauj^ of art ia Llaatadat
It is not often tbat a city th« 4ze ot
Montreal has the opportunity ot see-
InjK such macsiiflcent pictures as are
now upon the walls of the new picture
(lUIery, forming the Bev«aC«enth loan ex-
liibltlon of paJ/i.tli.vs in oUb and water
colors. 'Oatside of New York and Bos-
tOB." says Mr. W. Brymner, R.C.A.j
'such another collection could not be
brougrht together on tbe continent of
America.'
It is a privilege to behold such mar-
vels of the painter's art, which beget
increasing admiration, aa they reveal
new beauties, the more familiar they
become. The collection Is a credit to
the artistic taste of the owners, and the
public owe the latter a debt of gratitude
for their generosity in lending them.
Visitors will also have an opportunity
of seeing the new art gallery and ac-
cessories, with their appropriate deco-
rations and arrangementa for the com-
fort of the public.
The present loan collection comprises
some vary tine examples of the cele-
brated Dutch school of the seventeenth
century (east wall); _ representative
i>&iaiingB or tue b>'o3'^ liHigiion portrait
and landscape painters of the eighteenth
century (south wall); characteristic
paintings by the French artists of 1830
(west wall) and paintings by present
day artists.
"There are four paintings on the east
wall that dre equal to anything to be
seen anywhere, Noa 88, 64, 33 and 67.'
Such le the mature Judgment of a wetl-
kiMtwn Canadian painter.
ttm, "The
Mlioii of
ttmmamMA
hdf<« r»-
unAw •
l«boat by
ia»d ihelr
'fee ibem
sand will
4«pra(ed
itioa :»ad
il like to
ipe to do
abiie vill
e generes-
workfl of
toseetbe
encourage
work it is
lada.
le ttza of
ot Be«-
I aa are
!r picture
1 loan ex^i
nd waters
and Bob.'
. B.C.A.i
1 not be
tinent of
ach mar-
ch beget
y reveal
liar they
credit to
I, and the
gratitude
ig them,
port unity
and ac-
ite deco-
tha com-
lomprises
the cele-
'enteenth
sentatlve
por^cLit
Ighteenth
BLcterlstU:
u of 1830
present
the east
[»g to be
and 67.'
r ft well-
INTRODUCTORY.
i; presenting the Catfiloguc of the Seventeenth Exhibition,
on M'. occasion of the oponin,t> (if the new gallery, the Council have
great pleasure in congratulatiiiL;' the ineniber.s on the completion
of the now liuiMing. This .•^atislics wants that have been long felt,
l)y providing larger and belter ai I class rooms, library and reading
room, than the Association ha-; ha'l in llie past, and a new gallery for
exhibition puiposes. TIk; present loan collection comju'ises some
very fine examples of the celelirated J)utcli school of the seventeenth
century, and representative paintings nf tlie great English portrait
and landscape painters of the eighteenth century, whose works,
with very few exceptions, tlir (.'nuncil have not hitherto liad an
opporLiuiityor exliilating. Then' aiv also characteristic paintings by
the Er(,'nch artists of 18;iU, iuid liy ttu! liest painters of to-day. The
Association is vi'iy niurh indebted totlie following ownersof works
of art for their generositv in lending tliem.
yiii. M. n. A.v.iis.
Ml!. Samuki. i!i;i.i..
l)i:. A. A. 1!i:owm:.
Mit. .Ia.mi;s lUiiNi'TT.
Mn. Samlki. Coui-son.
Hon. Ci. A. 1 )|!U.mmu.\ii.
Mh. W. IL i'lLMlOMIulisT.
Dii. William (Iakhnkk.
Mh. E. Vi. (iiti'Kxsiiiici.ns.
.Mli. ClIAIU.KS C. 1 [()!■];.
Missus. Lauhii; A- (Jo.
Mif. \V. ,]. Li:ail\iont.
Mis. Dl-xcan McIntvi!!;.
Sir Donald A. .S.Mrm, k.c m.,,
Mi;. S. F. MoiuiV.
Ml!. I)aviii Mokuick.
.Mi!. i'lSANic Newuv.
Ml!. .b)HN (.)'Fr,AiiEinv.
Ml!. (iKom-: Olds.
Ml!. .bdlN Pol'lIAM.
-Mil. (.'. E. L. PuiiTEOus.
Ml!. \l ('.. Ui;iD.
.Mu. -lAMlih JiOSS.
.Mkssk,s. W. Scurr Cv Sons.
Dk. Francis .). .Siiki'I'Erd.
Ml!. Andrew T. Tayi.uu.
.Mr. F. Wom'erstan Thomas.
.Mr. \V. C. Van IIorxe.
In writing the short notices of the artists in tiiis catalogue
the Coniniittec have made use of tiie following works of refer-
ence : —
Great Artists' .Series, Sampson, Lo\n ^' Co.
liaml Books of Art History, Sampxon, Loir ij- Co.
Les Artistes CV'lelires, Lilirairic dc /'Art.
The llarhizon Hciiuol, JJ. C, Thonfun,
Conversations on Art, T. Cuuiare.
Catalogue of the works of Jongkind, 1891.
Portfolio Papers, /'. C. ]la,)icri(in.
Life of Turner, 7'. (i. llaiiicrlnn.
Lcttres tl'Eugene Delacroix.
Bryan's Dictionary of Painters ami Kiigravers.
Artists of the 19th Century, Clciii'ut ij- Iluifoii.
^<r, , t ^t ^ cV/,
<^ Cl< /tx^t 0-^ c-o€^
Water Colors arc iiuirked tlius f
LOAN EXHIBITION, NOV EMU EH, 1893.
CATAiiOGUE.
.Dutcli
ARTZ, (David Adolphe Constant) •
Died 1890
Horn at thi' IIai,'m', HoUaiul. Piqiil of Molliiif,'cr and of Josef Israels.
Vifo-rn'si.lciit of the International Jury, Exjiositiou Universclle,
i'aiis, 188!i. Le<{ioii of Honoiii-, France, 1889.
t 1-
•Dutcli Woman Knitting.
BOSBOOM, (Johannes)
.Dntch
1817—1892
Medals:— At Paris in 1855 and 1889; at Philadeljihia in 1876.
Knight of the Onler of the Lion, of the CJrown of Oak and of
Leopold.
" He is the iminter of day-lij,dit and its elTects upon architectural
feat\iros. None iicrhaps has had so true and just an apprehension
of the plastic iiuality of an interior as Johannes Bosbooni, and
none perhaps has revealed so nnich of its pictorial si<];niticance, or
strnck from its siij^'^estions a note of such jieculiar yet cngapng
romance. It is tpiite without reference to their relation to man,
it is wholly for themselves, that he i)aints his cottage corners and
his vast and lofty aisles ; and to jiresent them as he sees them,
through the exquisite gradations of their aerial envelope, is for
him the only function of Art."
W. K. IlRXI.KY.
2 — Interior of a Clnircli
t 3— Dutcli Kitclieii
LOAN EXIiJlliriON, NOVKMJjEn, JSM.
BRETON, (Jules Adolphe) H. C,,
. Paris
Medals:- --ialoii 185fi, 185", Isr.O, 18(il, and Me.lal of Honour,
1872 ; Fi, t Class, E.\|iosition Uiiivorsolle iS67 ; ami also at
London, Vienna ami Brussels. Ofilccr I,ogion of Honour, 1807.
Knight of the Onlor of Loojiolil, ISSl.
" Breton is at once a iiairitcrof iiinilsoaiicsainl of liiniian nature. The
two are harmonized in smji just iirojiortion, and with stich great
ability, tliat he occupies the rare jiosition of excelling in two
distinct branches of art. His eye for colour is aluinst faultless
and his teclinical capacity is lieycuid (]ueKtion."
S. fi. W. Bknjamin.
" There is with M. Rreton a )>rofoun(l sentiment for rustic beauty.
He has conjirehended the grave, serious and vigorous jioetry of
the country, which he exjircsses with love, respect and sincerity,"
He is a true poet and true painter,"
TUKOIMTILK CiALTlKR.
1'. O. Hamkrtos.
4 — Les Communianlcs >>-
" Parmi les frais lilas, les renaissants feuillages,
Par ce printemps qui chante et rit dans les villages,
Par ce dinianclie clair fillettes au front jiur.
Qui niarchez vers la niesse cntre les Junes branches,
Avez-vous pris au ciel comniuniantcs blanches,
Vo8 robes do luniiere on frissonnc i'azur ! "
.IlLBS Brvtox,
BRYMNER, (William^ RCA
5 — Landscape
.Montreal
I.' I AX r.XlliniTlnX, X< ' VHM liKll. ISM.t.
OAZIN, (Jean Charles) H. Paris
Mi'.UAi.s : - .Salon, ]i>7t}, 1^77, ISSO. l..'-ii.ii of H.moiir, 1882.
Tliisc'eli:l)iatt'il liiml.sciiije |iiiiiitfr ut indiiy htudietl iiiulcrM. Lecocq
il(» I'ioishiniilraii, wlio wa.« :ilsi) Ihi^ Mi.isti'r of such now wi'll known
nun as Leon LlK.iiuifti' and I'aiil Kcnoufuil. Ca/in Ims .sticrcss-
fnlly txpciinicntcil in almost every form of expression in art, oil
and water (.oloiirs, jjastid, s^miaclio, wax, faitiici', marble,
U — A Hot Smumei'rf Day.
CONSTABLE, CJohn) R A
, British
1770 •is;i7
The whole Work of Coiisialik' the u'r-at naiiiruiist in laiidsca|'e art,
is a protest a^.-iinit the con wntiu'ialism of the IStli century. A
fervent admirer of Claude and I'jiissiii in elassieal landscape, he
felt tliat all j^neat art was oii^in;il and m. lu- painted liis l)eloved
SuH'olk -.CI n. ly a^ 1.,. ^:i\v ii ,ind tell it, anil in las own way. Xo
arti.it has ever hail a ucic ]M.s..,ionuic l,,vc (or (he pl.-icc of jiis
birth than Conslalilc li.id for Hast l!cr;^liolt and the fertile valley
of the .Stoiir. 'I'liMiiyli ii \v;ls loni; beloiu hisw^.ik was appreciated
and althon,i;li his ..rniiis was iic\,.i- |,],.iu.|ly iv-.i-ui/cl i)i his own
country while he lived, Ic was .sustained I'V ;t linn conviction
that his work vas ..^o.hI ami would evcnliMMy )m- iiiiderstood.
Ills family Ijlc 'vas happy and he ii.id the warm rc.ijai'i! of hi.s
fi lends. He wa., not eleetcd to the .\cadcmy until .after the ileath
of his wile, who had .sh.arod the loni< years of discoura_;,'em'>nt with
him. On (he day of Ins election he .said, "it has Ijccu delayed
until 1 am solitary and cannot impart it." Gnistable knew tho
value of intelli;.;ent eritieisin and was not afl'eeted by that of tho
i^'norant. "Mr. " he says "called to see my picture .and
did not like it, .vo / n .n nnr.- there h sinihlliimi in. It." •' Very
true," he .said another time u hen some alterations were siiffested,
'■ I'lit don't you see I might f;o on and lufike the picture so good,
tiiiit it would he i/dod for iiol/>ii)>/." Constable exerted an import-
ant influence on the landscape .art »{ this century. In lS-2-1. a
I'aintiii;,' of his was exhibited in the .Salon. Its effect on the
B
10
/."./A Exiiiiii iii'X, .\"r /■:.}/ /:/■:/.; /.v.;
iirtisis 111 till' iipiimntic iiitiviiiu'iit in Fiaiicu was irniiu'diatr,
ami \vf liiiil Dt'laiToix wiiiiiii; of him, " ConHtal)l(.' is one (if the
^'Iciiits of till' Knulisli ; ln' aii<i Tiiiiirr aro true nioiinciM, tlu^y
1!iiv(mIi'[uii till fimii tin- 1 (mil Mr i<i I lie nld liiiiils(ii]iists, Our .>-<'1h)ii1
liilSf^ritatlN iMiiilillril liy lliiii ( .\iilii[ilc. It lias ^'iciit licfil of iicw
lift" iiifiisi'd iiitd it ; it is old wliilc tiuiis mtiiis 3oiiii<^. Tlicy
liiuk at iiatiiiT and we aru oiciiiiicd in iiiiitatiiig iiiitiiii's." Tlic
genius iif Cdiistalilc \va.s fully ackiiowlcdj^t'd liy tlio artists of
FiauLi: and it acted as an insiiiiation on those yoiini,' and unl^iu-si-
flstie luun who were to bficonii; the gieatost school of modern times.
7 — A Lock on the Stour
OOROT, (Jean Baptiste Camille) French
179C— 1875
Legion of Honour, 1S4«, and Officer, 1867.
The history of landscape art bears out the sayini; of Whistler : " Art
seeks ll -^ artist alone, where he is, there she appears and remains
with him, and when he dies she sadly takes her flight." Visiting
France nearly three hundred years ago, she reveals the great painter
of sunshine, Clau le Lorrain, passing to Holland she dwells with
Kuisdael and Hohbema, painting the i)eaceful scenes of their
native land, then she Hies to England inspiring the genius of Turner
and Constable, and again we see her returning to France when the
men of 1S30 appeared, young, strong and impetuous, carrying the
art to its highest point. Tiie vvoik of these men was largely in-
fluenced by Constable and Turner. The life of Corot, the leader
of the school, was a singularly happy and contented one. Uright
and cheerful, singing to himself as he worked, generous to a degree,
loved by all, he leaves a record of a beautiful character, pleasant
to dwell upon, " a splendid evidence that a man may be an artist
of the greatest power, while Iil- remains modest, lovable and kind,"
Corot has left a number of skt.lelies which show, as do iiis early
paintings, the patient training he went through. This careful study
and the knowledge ac<piired, eiuibied him to paint afterwards with
wonderful freedom and hreadili. His work improved up to the
» *
*^ --^"iii-^v^ .
y; kH
i£^!ih^, k-Ll:^^ K
No. 2, Johannea BdSboom, '--' 'T 1! W"'WW
n^ ttils splendid Boaboom. tt will de-
IJg-ht you. rou are In the interior of a
cath«lra,l, with Its dim religious He^ht.
1 18 effect of space, and tone poems of
cold rrar stone smd warm dark oek
» touch BrwterTnflaemjeon the art qai«t Suffolk scenery. An en-
bi»«ge. Yumer'a art likrhimJelf wm!*'VI?****!,'^,° copyist of Claude
«ttjlj«ly indiTldo.!, Md althoS . w^SfS^ S^?**!^ ** one time we c«n ^ee in
latiMj, could not be imitated; Coa- 1^^* *^iS^i'* **°^ ^""^ **« ^»<* emancipated
aUlsll^s «rt was an inspiiSon as wtS £ Si?!£'^J»^ *^«'/ conyentionalisinnd
• welation. and led to a completeSv" I'llTSSl'^i^ fonntainhead of natore,
joUonin landscape PMntina. esnecVallVi J*^"!*'^^.?** ^^ "•^«' afterwatds to
ttt^Rmce. The ve?rSestiEf*Sd'f«ri^«»^*'"-^**°'?.*^ somewhat dark
fdS>)e. flwngh necessarily briS. notlle TiJ k- T,"**" * ■^°.? ^^^ *« '«»•*» »" its
JW^ed to this nainter's na^M fn tS ca?^ &*& ^^^,'1^'^ *"'.**'? ibregronnd ;
i^nerOTdeisIt unnecessary to do moMKS^m-^^^^ •'^^ *»«>»«»
thtoimikeavery short reference to him! ?J!!!g£'SjL^ t^mWdle and extreme dis-
i*p«t«tion^tiical^«'ffi;^^^^^^ one^fr"
*eu.ibrhe w«i bor« tod brought pp iag?^.*S,^f«;,«J^ g««U
IteSib-
|pK»'dHM.'1!>%.
\
l.n.lN HXHllllTlUN, NO^KMJiKll, 18US.
11
enil of his life, ami his latest paiiilinss " thoii^h sometimes less
attemivcly carried mil in ileiaiK, are riciier ami fuller of his jjrcat
HUiilities of tone and colour." " llf was the artist iioel of the
iiiornlnK and of the evening, tli<-' aeli^htful painter of twilight. <.l
rosy dawn and dewy eve. I It' w;is the man of all oihers who coii!<l
paint the atmosphere, aud who could invest every landscape he
pro<luced with a romanticism and charm which are thoroughly
wonderful,"
8 — Ltimiacape
— Une Symphonic
10— Pont de Gortz
1 1 — I^indscape
1 2 — Lu3 Gaulois
13 — IViisant Oirl
y\ 'J •
COTMAN, (John Sell)
.British
17.^'2 — 184V!
On.' .if i\u; Norwich .'school, Coliiiaii t.ikis his phic in the finrit
i-.ink of his profi's.sioii. Cusuio MoiikiioUM', his luii'st hioj^raphcr,
hays ho was "ono of tlic most orij^iiial and vrisuiiic artists of tli-'
lii'sl half of this century, a draughtsman au'l coloiiristof ixccta-
ii.nal -ifts, a water coloniist worthy to be ranked amouK tiu'
Ljr.ater nun, and exccll-nt ;n a jiainter oflauJ orsoa." After his
d. ath his p.iimings were sold at Christie's tor a f.w pounds apiec.
i'.ul oiiiuioM has ehaiifjed since then, and he has tor innt; lueii
reeuL^ni.'rd as a ;.,'ri!at and rarely endowcil lutisi.
U — Landscape fij^
/.".i\ i:.\iiii:iTi".\, .Mir h'.u /:/■:/;, ly.i
COUTURE (Thomas^ Krciich
1*
1>7'.'
IImiii It Siii;i-. I'll! ., ,; I iid.s iiiiil iiT I'iiiii ilt'laKurlK .
Mi'.DAi III 1811, 1-^17 u, 1 isr,:,. r.f'Kion iil'Uf.n.iur, IMS.
Till hiul wuiU of tliis I'll iicli liistniii'iil imiiitrr m "Tin- Koimii.- in
tliotlcaili'iico of I he Kniipin." It is imw the jirojiorty of the State.
Ah (111 ii'liiiiier iin I ■lilVinIrr of Diivi'l In- ociiiiiiiMl a iKOnliar
IKisitioii, liviiij^u.v. ill aiMoii;^ tin' j^rial, [niinti'i-sof the iloiiiaiitii'
iiioveinoiit, Thou;;K in' aiiiucciiitcil (!ros unci (it'iicaiilt, the
oiiglnatoi.-i of till' iiiovciiuiit, ht: couM not sco tin! ^roat risultM
if was to Icftil to. In his liook " (>onvi rsationson Ait," hori'iieats
tho words ol liiH nia.sti'i', "Ah, Coiiturr, if you wuie only older, we
would criLsh theso ahoniinfthlc romancers."
15— Study of n Hciid Vvx^«-j
COX (David)
. Ilritish
1 rsri 1 s.',9
David Cox, the uiiiincnt Kn.^lisii paiutir, coninicni'i d hisini larcrr
hy iiaintin^j; .scenes for the tln'atn', and travelling,' with l\u' m torv
from town to town. He .soon u;i-cw tiri'd ;if this .nd took to
teaching'. When twenty-two y^■ill^ old, he made his tiist sketrli-
ing tour in Wales. At this time he chariiod two gninea.s a dozen
for his landseajies in .Seiiia ! Later on he got forty ]iounds for
works that have recently sold fen- three thousand jiounds. Until
about 1837, he painted in water colours only, hut after that he
painted in oil.s as well, takiiig Ics.sons from Muller, for whose
work lie had a great admiration. In IS 14 he jiaid his tirst visit to
Hettws-y-Coed, and stayed at the " Royal Oak." This heantiful
Welsh county became his favourite sketchingground, an<l h.nssince
been intimately as.sociated with his name. Cox wa.s an adndrablo
painter in oils, but his chief fame rests on his water colours.
The.sn am broad in treatment ; have a wonderful atniospheric
brilliancy, and great truthfulness of tone, and they secure for
him a place among the first English landscape painters.
t IG— Terrace of Haddon Hall |?/--^
i 1
The reprpcftntatlve pictures of th*.
Frerioh ■c-hool (18S0), fornilnj? pat-t of the
loan oollectJon In the now art Ballery
number amotiKst them some very strik-
ing and able works.
Corot, 'the artist poet of the morning,
and of the evening:, the deHBhtful paint-
er of twIHrht, of rosy dawn and dewy
eve. Is reprasented by six charactcrlsUc
work*, tflRHdl()liJ»tc, romahtlo ' and
charmln>r, beartng evidence of the mod*
of Constable and I'urner. artists who
6xercl8e<l considerable Influence over the
school of which he was the head. Bach
of the eight canvases has a peculiar
beauty of Us awn, but Nos. U and 8 are
particularly pleasing Jn Bubject and na-
turalnecis.
Bnt, trfailat we ar i treating of land-
scape, we cannot be n making a refer*
NO Tb iT IS a Lhala;iy"pTe^e of^^rk *J« P««t«"-?,«otitled "Tbe MTH Pond." and
I effective in Its dif oaltion of color ]i»h *""'" ^"'i °o doub . endear Jiim to
and shadow. '„ many wbo may notlia.e seen hi4 worlc
Apart fronA Its meHt as a pafntthg, }?*'<**• Itisnotourde force, bat a de-
whloh Is great, Cotman's 'Landscape,' lightfol bit of entirely . aiet, good paint-
No. 14, is interesting as a piece of real ivg. Tbe liquid, mellow perfect beauty
Norfolk scenery-flat country, with slug- of tbe wbole oompositic and color at-
tracto one more and mor ■ as it is looked
BtTbemlB, perhaps, not! ns; in it quite ao
masterly M tbe upper 1 If of the Con-
stable, out it is unifonnl> ?ood from the
first riffle on the water' the edgeot
the picture np to the tips the wings of
,»... ^ , -■- tbe clouds. The cjmpo tion is well
Mill P.md' and ' Waterloo Farm' are full atodied and composed, not ith the Stiff-
! &"S?i?^i:^'ffy "'S ■ rvr.o-'^^'Sir ^<^; ^ L^-
I arid oMve greens of the massed foliage. CO»^jtbe MtiSt's hand.
the mill and the wat«r, ct-e«*e a feeling , „^be Other example of Cr one, entitled
of 'richness' difficult. If not Impossible, ' VVaterloo Farm," is a verv strong im-
Adequtttely to describe. ( I«flto picture. Somewhat Sf ambly and
joat a little bard, bnt very srori in qual-
••m'iS I&" ™**"in8 tt»e cJtiarm of the
glah rivers, ' broads ' and 'meres,*
aboundiiig with llsh and water fowl,
David Oox, who, In his lifetime ob-
tained forty pounds for works that have
recently sold for three thousand pounds.
Is represented by 'Terrace of Haddon
Haiti' a imall water-color.
Old Crome Is seen at his best. The
^ftbmm'-mm.'
LOAN EXHIBITION, NOVEMBER, ISOS.
13
CROME, John) British
17G9— 1821
Jolin Cromo or as ho is better known, Old Cronio, one of tlie greatest
of l';nj,'li.s]i lamlscajie |)iuiitor.s, was Lorn in UiU*. For some years
he inaeti.sinniis art nn'ler threat ililllciiltius, l.ut the.so were over-
ronie wlu-n lie settled at Norwieh as a tcaelier of ]iainting. Ho
soon gathered round liiiu a lilrle. school of painters and founded
tlie Socii'ly of Norwich Arties, which hchl exliihitions from 1803
to 18.'!;;. He was the lea.h r ..f the Society and its chief glory.
He occasionally exhibit..! ,i; the Royal Academy, Imt his work
was little known onlsidc uf Norwich and its ncighhonrhood until
1^77, uhen a sj.ecial exliil)iti.in of the Norwich school w.as held
at liiirliiigton House, which atlractcil great attention. Cronio
wa> a strong admirer of Hohhema and Riiisdael ; like them
he was an carne.st lover of nature, jiortraying truthfully and with
a ]HJetical charm the scenes among which he lived and worked.
He was an adniirahle draughtsman and lino eolourist, and his
sunny lamlscaiics hy the slow Norfolk streams delight us with
iheirswcctcoldur and beauty, and feeling of air and sjiace. With
Constalile and the other early Kngli^h landscaiii.^ts, he lorms a
{■oniieetiug link between the great Dutch artists of the 17th
Ceiitniy and the French ."school of 1830.
17— The Mill ToiKl -'' '
18 — Wtxterlijo Farm ■■• '
D AUBIGNY . (Charles Franeois) French
1817-1878.
Legion of Honor IhoO, Oflicer 1871.
I'lie life of Daubigny was quiet and uneventful. He is not pei hap*
so individual an artist as Corot or Rousseau an<l his charaeter is
less markeil than their.s. He loved to paint the (piict waters and
banks ol the Oise and the .Seine, with sunset or ni.iMnlight eltects.
His finest \v<iiks are clear and lunn'nous in colour, with a [ tculiatly
attractive charm about them, He stands in the very front rank
among landscape [lainters.
1'.' — Stacking Hay
20 — Land.'soa] )l', 8 | )r i h -
2]— EvcjiiiiLi
M
i.i'AX F.xnrJUTiiiy. \iiVi:mi:i:i; is'.i;t
DECAMPS, (Alexandre Gabriel)
, Fiench.
Lctjion of IluiiKi in lS;!i>. Ollker in 1S.',1.
Decamps \va.s une of tlie most varied arfisls of his tune. Reiiiaikab'L-
for tilt colour and life in his works, he painted landscape and genre
subjects and in nuinci'iis pictints sliewed a great jjower of satire.
It is prol.alily in his l,ind>capes thai the ait of Decamps i- seen at
Us liesl. He was very nmeii impressed with ilie arclii'.i-ctiiie,
landscape and peojile of the East, The houses there, silent and
inipenei table as their inhabitants, the biiiliant liglu outsi ie with
the dark shadows of the walls and inider the porches, had all a
great attraction for him. Ik- was the fust and he remams lin- -nat
master in depicting the scenery of the J-'.ast which he trea-ed u\ a
perfectly new and original manner.
22— Vicill.' Miircliai
KIC
.^ ^l
DELACROIX. Ferdinand Victor Eugene^
1' re null
177!>— l.^tlJ
Legion of Jloii.mr, 1831 : OHi.-cr, ISIO ; Coininamler, ISfifi.
I)elacfoi.\ was the chief spirit (d the loinaiiiic inoveincnt in Fr;uie<,
eomiiH'nci'd by (;r<i.s and Cericaidt. Thi- revolt from classicism
alrcidy begun in !i!i ia:!)i. and music, was just commencing in
art. Cros rcla].scd inch , the inlliu'iice of David and ( I.Ticault
died at an early age ; bu; i!i,. iimvement was vigorously carried on
by their great successor. T'-ie .- a strange dillcrcncc between
his life an. 1 l,i< work-, th- i.iii,, j, ir.cd.hd. violent and tragic,
while the r,„i,,,., i- . dm, an! hi, |,i-i,Hy ^h. ws noneort!io>c
extr.e.: li,, ry a 1 ventures w hi. di hedepi, ted in his paintings. He
said Li.h.ell he was a "revolt.'" railc i than a " levolutionairc."
1-:.1i;:mi..1 in the mIuioI-, h.' had a sine, !,• icgar.l lor classic art.
ami when he wroi.- .litieal , ssay.s in th. ■■I;..vuc .hs ])vn\-
Mon.lc," he appcuv.i to be .aarly in agreement with the
Academy IVom whiili he w.is so tar removed in practice. It is
diU'creiit wdieii the artist .speaks in his w.uks, then thcie is i,,.
'■'■'''•'■fi"" I""' '' !}■ : h.' r..rg, 1- ill. and h.' miut (in.l iUi .'xpL.^s
i
i
I'iClK.ll
^»-.~AM^iiiJU«:^JaM^,«,,i6aMMHlM
<
^
(
1 „ »"
Sa'^'
^-If gel dill ^
** fe 4) ^
gS ..^
g o C
•^ S '2 " *" f
b « 1 »
3 5^'^*3
C4
« '-I
o
^
0.
§;rf ^
4: tci3d S ^S-Sn'g
jfffmm^im*.
r
I
r
LOAN EXmmriON, NOFEMBEJ!, /.S'.'W.
If)
ion for what he feels, in cxa^^'c ration of niovcniei)t and intensity
of biilliant colour. When he found nearly every artist and
critic arrayed ayain.st thi.s new method, he did indeed become a
"revolte." He had a temiienimen^, that could not he bound by
tlie narrow and cold art of the day and desired freedom from
restraint and individuality. Mueh of what is thought to be
imperfeet in his work in done deliberately. "They v;ill see after
my death," he said, "whether I know how to draw," and the
innumerable studies of all kinds he left prove this abundantly.
He was much disheartei\ed by the way his work was received for
a lon^ time. As he said himsel*' " Voila plus de trente ans que je
suis livre aux iietes ! " The work of Delacroix is hi','hly esteemed
now for his wonderful colour, his expression of moveinent, and his
;^rand eoiieeptions. and he is by many cunsidered the greatest
nainter that France lias produced.
23 — Christ on Lake Genuesaret ^' ^
24— La Mort tl'Oplielio / -
. French
DIAZ DE LA PENA, (Narcisse Virgile)
1808—1876
Legion of Honour, 1851.
Horn at Bordeaux, of Spanish parentage, Diaz inherite<l from the
warmer South his love for colour, and his taste for Oriental figures
and bright flowers. He commenced by painting on china, after-
wards producing flower pictures and Oriental figures. When he
met Rousseau he followed that master, and became a landscape
painter, being especially fond of depicting trees and forests. In
them he is at his best and reaches the level of a great master.
2.1 — Laudscape '
EATON, (Wyatt) Montreal
20— Poilviiit. Sir D(.nal.l A, Smitli, k.c.m.u.
IG
LOAN EXIUIIITJON, NOVEMIlEJ!, ASVW.
I
I
ETTY, (William) R. A i'„iiish
i7.-r iMii
Klly ilit; Cv:lc')iaU.d pninlu- of the human figuie, was born in 17S7.
lit; was a puj.il of I.r.wifnro for a year, and was all lii> lik- a
) niirni aiul caiei\il .-lud, r.!. Hi, |,i\;:iiic- weie nj-cted An a l^iii,-
linic .a \y.t: .Aci-uf'!v,y. i.wii,-; In tliLir wanl of corieclne^s of diaw-
hvg and lu.nUM', ( -.riy. Foiiunaicly llie reason of tliis was
cxplaln'd ij liini i.y l.awienco. "Jlo t-M me" as l-iiiyay.,
'■ '!'•" '::'■' ■■- ' ' n,iUM;!i;; Icru s. He .^aid 1 had a very g,.od eye
for colli, . 1 I w,: ; lanicnlably deficifnt in all other rcspeei^
alnio;i." his leniaiknlile tr.at Lawrence w.is able to recoi^ni/e
l-'.tly"/ colour facii'iy -n ,■'•■-' y ■; I,;, career. This ctiucism in ]>!ace
of (! :<'u:.-.;;-n!;i In, i:- .• ]i,in more anxious to overcome liis
utfie;.-. liewoikcd very li:iiil and finally succeeded. Iii:i not
until iM'l .■; : \«- iiu'<; ^^^"h nii-.li >uccess. In that yrar !;c ] :;iiit.-d
''•■" I'ict ■ ■ "' ' , ' \'.i,. ■' ni.i.K' him i-iiiidcnly Lii.i-.vn. in
IMS he w-^ t!oc;,cl a nuru'.c. i,f the Royal Academy. ] lis ijrtat
ia.!iiu:t"..ii i; 'Ml .-A hr (•..■d,l iviinf n/--h n< none of his conlenijior-
'■ >' • i ' ^ i.iiir l:,.:ii a natuially fine scu^e of
' ■ • ' ■ ■ iui.r.aii lij;uie \.as the most Ir.Mitirul
' ■. ■■■ i ■ " . : !i ; 1 i; dci'j^hl was to paint it fmm living;
naluie l •,i:iiii!.;li\-."
u
27 — liivMiiih' i.i' (.'tiiiiil ;mil liis ( 'Diiinaiiv A---'-
EYRE, J)
t 2.S— 111.' l''oiv.i
Av.K-
I.ondiiU
FANTIIs LATOUR. (Henri
i'"ii! >;i '•!' ;i"' .' . !'-■■■.. <;..|-r ■!,„• p,,i,i,,j; p.,!,,;.
Ml \>K'.-:- 1 :■' '• 7;i, r,.-d..n ..l 1|. ,:. ! .r;i.
21t— l.a ToilcUc
HPHM^
. Mrilish
in 17S7
lilc
i)f thaw-
lliis was
r rcs].ect>i
II in place
coiiif his
IU:\ not
c j>;uiueil
)",vn. ] II
His i;rtai
iilcnipcr-
.' sense (if
t"-,',u!iriii
if
'
.
'Blvoiiac of CupFd tBd Ws COtnpftfly'
Ui an unmistakable Ktty, chairactMittlc
in subject and expression. The flesh
^fhtlng to HiU compiMUidtt J« full of
OAiiisborguirh'a 'PoftraVt of Anna
iiMitt,' Mte oi Serobue Egefton, Barth,'
is A Mem ot the purest ^ater. It is '&
, thins of beauty' given to the Ateka by ah
I IthihdMal palai«r.'
Portrait op anna Maria, Witk op Scroopk
, i/OERTON, Bath — BY Thomas Gains-
BOHOUOII.
It 18 but » Btep trom Keynol^s to his
great rival, Gainsborough, who Is repre-
Bented by onhr one example, vix., a wf-
traitofMiB-Egerton. |Iewa« grii/iii
landicftpe as well as ia portrait.
«^!?i.:^.«Qinp«taiig with Wllara . ia
the former and Beyaokls ia tbe
I»tttr. It is toM ot titr ^oaboft
that be once toasted Oainrtkmnk, Ms
dinner as the grestcet living IsndMape
paJntf. IVilaon Was Present and im«
mediately added "and the greatest por-
trait painter alebF This portrait, al^
ibbogb moet exedlrat, can hardly fe«
taken as a typical ezampleof this paitttei*.
It fs c<rfder in key tbim most df his work
acd li, of conrse, entirely sutmrdlttato fn
i^ze to bis - ^merooB fall length o&as. such
as the Bon. Mrs. Graham and othsM. Yet
it admirably shows the artist's nomw itt
grasping the ebaraeter of the sltMr.
Xhsra is no sentimental simper have, not*'
affectation of oovness, bat she looks bat
of the canvas with dear, fearless eyes at
tbe beholder, "Sans penr et sans re-
proche." There is strong presumption
tbat tblg picture has also somewhat al<
tered in its color key since it oameftom
tbe painter's band ; tbe hair and back-
Sotind aeems now too dark for tbe flesh
its and dress, giving one the feeling of
being too much in sUhouette.
■
LOAN EXHIlilTWN, NOVEMHEU, IHUS.
17
Ke7noI4i to hta
igb, wLo is repre-
ample, Yix., a Dofr-
0«V«i gNM ii%
M in pevfarait-
Ith WUam in
6yQol«U to the
of ISir loiboa
GaiiuAkxUill. afr S
; hvlog landMspe
i|ia«flent aod iiii«
the grMtwt por>
Tiiis portrait, ^
Is can iuurdly b«
ipl«ttfthiipauit«r.
1 moM 6f his work
ly Bttbordiaato in
ll«igthomi,8w;h
maDdokhsM. Y«t
» artist's poww la
«r of tile sitter.
1 simper iMre, noi^
but stie look* dot
r, fearlew eyes at
peu et sans re-
ong presamption
ISO somewhat &!•
iDceit oamefinoto
} bair and l>ack-<
lark for the fleah
>ne the feeling of
uette.
'
FORTUNY, (Mariano) Spanish
1841—1874
Fortuny was born of hmnble parentage, near Barcelona, in 1841.
Showiti},' ;,'reat pioiuise in painting, he was «ent to stuily at
liairiloiia and Madrid, lit; iifterwards went to Roine and I'aris,
and spent some time in Morocco. Ho died at an early age from
fever contracted in Laly. Ili.^ paintings were much .sought after
an<l liiglily appreciated.
t 30 — A Morocco Carpet Warehouse ^t^
.-1,-j
, Ih'itish
GAINSBOROUGH, (Thomas) R. A
1727-1788
Like all great artists, Thomas Cain.sborough's art was born in him.
From a very early age he began to observe nature and to love her.
lie lived amid the beautiful scenery of the Stour Valley, and he
used to say that it was these scenes that made him a painter.
After a brief stay in I[iswieli and Bath he set up in London,
where commissions commeiKc-d to ilow in so fast that he was
unable to accept them all. Although his merits as a landscape
painter were not fully recognized in his lifetime, his success as a
portrait i)ainter was complet-- almost from the beginning. Perhaps
his highest gift is that of colour, this was perfected by his early
study of Flendsh works. Ruskin says, "his power of colour ia
lapable of taking rank beside that of Rubens. He is the purest
colouri.st. Sir Joshua himself not excepted, of the whole English
School." For the purely tcchuical part of painting, (Juinsborough
excites the greatest admiratiuii. Constable praised his landscjipes,
and Sir Joshua Reynolds his portraits, and the conclusion of one
not lavish of his praise is " < iainsborough is an immortal painter,"
31— -rortrtiit of Anna Maria, wife of Scroope Egurtou,
Uath li I's r'
GLEICHEN-RUSSWURM, (Ba^ n Heinrich Ludwig Von). . . .
Morn in liav.iria, 183t!. A jmiiil , . Weim.u Art School.
32 — Eveniiiir
c
18
LOAN KXIIiniTION, NOVKMHEIl, IS'M.
HALS, (Franz) Dutch
1580—1(500
The lifo of Franz Ilaln was n Rtrftii;,'o one. A mcniljor of a family of
rank mill coiisiduratiun in liHurleii), lio livod a Uohi'iniun lifo,
fond of pleasure ami lnw .sucit'ty, ami ultliou<^li hu ciijoyeil
ic|iiitatioii ill lii.s iirofu.ssioii duiiii}; a loiii^ litr and had Ntcady
_ ciii|iloyiiicnt liu was in groat poverty in liis old aj^o and rcccivi'd
rulit'f from the city, lie was a literary man a.s well as u jiainler
ami wrote a tiiogiaiihy of eminent iiainteis. He was also a poet
and translator »( the classics. His rejmtation as an artist waa
}{reat while he lived and ho «'xertcd a powerful inlliience over the
artists of his day, Imi afterwards his work was neglected. It is
only since the middle of tliis century tliat his genius has been
properly approciatetl and hi) faino as an artist of the first rank
rstahlished. A recent writt r says his works" will hold their own
with those of Titian, Velasiiuez, (laiushoroiigh and KeynoMs, in
fact, he may be callctl the Velasiiuezof the North." A.s a (Kutrait
and genre ])aiiitpr ho is unsurpassed, and he is a m.tster of die art
of painting a laughing f.ice. The portrait puiiiti'is of the 17t.ii
century were fortunate in the subjects of tiieir pajitings. Tlio
great combat between despot ism and the spirit ot hnman libeity,
between the power of Spain and the seven small jirovinces on the
sand banks of the North Sea was over ; the Dutch were eiijuying
the peace and freedom they liad fought for and soeured, and they
Were aa a race, men of gn at individuality and strong, shrewd
character, admirable studies for such artists as Ilembrandt ami
Hais.
'<
•^1
33 — Portrait of Johann Van Loo, Colonel of tho
Archers of St. George (1643) ?? <^ "*^
34 — Portrait of a man in black ' •
HAMMOND, (John; R. C A
30 — Kin<lerdyko, irolliiii«l
. . Montreal
I
I t
nu
"I
•^1
Portrait ok .Iohann Vam Loo. Oolonki, ok
THK Archishh op St. Gkorhe— hy
FUANZ IlALi'.
No. 3S and 84, Fran« H«J«. Exqirislt*
Jn their Hnlah and truth, the garments
are reail, the figures &re alive, while the
menowoess of age has clothed them with
a ripening bloom— decay they know not.
Note the neah, expression, drawing and
t>ei9.tnient of mete rials.
[a Franz Hata was bora twenty -three
years before Bembrandt, and is only sec-
ond to him in ike mastery of color and
the manipulation of light and shade, and
IB often equal to him in force and insight
into character in portraiture. Like many
of his profieBsion at tbat time and since,
Jhis hie WM wanting in ^afatice, and his
improvident habits led him into varying
Ticlesitndes. This probably accounts for
the variety of his subjects, now painting
the gnildsmen and officers of the time,
and anon tavern drinking scenes. At his
beet period his Morks have a silvery
sheen and charm all their own, marking
them from tbe deep golden glow of
Bembrandt. Several of his best pictures
may be seen in the Ua$rlem museatn,
such as the " Banquet of Officers," the
" BegeTkte of the Company of tit Eliza-
beth '' luod others, but there is also his
celebrated "FJate Flayer" at Amster-
dam and various portraits at Berlin,
Vienna, etc.
We cannot look npon this Colonel of
tbe Archers of St. George without feeling
♦iiifc* Vi AvA {a a, vfint&hls redouhtftbls ni ^n
oMiesb and blood, and not of paint and
canvas, l^he fiery old Dutchman haunts
y<fti, and holds yon Spellbound with his
potent eye, but no rufuing cavalier is he.
The crisis through which tbe Netherlands
lfa4 {MMpped bad saade serfims, strong, in-
det«lDd4||it, Brand sj^mens of men.
fiow.iiigoffietntbe uf In pose, he is a
ft«l^,«i^lil|||«%)|(^me in wwjqr
m
m* — ^"^-
.hat oiil* itte
' w only
is
no
orush
asight
of
jHit'blei
w?«i U, kindf
■% -1 -, id» lliif'
111 ' »ity
Isaii^'' *^ I the I
Htile oi Hon
fSMWi t the wo
in dell II of Oban
Btase, ti.iit portrait
Jatnted with great hreadt>
nesse, but every tooch
seems to tell, and the artist's ke.
and knowledge marks every sti
No. 40, Pleter de Hooch. W .1 n^a
prolonged «tudy. It Is a marv«lkm8
piece of wvn*k In Urn gradations of llffht
and shadow, the spaces denoted, Mpe-
clftlly bat ween the two glass partitions,
th<^ •uggf'st'.ons of density— In effect. Its
'tir of ren-llfv. 'L.
From Franz Hals to Pieter de Hoaoh
is like stepping from the glare of pablio
active life to the quiet serenity of the
home, and yet both are equally charao-
teristlc of tbe national life at that tima
Whilst tbe political life was seething in
activity and represented by mon of grea".
character and force there was a quiet
current of peaceful burgher life equally
strong and equally potent. Franz Hah
painted the one, and Pieter de Hooch the
other. We confess to returning again
and ag4in with tbe keenest pleasure to
this simple interior, with iti common
every day incident— only — a woman
cutting bread and butter for a girl ready
to go to the school, who can be seen jus
over the way. But how full it is of a
charm almost impossible to describe and
which must be seen to be uaderatooi.
The proverbial Dutch neatness and clean<
liness is here, everything has been scrub-
bed to shining point. No painter can ap-
proach him in the skill and subtlety in
which he depicts the clear glow of sun-
light and atmosphere pervading the
various apartmenCs and the gradations of
light in one room after another varying
with tbe medium through which tbe
light passes, until through the open door-
way is seen the pure outer aii. idome-
times it is bright Sunshine, just seen in
the distance, at other times we have re-
flected light from an open court, again
reflected into one room afler another with
the most delightful skilt and subtlety
until you feel you brefcthe the atmas*
phere and are mellowed by the soft Ug;ht.
This interior is not one of the artist's
strong sunlight one^, but is not the less
and I(»w, and then go to^ any otherla-
terior pletnre and you will feel the won-
dnrfiil charm of Pieter de Hooch.
Henrter, *lio carrlfe* th* Wailt!* of
.^Oorreglo and Titian, la represented bjn
'%a Source,' No. 88. It la an efqijiltMa
i^Hae of work, both in eoncefitlaii an<i
tment, and at otice' appeals to ^1,
RtOr'a B«1B6 of tJlcWftrhtttlftd.
i
7
-~ . s
'•
. i^>=.-
LOAN axifinirioy, novemukii, isos.
19
HARPIONIES, 'Henri) HO l'»ri«
Mkuals :— Sa'on, 1860, 1S68, 1869. 1878, ami (VnAA) 1S89. U-fjion
of Honor \%i:>, OfTiccr 18S3.
litiih in Oil an<l \V;iler-cnl.)iir I'aintiiig, Ilarpitjnit:!* stauili m ili''
liisi laiik of living; I'rciicli artist-..
3G--Lun(lrtcaiie
HARRIS, Robert) P R. 0. A Monti. /*!
M.a.il, L'liii'iiKo, l"ii»J.
37 — Portrait^ Tho luto Hon. .Iumu3 Furrier
HENNER, Jean Jacques) H. C
.M I'.itAi.s : Salon, IfeGJ, \m:>, 18(J0, 1S7>S. Lcfjiuii of llouour, 1873 ;
OllictT, 1878.
" I iMii tliiuk (if nn way to conVry by words any hint of tho charm of
Ilt'niicr'.H art. It is comnionly siiid that h(' i-i an iniit;\fi>r nf
Corri';,';4ii) anil Titian, hut many artists hcfore him liavr iiiiiii'..]
tlicvf uiantL'r.s wiilioiit jiroilticin^ worl< of at all .similar nualily.
His |i,iintin>;, howivur, isi i.-.sintially uuiuoiK'rn nut only for its
li'liial ti'ilinii|Hf, bni in it.s .s|iiiit. TlnTt! in rarely ,»ny ai'lnal
suliji'ct in lii.s idctnri'.s, an.l still more rartily any imliviilnvlily
tiiveu to the figures llierein. An eMjuisiie mmlfllfr of Ihsli, tiii.<
[lainter is yet the very aniiiMKles of siieh artisl.s as Lcfelne or
Chalon."
Tug LMViiiwil, I'vu isi'
o8 — La Source
HERVIER, (Adolphe Louis) i i:
A |>u|iil ol I'Aifu.in; l--al ry,
89 — Sini-Sliort* juislurc
20
LOAN EXUiniTION, NOVEMllKlU 1^'jS.
HOOCH (Pieter de).
.Dntdi
1632-1681
rictnr (le Hooch, one of the most original artists of any country,
was born at Uottcnlam about 1632. He fornied liis style froiu a
study of the works of Kiibritius and Keinbrandt. He worked at
Delft and iit Haarlem, where he died about 16S1. Very little is
known ulwut the life of this ;;reat master and so much were his
works neglected for a long time, that his signature was fre(|ucntly
ttfaced from pictures and a better known name inseited. His
pictures are very scarce even in his own lanil and are prized as
among the rarest art treasures in the public and private galleries.
The distinguishing A'ature about de Hooch is his wonderful
liainting of sunlight. In this even Claude and Rembrandt, the
greatest painters of elFects of light, do not surpass him. His
painting of rays of light across a room or court-yard, is marvellous ;
the rooms he de[iicts are full of light and every detail most
delicately given. De Hooch has left a portrait of himself, now
in the Amsterdam Gallery, which depicts a young man of about
twenty, with a pale, thoughtful countenance and deep sad eyes.
Though little is known of this painter of sunny, happy pictures,
lie must have been a refined and gentle man, seeing beauty in
everything around him, and depicting it in his master pieces for
the delight of others.
t
40 — An Interior
J t-
iJ
ISABEY, (Eugene Louis Gabriel) French
180-1-1886
Mkdai.s:— 1824, 1827 and 1855. Legion of Honour, 1832, and
Ollicer in 1852.
One of the mm of 1830. An original artist, distingxiishcd for his
bold elUctive treatimnt of Maiinc subjects and fur his fine eolnur.
41 — Stranded " '^'■
42 — Cna8t ScoiM'
/.'/./.\- KXHiniTI'JX, XOVKMlUCn, is:ji.
■ Diitdi
21
.Dutch
JONGKIND, (Johann Barthold)
1819~IS91
For a long, time this great Dutch iiainter living in Paris, was almost
uiikuown. Although liiH work a.s an ctcluT was highly praised
liy Ilanicrton, and aUJiongh he hail the synijiathy of sudi artists
as Corot, Dauhigny, I'lOUSHeau and Monet, his work was little
known until httweon 18(30-1870. Ahoiit tliat time an article
ai)pearcd in Fif,'aro, of which the folhnving extract shows how he
was beginning to he appreciated :—"Coiume coloration, on ne
pent rien voir do plus fin iii de plus juste tjue les paysages de
Jongkind, jms meme les delieieux i)aysages de Corot, seulcment
Jongkind est un Conjt a I'erat sauvagc. II est plu.s ahsolu que
lo niaitre, il fait iiioins de couees,sion an cliarme, tout en aimaut
son art avee la niemc passion. Et quelle simplieitc dans lea
iJKiyens d'l^lfet ! quehiues accents, energi(iues sans tlurete, jetes
conitne au liasard, et toiuhant toujours juste, sutfisont h, donner
WW tableau uiie vibration extraordinaire." He is an artist of the
first rank, both in Oils and \Vat.>r Colours, and as an etcher he
i.-alyoauioMg tlui great masters. The reputation he made wa,i
well ^hewn by the demand fi)r his work at the sale of his ]iaiiitings
in Deeemlier 1591, when a ntuiiber of his most beautiful pictures,
which he left in hi.; studio till his death, were olTercd to tlic
]iub!ie. He is held by many to i>ecupy a position in art between
Corot and Monet. Imprvssionism und(jubtedly bad a decided
elfect on his work, and while in many respfcts he adhered to the
tiaditinns of Corot, he s^cTiis also to be a forerunner of the now
movement and to form a link between tho two ejwchs.
43— On the Seine
(.
KRONEERGER, ^Karl).
Horn at Freystadt, Upper Austria, 1841. Genre painter, pupil of
Munich Academy tinder Auschiitz and Hiltensperger,
4i — Contoiit and Ilujipy ... . . .
i.ii.tx i:xiiii:mi>x, xiii'EMiiF.n. is:a.
LAWRENCE. (Sir Thomas) P. R. A Britisl.
TlioniJis Lawrence, C'unrl iiaintf-raiul president of the Royal Academy
was l<orn in l"t)9. His life was one of continued success, but the
taste of the day was conventional an<l affected, and he was not
original enough to rise alK)ve this level, lie had great beauty of
drawing and brilliancy of colouring, and he is juftly celebrated for
his beautiful portraits of \v(jmen, and his groups of mothers and
children are among his finest works. "Except Reynolds no
English portrait painter has been happier in portraying the beauty
and sprightliness of children, than Lawrence."
45 — Portrait of Lady Dover '^ ^
• The ]Ia;:ui'
MARIS, (Jacobus)
Hoiiourablo Mention, Salon, I'aris, 1881 ; (iold Mi^dal, Hxpusition
Univcrsellp, 1889.
Hum 1837. I'upil of tlicTIagno Aoadoniy; of Stmbpl and lIibiTtus
Van IIovp, of tlio HaL!;uo ; of De Kryser and Van Lcriaa, Antwerp,
and of Hchcrt, I'aris,
The strongest living Inndsoapo paintor in Holland, rcniarkablp for
his ability in dejiieting skies and eloud fnrni.1 and for his largo
treatment and dignilied style.
46 — Entrance to Schovcningen 'i«J
f 47— Dordrecht
MAUVE, (Anton) nmrh
1838 -1883
Mr.DAi.s :— At Anisterdain, Vienna and rhilailclpliia. Medal and
Ilonourililo Mnitiiin, Paris. Knight of the Order of LeopoM.
Gold Medal, Antwerjp.
One of the best of the lan<lsea]>(' and animal painters of the modern
Dati'li srhool, taking rank with Israels and Maris.
48 — Laud.sca})c and Sboop -'c f
+ 49— Grandfather's Pet
(
. Uritisli
oyal Acailerny
ccess, Inil tlie
id he was not
reat beauty of
celebrated for
f mothers and
Reynolds no
ng the beauty
il, Kx|i(isiti(in
and llclicrtns
•ias, Antwpf]!,
onmrkablo for
1 for his largii
Plltrll
I. Medal a'ul
T of Loojiold.
if tho inodrrn
<::
(:
mm
A small 'PorBrgSt of Lady Dbtef Is
all t^re have of Sit* Vhomas Ijawtefiee,
once Court palntet- and president of the
Btiyol Academy. It Is well worthy of
attention.
George Moriaiid la rept^sehted by threft
^r)Hta of characteristic of the painter.
?he subjects 'A Stable Interior/ 'The
IHftge Ale House.' end 'A Wayside
Inn,' arfe not elevated In charaoter, but
were the kind <rt scenes he panicitlarly
affected and they convey a graphic pic-
ture of the 'low-ilfe' amongst which he
Spdlit a great part of his Wfe. From an
artistic point of view they are Eminently
characteristic of ilorland's peculiar
Twt> decorative panels by Albert
Moore, who has so lately died, will be
But"* to receive attention. They are vftry
characteristic of this painter of lovely
women, pale harmonic and enowy dra-
peH4i^. .... .•-.....•...
Part of the loan collection (wafcer col-
ors) are hun* in the apartment d«Voted
to the small but choice Tempest collec-
tion. Here will be found studies by
Arts, fiosboom, Eyre fFhe Forest of Ar-
den), Fortuny (A Morocco Carpet Waa-e-
house), MauVe, Roberts (Westminster
Abbey). Roosebaum, Tholen (Impressloti-
1st), Welasenbruch alhci Swan, the latter
represented by three fine studies of lions.
On the north wall of the new gallery
Is a small canvas by Karl tCronberger
called 'Content and Happy.' It Is a
little g«in In Ita de4'ghtful good nature.
On this wall Is also a fine Mauve, No.
48, 'Landscape and Sheep,' representing
a drove of sheep on a lonely road.
'The finest marine palntei- of tile pres-
ent Dutch s<Jhool,' Mesdae, Is represent-
ed by No. 50, 'Landing of the Boots,'
and No. 51, 'EJveinlng,' bo'th being worthy
of this fine marine painter. Neuhuys.
Maris, Seller and Tiho4en are also well
represented.
i
m
l.o.lX K.KlUr.lTloK, XoyHMIll-Uu ^•'^■'■^.
I
ollectlon (water col-
f apartniftnt devoted
))ce Tempsert oollec-
9 found Ktudtea by
! CPhe Forest of Ar-
irocco Carpet Ware-
erts (Westminster
Tholeti (Impression-
nd Swan, the latter
One studtea of lions,
of the new gallery
ly Karl Kronberger
Happy.* rt hi a
ghtful good nature.
a fine Mauve, No.
Bheep,' fepreBenttnie;
a lonely road.
palnt«r of the pres-
[esda«, la represent-
aing of 'the Boats,*
' both beinir worthy
painter. Neuhuys,
holen are also well
MESDAO, (Hendrik Willem) H. C, The Ha^ur
lioMi it <;n>uiii,u;eii, ISIil. I'uj.il of Al'iia Tailcma.,
Mii'Ai.s; Viuh, 1870; iinl cliiss, 1873 (Exposition UniTor.«illc; ;
(iold Mi'dal, Kxj.osition Univrrscllo, 1889 ; Lo^idn of Honour.
1 88!). Kiiif^lit of till! Onlor of Luojujlil iind of the Onler of iiiurit.
Thi; liiii'st Marine painter of tlie lu-osont Dutch .school.
."lO — Laiuliiig of the Boats '
r>l — Eveuing
METTLING, (Louis) Tarn
'riioii;^h a iiriiiirtT of tn-il.iy, many "f M(ttliii<;'s best paintint,'^ in
liin,' i"il(inr and 'piality ;ire like the works of old masters.
52— A Portrait
MONTICELLI, (Adolphe) l->. n- b
1S21--1S«0
Nil one who sees the works of Monticelli in his best piriod when lie
revels in eolonr for colour's sake, " painting niii.sie, ' ,ij;ivi!>j^' way
to his extraordinary inia^ination, would think that he was
originally a student of form and lino, a follower of Ingres t Yet
.sue.h he was and a dranght.siiian of great ability. Hut coming
un<ler the inline/. ei> "flhe wo. ],>; of Delacroix and Diaz, he changed
his mannei' and entered on ihi- be.st perioi'i of his art life, losing
Ids aeailendc drawing but gaining in breadth of styb' and in fancy
and above all in colour. 'I'luti he produced those niahter|)ieces
which have made him famous and which have a magic all tlieir
own, delighting the beholder with their amazing splendor of colour
ami feeling of mystery. There is im middle ground in discussing
•Monrieelli. Of his work we may well say with Legouve, " N'e-
eoiiliz jiailer tpie erux ipii adorent ; les froides et pales deescs
qn'on appelle reipiite, I'imiiartialitu, nc voicnt qu'a travera de."*
lunettes, I'anioiU' .se\il voit avec des yeux.'
53 — Evening on the Tci'iMta! ^J i
54— A Ffstiviil 1 •
■">o — Saul
LOAN KXIIiniTinN, XaVKM/lKJl, JS!h3.
1840—1893
■ British
iml
For the last twenty-five years the works of two brothers, Albert and
Henry Moore, have been among the most noted pictures of the
year in London. Recently the Royal Academy elected Henry
Moore a member. He is by far the best painter of the sea in
England, and should not have had to wait for admittance for twenty
years. But his greater brother, Albert, waited in vain, and it does
not rcilect any credit on the Academy that he lived and died one
of the great "outsiders." Mr. Quilter writesin 1890, "Thank God
for beautiful women, said the old Greek, and we may well echo his
saying, and add a rider of recognition and thankfulness to the artist
who can see and set down on canvas so much of the beauty of
women as Mr. Albert Moore in his painting " Summer Night " has
moulded to his artistic purpose, has woven into a wavering line of
graceful gesture and lovely forms and faces, and surrounded with
pale harmonies of golden flowers and snowy draperies, beyond
which the moonlit sea rises softly iplendid in the hush of the night."
r)6 — Dccorativo Panel
57 -l^ecorativc Tancl
MORLAND, (George).
. British
17C3— 1804
At his best George Mnrland was ft very fine nnd skilful artist, but
.sppndinr; as ho did the most of his life in dissipation and excess,
aTid yet painting constantly, it could not but follow that much
of his work would bo of n, very mediocre character. His good
work stands very high and is especially valued for its wonderful
quality of technifjue, and its fine colour.
58— A Stable Interior
59— The Villa^'e Ale House
60~A Wav.dtlc Inn
i
pi«^'«*,.«<w»,
WAN EXIfllllTION, NnVKMBKIi, ISO.',.
25
.British
Alhcrt rind
ures of tlic
:led Henry
the sea in
e for twenty
and it docs
id died one
Thank God
r'ell ':cho liis
to the artist
e beauty of
Ni«ht " has
jring line of
mnded with
ies, beyond
the night."
I . British
NEUHUYS, (Albert) H. 0., Tho Ilaguo
Born at Utrcilit, 1811. Pupil of Clcshert de Craeyvanger, and of
the Antwerp Acadciny,
Mei)AI,s : -Amsterdam, 1872, and Paris, 1880.
Next to Israels the most artistic figure painter in Holland today,
61 — Preparing Dinner
O'CONNOR, (J. A.) Irish
Born in Dublin and broui^ht up as an eiif,'raver ho turned early in
life to Bandscaiic paintinj,'. His works are boldly treated and
arc good in tone and colour.
62— In rhenix Tark, Dublin
PARTON, (Ernest) I. P. 0., London
I'.nrn ill Hudson, New York, ISITi. Klcoteil a niember of Artists'
Fund Society of New York, in 1873, went to Kuropo in that year
and meeting with fjreat success in London has since remained
there. Exhibits at tho Royal Academy and tlic principal gallniics
of Europe.
63— Twilight
I artist, but
an<l excess,
that much
His good
s wonderful
REMBRANDT, (Harmensz Van Rijn) Dutch
1607—1609
Rembrandt, one of the most original painters of the world and the
greatest etcher who ever lived, was the chief figure in that brilli.ant
school which made Holland of the 17th century, as famous irj
painting as in war, Rembrandt was born in 1607. His father was
a substantial burgess, and intended his son to study lav*- ; lie saw
however the early taste shewn for art, and wisely allowed his son
to follow his own wishes. In 1633 he married Saskia Van
Ulenburch and the next ten years were the happiest of his life.
2fi
i N
J.ii.tX KSUIlUrin.W \<>Vi:.\llSHIt, lS!Vi
lie has immortalized S.iskia by his numerous portraits of her nml
the names of Rcmbraiiat ami Saskia are almost as familiar as
those of Dante anil Ikatrice. In 1027 when ha was twenly-five
years old, Remliran.lt painted one of his Imest pictures, the cele-
liiate.l " Lesson in Anat-miy." Its excellence consists in its
composition, exiiression, beautiful colouiing and its admirable
portraits. It made Rembrandt famous. In 11341-42, theculminating
point of his career, he painted the masterpiece known as the
" Night Watch," but ils proper designation is, "The Sortie of the
Comi)any of Franz IJanninj; Cock." This picture is replete with
life and light and would be suflicient alone to insure his fame. In
1042, Saskia who had been his inspiration since the time he met
her, died. In Aniwerj) there is a portrait of her which has an
mdefinable charm. It is the year she died, and her face " no longer
shows the serene beauty of youth and slrenKlli, but its etherializeil
and delicate features have a thoughtful and dreamy expression."
From this time, Rembrandt's misfortunes began and in Iti.'lO and
l'i;'8 his elTects were sold and he had to begin life anew. At this
period he was assisted by his friends, including the " Burgomaster
Six, " and we lind him in 16G1 again pninting one of his fiii ;st
works, the "Syndins." The last years of the great master were
spent in work and stiuiy a:i ] lie died in l()6tt surrounded by his
t'liendsnnd family. As an artist, Rembrandt "excelled in every
branch of painting to which he turned his hand , he was e-pecially
great in conception and in execution, his hand was the skilful
.-ympalhelic servant of a commanding im.agination." Michel, one
of his latest biographers says, " Rembrandt, comme Shakespeare,
est universelle ; commc le gr.inde pocte anglais, 11 est profonde-
nunt Immain, it il a parcouru, comme lui, toutc la gamme des
Mntimenis qui pcuvt-nt .ngiter uno ame." "A tous ccs litres,
Rembrandt me.'iiait bien de devtnir, I'objct des admirations do
III lire temps, il esl, en efTet, le plus modeine de tous les maitres.
A travers les (luctualions du gout qui n'ont pas epargne d'autrcs
noms, le sien a toujours etc en grandissant. I'our avoir attendu
son jour, sa gloire brille aujourd'hui dans tout son eclat, et I'accord
unanime avec Itviuel il est .acclame est le phis magnitupie hommage
qui puisse ctre rendu a ce genie si originale et si sincere,"
U4 — Pui'U'uiL oi d i/ddy
\
i
4
||tU 5<^»K'
s
i
4
g ^Pw fte ad. about which =i"-«^ ~u^
MiiiAlmiSHClT^L.i*'!" <* **>•* of
I« •?«« of SK?!Sr?v4irSi?'.i!^
befoTi ientiment SEUSfttrtf'J*^!
SSiS^'^Coa^S.,^^
>
LOAN EXIIllilTinN, NvyKMUKU, m.1.
11 ttiwmki
:«»^,«IK
:Wi
lM»t««.
•4 w.naob with ail
WpT fqc^r more <w
«dt«ider,iJ»,r.
•wing to taia ^e.
•2«ofieiitfe»|ft.
»TM to POM and
of tli» minor Tir-
loraite poBt«rity
UithaMjoitrAito.
t/' raaiiiidi OB*
p
REYNOLDS, (Sir Joshua) P. R. A..
. . . . Brifiiih
172.) -irHa.
«;»H at th.. h,.H,l o, |,„ Vssio,, : C.n.l of ,s„oi..|y, the K-Ut-st a„,l
::^ ' ri'a^ f ""-. ^' 'T '"^•^^^^'"" -^"'^'"^ '—
1-s.s ortun.te ,..e„. His rival l{o,„,u.y sniU of hi.n in hi
••"P<:-uo,..s u„y. .. he i. ,h,. ,n..tc.sr. ,,«i„ Jr tUM ever ".11 "e
■" '"; I'""- a„ ox,uisit. chann which I sec i„ ,.a, o 'i „
"> o h..r ...oturos,- As „„ artist ho ha.l gnat ...iri i ' Im^
1 UHkn 0, , s.,1.. ,s h.m •• on,, of ,!,<. seven colourists of the worhl "
an.l calls h.n, the '• prin... of ,m,-t.aif painters."
65-lV,rtniit of the II„„. Mrs. Sponcer
as "Contenii)liiti()n."
«i6— Miss Theuphilu Palmer.
/i>i
RISER A, (Jusope de)
15S8-165C
Spanish
Thon.^h hi. life was .spent in Italy, Ril.era l,el„n«s l,y ]„> l,i, th an.l
lus pecuhaWy nation.al style to ,h,. painters of Spai . S 1
a ^at,^,,,^M,, tl.e.ehool of realiHtio painter.,. Hi.s paintinL's
then .eeana. njore n.arke.l l,y extravagance of faney an.l\" . tf
cxocut,„n. f .,s work.s are ren.arkahle for their contr.as ; ? :„
an.l .sha<le and tor their strong colour. "
67— Aaron aud the Budding Rod Ki „ , . .
•'M
I.iiAS F.SmniTlnN, A'^r/vJ//./;/.', IKU.:.
RIBOT, (Th(5odule) French
1823—1891
Mr.DAr.ft :— 1801, 1805, 1878. Legion of Honour 1878.
The works of Rihnt tlio inotlcrii disciiilo of Riborii and Rcnihrandt,
cnnnot but attract Ntronj;ly all who love hrcailth of trratinrnt ftiul
fino (Iraught.Hiiiaii.slii)). Tlioiif^h encouraged hy tlio artist I'onvin,
lit) met with little succcms at lirst and liis work was lau^hi^d at in
tho Salon ; Imt ho lived to coniiuor his critics by his masterly
]i,iintirif,'s, and he knew before \\i di''d that hi.s success and
reputation were assured,
68 — Young Iliintsman. ' ''
GO — Rciiding
ROBERTS, (David) R. A.,.
.Srottish
]"1»0 ISiJl
Horn near Kdinburgh. Studied in London, was made a lucmbcr of
tho Royal Academy 1841 ; and was also a member of several
Forcij,'n Academies,
The streni^th of Roberts lies iu his fine fecliiif? for architectural
cflect, artistic comiiosition and drawing; of detail,
f 70 — Wostiiiiuster Abhoy -f^,
ROMNEY, (George) British
1734—1802
Georgo Romney, one of the most poetic painters of the 18th century
in England, was bom in 1731, When 27 years old he went to
London and almost at once became successful a-, a portrait painter,
although in competition with such celcbrati'd artists as Sir Joshua
Reynolds and Gainsborough. IJetwcen Sir Joshua and him there
was no friendshift and Reynolds always spoke of him as "the
man in fivendish Siiuarc." He sd a divided the patronnf^o of
the fashionable world with his two great rivals. In 1782 Romney
met Lady Hamilton and for a long time relied upon her for
1
l.ojN Kxnir.iriiiN, novkmuku, ma.
29
InBpiwtion. No aitint w«8 ever more influoiiccd J>y luauty than
Roiiiiicy nnil ho iiniiiortaliziMl " thn (Uvinc U-ly" in numeroiu
Iiiintiiigsi M\i\ in ft \:.x\-a.l vnviity o( ihivractniH. Tli"- ni.ly hlot on tho
[laintii'M life wils his niKl(i;t of his wifo ami clilhlrt'ii during his
yours (if iir»>siM'rity. Ili' I't't thini in the cDuntry \^\\t■r\ Im wnut
to Li.nilon, lif visited •huiii liiit twifo, and only n'luriKMl to his
uoiuo to dip. Ifonnipy ranks aniont,' tho ^roatcst ol Knglisli arli-.ts,
iKitii (H ft painter of iui.ij^inary Nid>j.'>ts and of purtraits. Hi- had
tlic rare \(\\i of a jioctio inia;^ination, his ncilourinj^ was tran>iiari'nf
and Inilliant, aud as a drau(^litsnian lie was nntxccdled.
71— Vortiait of Mrs. Wiiyht ^ ' ' ''
EOOSEBAUM. (Margarothav
t 72 — Flowers
.The IlaRuc
RUISDAEL, (Jacob Van) ^^^^^^'
1C30-1682
Very littlo is known of the life of Ruisdaci the foremost landscape
jiainter of Holland. Ho lived in Haarlem and Anistenlani, His
father was a Mennonite and li ^ was himself assisted in his old (tf;o
l>y his Mennonite friends, ' placed him in the Hospital at
Haarlem, where he died wi. .t near friesids or relations. He
painted a number of mountain scenes with wild torrents, and ho
is th'^ML'ht to have stmlied this a-^pect of natun u Germany, os
it is hardly likely he travelled to Norway as some suppose. No
record of his travels exists. Hia most valued works aro those
in which he t-hnws us his native flat •iJins aud .sandy dunes with
Churches aud Windmills, or landscapes with lino old trees
iniudtably painted, .vhich impress us with a fceliuf^ of solitude
and poetic melancholy. Michel says in his life of Kuisdael: "Aussi
ee t^rand meconnu s'absorbait-il tonjours plus dans cet art ct
il lui demandait les consolations ipic lui n fusait sa desliuee. .San.^
ceder au decouragcment, il < "ulinuait jusqu'an bout ii peindre ces
paysaRcs aust''res qui onl ri ndu son nom imniortel, \\ y moitait,
30
LOAN EXBIDITJON, NOVKMnEK, ms.
iivcc son tak'iit, son auie tout cntiiie. Cttte iliiie vit encore dans
ces (envies qu'il t'ai.siiit [lOur hii-iuenic et dont notve ei)Oi|uc .s<'ulo
ilevait ajiiireeicr touto la valeur. Avee nne jioesio coniniunicative,
elles nous a.ssoeient aux douloureuses eonfidences de eelui (jui fut
certainenu'nt,a|iu-sllenibiandt le plus^iand aitiste de la lloUande.
73 — Liiudscape ' '
74— Waterfall - •
SCHWARTZE, (TWr^e) Amsterdam
Horn at Amsterdam 1852. Pupil of Cahriel Max and of her father.
Hon. Mention, I'aris ISSI. Third Class Meilal 1S89. Silver
iMedal, Kxposition Univf-rsellc 1889.
A [irominent (Jcnrc and i'oi trait [lainter.
in — Portrait of El><a Elinenliurst
SEILER, (Professor Carl) Munich
One of the leading masters of mo.lern Cerman arf, painting somo-
what in the manner of the great artist France has recently lost,
liut keeping his own in.lividuaiity distinct, he has h.'.n called the
" .Meissonier '■ of tlyrnnmy.
70 — A Critical Move
STARK, (James).
British
1791-1859
Was a pupil of Crome, and one of the leading painters of the
Norwich school.
77 — lTiUil|»s(('H(l llcatli
4
e*ta»|Be of thla~Krea.t mA^tCT/dJmilflGd
I'
Portrait or a Ladt-bt Rembrandt.
kitchen of .ome rl<* Cd ™gom!S??
whose extensive periphery wouW^-
ki?^*,*" ^^ ''"'^^ 'the «l«e^^«:
Kltcih*!. Here are seen the nervii™/-!
a^Si^^*^^?' a 'neal.^„r«^^^drt"S
a cho4oe asrortment of food stuffs, off
Robert Harris. P.R.C.A.. and a S^tto^
Thomson; this 'am^tfettf Se«tai'*ijtt«f •
I
I
:n.^.
fronaire with Heynttlds aM ft!.Jn.K^
lery would pro?
he alEe o^ hl^
sn the servanw
, surroitnded b»
Pood stuffs. Oi^
to a 'flne portrait*
les Ferrler, by
'. and « ttTith-
irese Schirartse,
1^ Canadians t)fc
Ilanadlajn youn#
fit. - . "
9lng landseat»ei
by 'HampMead
anraa dj»pietln»
^
ZOyfiV EXHIBITION, NOVEMBER, 1893.
31
SWAN, (John Macallan) i^^^^^
One of the leading artists in Knglan<l to-day, he i.s celebrated for
his trutliful and syini.athetio troatinent of anirnals. To these
subjects he has given great attention, availing hini.s.lf of every
opportunity of studying their habits and anatomy. }le is a line
draughtsman and colourist and his works are in great demand.
78 — Lioness it,. > c
t 79— -The Wounded Liones.s .v.^.v , .
t 80— Lions in the Desert (U\y ''f
TENIERS, (David) p,,„,,,
1610—1694
Tlic life of Tenicrs, the renowned genre painter, is that of an emin-
ently .successful man, appreeiuted and honoured in his life-timo
Iho high opinion formed of his talent by his eonte.„i„„u,i,.s h;i,s
been fully conliriiied by posterity. His sueerss began at an early
age, he was instiuniental in forming tlu^ Aeadcmy of Fine Arts
1" ooiMieetion with the guil.l of St. Luke, of which he was Dean
Me was appointed Court painter by the Covernor of the .Spanish
Netherlands, and the (,»ueen of Sweden and Philip IV of Sj.ain
were among his patrons. IJe soon beouue prosperous and popular
and lived m grand style at his chateau "The Three Towers "
entertaining noblemen and art patrons. Teniers was a very
prolilic artist, and painted all sorts of .subjects from "grave to
gay," but his best works are the representations of j-easant life
wlaeh e.Thibit well hi« dexterous handling and cool harmonious
colour.
8 1 — A Flemish Kitchen i i c i- ->
THOLEN. (WiUem Bastien) Antwerp
Mkdals :-Bronze, Exposition Univ^rselle, Paris, 1889 : Gold 1st
Class, Exposition Internationale des IJeaux Arts, Munich, 1892.
A rising young Dutch artist of much merit. Like nearly a'll of this
school he paints equally well in Oil and Water Colours.
82 — Harbour Scene ' '
83 — Evening
t 84— The Theatre /{/Ut
8 S— The Playground 3/. i,vv»<..>
m"
32
LOAN EXIUJiiriON, NOV EMU Ell, ISUS.
THOMSON, (Rev. John).
1778—1840
. Scottish
Thomson of Duddingston as lie is called, was the son of tho Prcsby-
teriaii Minister of Dailly, in Ayrshire. He was seut to Edinburgh
to study divinity, hut having a natural aiititiule for art, he also
learned to jiaint and had some lessons from Alexander Nasniyth,
At twenty-one liis father having died, he was presented to the living
of Dailly, and went to live and to paint in the manse where he
was born. In 1805 he was transferred to Dr.ddingston, and soon
began to exhibit with tho Associated Artists in Edinburgh ; he
made friends with tho best men of a brilliant time, and soon
became one of the most distinguished of them all. He is described
as an amateur ; such amateurs are as rare as great artists, from
whom they are not easily distinguished. His best work while
profoundly romantic in temper, is large in treatment and dignified
in aim, and is touched throughout with tho supreme distinction
of style.
Condensed from— A Century of Artists.
W. E. IIe.nlut.
86 — Landscape /' f -
TURNER, (J. M. W.) R. A
1775—1851
.British
The names of Turner and Ruskin will always be associated together.
Seldom has any writer had such a fme subject to portray, never
has any artist had such an eloquent an<l gifted advocate. From
reading " Modern Painters," one would almost be led to suppose
that Turner was one of those numerous instances of ill requited
and unrecognized genius so common in the history of artists.
But the facts of his life seem to tell us otherwise. Elected an
Associate of the Royal Academy at 24 years of age and a full
member at 27, all early struggles, if ;,c ever hid any, over at this
age, admired by his contemporaries and leaving a fortune of
^100,000 at his death, surely his life was externally an except-
tiunally fortunate one. Even before Ruskin was born it was
written of Turner, "lie has overcome all the difiiculties cf llic
art so that the fine taste and colour which his drawings possess arc
The palator'A urt Is untr*Mm«Ue<I by
m«i«Jt, Its UngwiM 18 coamoiMrfltan
*W tinlven^l, n«v«rth«le(M, (In th*
•*«■• ot what hui b«cn achlev««l W
«»«•• ctfunttrmea aheOa refl«et«d gloly
lipon on«'a wlf), « nentlnientfci curio-
sity, U not preftrence, will generally
1» olw«rvtd by the Individual tt>r th«
♦ork of hlti race. In this sonse ths
treat EngUsh portrait and landscapt
WUntfers Of the elvhteehth century, now*
*tt>W8ented on the walls of th«
a*w Art Gallery, will particulate*
ly appeal to the Bngllsh-BpeoktaK vlsl-
toi% as win the great French aHlsts
ot'lttft appeal to those whose mother-
land Is 'La Brtle France.' The Bngllsh
Mhooi Is represented by the mlshty
»»"«• of Reynolds, Oalhsborough. Con-
■table. Turner, old Orome, and Blr
Thomas Lawrence, together with George
Moreiand, Cotmaa, David Cox, Btty,
Roittiiey, mr David Wllkle, Richard
WHson, and Thomson, and If the col-
lection Is numerically small It Is ekdep-
tttraaiiy great in merit.
A large oanves by Turner, No. 87,
arvfcury and Argus,' which occupies a
:eenti«l position in the colleeuon, re-
iKWients th« painter in what la gene-
**"y known as his 'cadmium period.'
The mythological Ptory Is subordinated
.to the landscape, but one feels that if
ever the hundred eyes of Argus were
placed Upon the tall of the peacock by
Juno, after the former was killed, while
iratching lo in the form of a heifer,
by Mercury lulling all his eyes asleep
With the sound of his lyre, the events
Would have happened In Just such a
ioene as the genius of Turner has de-
picted. Such a scene, too, mlpb' ne
Conjure up as the theatre of on y-
dreoms— the castle Is a real '< eau
•n Espagne.' 'Constable Is one the
florieid of the English,' wtote Delacroix.
His 'A look on the Stour,' represents a
(fienulne EJngllsh gloomy day, heavy sky
md frowning foliage. _
Thaon w$a fond of dippiiur ma
tn wft into claMle ttory-doaliiw with u2
Bodj^d $0 we hsT« the mott'dami
«»«»P««>M:.la ooBipMitioa and «^(S
«pend time over what were tohito
tterely weeworfefc That he could wiut
2'*P,5«?.ot*«»pictM«gdemon«tf#te. A
wottld-be ctiHc once Mid to fanawi^
•• But I sever see theM effliote w^ t^^
^Mtiuewith amecMage for mankl^
Had he BO greater inalght intwrSeTe-
salla and treasniy of natare than hig W-
Iow6 then would he be unworthy <tf H,
Tarner'B oompoeitions are always ^Id.
SuSSl,i°'*'5f°? it •^«» »»»<»« "d more
most flttbtie refinement and delicaoy. la
hie jewemke briUianoy and skflfaliy
»>'^fnj»PHglite and the InminowmeM
!S1!^^;:!k7*** Si' bU •hadowfl he ie tio:
?^i^^^.*l^J?"^ ^y **': Raskin
as "one of the
the world."
seven itreat oolorists <rf
*
s
LOAN EXlUniTJoX, KOVEMnEll, ISU.t.
WW
ond of dippiocc bjt
7~d«afiicwithtli«
Ball«d for transden*
wierjrirttribyollhe
'» the rao<t d«r&g
KMitioa (ui(|^Ior->-
oydopmnifAUlimd
Ota, SQoh ftidMnr-
k0,noh KOldtrMt-
B, M OTsn Httrtinln
}Ud not reaelk Aa
mifht find BOQio>
«(d«Uy in tiw treat.
ll^MtB Mtditeani;
WM not oMiRit to
Hat were to bitn
Pbat he omUd paint
wnen.oceiaioa de*
M demonBtiite. 4,
Mid to l^irgerr*^
e efi^cte and thfiiM
In IB l»r «|
nophet and reirealer
lajre for mankind,
ought into the re-
tatare than bis M-
>eunw(uih7of hi*
' a ftlse prophet.
are alwara bold,
n bolder and more
me time fall of the
b and delicacy. In
307 end Bkilfolly
the laminoaanefls
thadowfl be is aa-
\jmtai the proud
m by Mr. Rugfein
vreat coloriate of
p"S '"iL'"? If '" "■' °''^'"-" ^"'1'-ner-s character was
on nn^ , ""f ^'""'""^ °' Englishmen, he lived in
1 urner ranks among the greatest painters of the world. '
87— AL
erciiry iiml Argii.s
Vvr
VELASQUEZ fDiego Rodriguez de Silva Y.).
1.1t)<)— lOGO
• Spanish
The nse to fame of tlie great Spanish painter Vela.n,,^, .
1!-' -n 15i.!), and mar.ic.l a 19 years o't?; T ''^''^'•
studying under Ilerrera and I-ach^co 1,/? ' 'l^'^^'y"^""^ ^^'^^
tl.e household of I>hilip IV V. ' '7.7-^"l'l"^'»^-dpainterto
1*'28, he was in close .i l^, ; ^'V^f "^ ""^f ''^^^'^^ -
Velasciue. nude his first jourfy ' 1 "!;T;->r '' ''' ""'r
Spain and Philjn „,v^ v ^^ "»')'• In loJl l,e returned to
Alomar and";;;:/r^ ":e^p:^r '1 r^'! ^^"^^^"^'"^
Velasquez painted the '- Su n£Tf nl f"-' ":"• '" ^'^^^
PU'ely historical picture in tie w'n r ';. '^<^'''^P^ ""^ finest
again. There he co W. ^" ^'^^'^ ^'° ^'-^'f^*' I'=»l7
tJrand Marshall of iheinh v.. Pr , '^''^ he was made
occupied a great cle I . f ? , f ^'' ""' ""= ^"'"^^ °^ ''''« off'"
I'is liv.. In ^. e ; .';: """ '^^ "- ----ni^ eight years of
"f Santiago. le i v"' "'^ ""-' ^-^'"^'"'^ '^-therhood
Such is a lief hLto . ' ,^'^;,t:r;'"' ^"' "^'^"'^^' '^^ '^"•
man who anticipated more , '^""'"V'*''"" '" ^P""'-^'' "'- "'<^
How well say a F e I " "-^ " "" '" "' ""'"" '""^■^•
i"itsper,^c.u;U::^ ;: '^: 'T "'^ "Surrender of Hredn ■•
"f-angomentan^^ .^1:::° :?"r"'"^^""'^''"^'''=''^
"-.'■ In his interproatij ,f I T r TT"'^ '"' '^'""'■
'aws of light, his sin pie ct ta' r "7'' °'""-'''"°" ^'' ">^
and in his original trc,,, nV V "'' «^ ^'-^'""^'"il '"^ -^"^ect,
t. iK.ilnKnt, \ela.squt. n.arks such an advance
34
LOAN K::iIIJUTr()N, KOVKMIIHII, /S!),'!.
on his own time, that lie seems rather to belonR to ours. liis
faithfulness to nature aiul the sense of atmosphere in his paintings
give such an aprcarance of life that wc may almost say, that the
first great imi)ressi„ni.t who lived two hundretl years ago, " parle
ilc:ji\ la langue des peintres <le demain." His finest works are in
Madrid where among many others may be seen " The Surrendci
of Breda," '< The Tapestry Weavers," the portraits of Philip IV,
and Alonzo Cano.
88— Ht-iul of ji young Girl > iM'^'
89— Christ on tho Cross ^ ff
WEISSENBRUCH. (T. H.) The Hajruf
Though not so consummate and varied an artist as James Maris
Weissenbruch ranks very l,i-h as a landseapist. H. is especially
strong in Water-Colour painting iiid handles this medium like a
great master.
90 — Landscape
f 91 — Landscape
WILKIE, (Sir David) R. A.,
1785—1841
.Scottish
Sir David Wilkic's whole life was given up to Art. From early life
lu' eaii'd for nothing else ; he says himself that he enuld ",lraw
before he could read, and paint before he eonld spell. ' Allan
Cunningham says of him when he was six yrars <,ld, " He liked
best to lie a groufo on the grountl, wi' his slate an.l pencil makin.'
<iueer drawings." At twenty-one, his painting, "The Village
I'olitienvns" was sent to the Academy and was the picture of ti.e
year, making its author at once famous. From this time he Wiw
continuously at work until ISiil, when his health began tn fail •
in 1810 he started on (hat pilgrimage to the East, horn wliiel, he
was never to return. On his way home he took suddenlv il! after
h'aving Malta, and di.d .)n 1st June, 1S11 ; thr .so!, nin 'burial at
H,v, ha> b,.,.n .■onin„.nH.ialr,l l,y Turner in his ^^-reat pi.iurr
-■■*"
' AHm iiri li'iaili'?'
■ ■?
FACK of a GlKI,— by VAtAZqUEZ,
jft «©, w, two •plendld enumplen of. th*
K1*L,''*'',?*^°« hta hand m even
about the quiet FttM ThS^^e^eS
ho^^ * il* ^^^.y *<» ''ee that they ax*
having a thoi-ouirhljr good Utttt *
Wiu,a«, Br^n^:R^'*A^*'*P^* ""^
ceUfent 'Portrait %h«C;. ^^ ^*»^ ex-
jWWJfea win be found toterestirtf °^^
•3 ~
3
f
«■■
3
a.
>
H
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W 3
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LOAN KXlUi:iri(i,\\ ynr/.'^j/.j.-j;^ /s:t,i.
'' Ui'sl, Iturial ..|- Wilki,.." I!„l«< r, i„ wiitiiiK alm.it liini says :
" \Vilkifi.silu(;ol,|M„i:lM,r ,,dii.i..is, ill th.',iiMi(*l.lpan.l pathetic
'""""""■• '" '•"■ '•' 'i'"i'i"" "I' Mnil,..s ami t.-ar.s, d'the familiar
ami tl„. hoautifu! ; Imt ho has a sOon^.T hohl over thn moro Nocret
>.y..i|,a(lM..s a,„l th.. .priMKH ol'a hroa.i,.,- lan^hter than (JoM.n.ith
flllllSI'll.
92— A Group from "The VilIa<'o Festival " h
w
WILSON, (Richard^ R. A ,5,^^^^,,
iri3— 1782
\Vil.so,..om,n..„ec..l hi. ,.aa.,.r a.s a portrait painter, but whon lu-
vi,m..l faly son.. „f his laiMls,.,p,,s were .0 much a,l„nrnl that
''""'"^■;;'-' ';■ 'l"V"f l.ls af..,„i,.n altoK..th..r to this hran.-h .,f
art. If,. ha,l an nnhnppy iir,., <;.,-at .Iil!i,nlty in .lispcsin'ol hi.
l..ctuu.s, p,,v,.,ry ana n...h.,.t ,n„rnl his ,..„,p.r. It is likely that
Ins art wouhl h*v,- U-.n .vh. liner than it is if he ha,l been better
•ippremte,! an.I ha.l .u.t wi,l. n.ore sucre.s.s A.s it was he left
'.-any hneworks,aml in eojour. eo,M,v,si,ion, an.i aerial truth, f-w
^nHl>..ape artists h.i\e rver e.|iialle.l hinj.
<J3 — Laudsmpii /ii'/3 i
r'
-r"
■AC,
LOAX Kxiiiiwrnix, Nnvr.MiiF.n, is:».i.
B R ( J N Z E S
— ^i-
CHINHSn.
I V;i~c'. I'.'ii.Ml SUEN-1IH. A.l). 1 TJil | ir.C.
•2. - VMsr. Thr sailir.
i>.
10.
11.
12
13.
U.
JAPANESE.
A'a-'. .Wll vv .Will C.ntuiy.
— N'li.sc. Viiiit';^atoil. .Mark BUNKWA. A.D. ISO I ISIS.
- \'a.;r ]>\ SEI MIN al-uiit .\. i ). ITCil.
--Flnwrr I'nl. l.atc X\ III nr rally \ I .\ (■.•iiliiiv.
Till- same.
— Till' .saint.'.
—Till' ^iuiiie, liy TO-UN.
— \ a.si,'. Old. litty breaking' niil ol' waliT jai'.
Prolnibly wiriy XI.\ Cciitiin.
-Fire Pot. XV ill (Vnluiy.
-Viis,' l>v KIN-O. .X\'lll CVntury.
-Vasu 1,y TO-UN. Pate XVIII nv ,.ai]y XIX (','iitiiiv.
— \'a.s('. Kaiiy .\IX Ci'iitury.
Va-r. Cyliialiical, ].y TO-UN. i.al'- X \' 1 1 1 mi railv XIX
< 'rllllll'.-.
I A. .L\.J if.
1
AN ART
f I
Earl Aberdeen Formally Opens the
New Arit Wing.
The Association Buildlnff on Phil-
lips Square the Scene of a Bril-
liant Catherine— Addresses bv
His Excellency and Sir Donald
Smith.
i ,!!
The opening of the new wing of the Art
Association Building last evening was one
of , the most eminently successful social
events of the season. At eight o'clock the
brilliantly liglited main gallery was crowded
j with beautiful women, as beautifully
I attired, and with faultlessly dressed men,
who entertained themselves in conversation
' or in viewing the works of art, until the
hour for the formal opening arrived.
Gruenwald's orchestra lent additional
charm to the brilliant scene.
There were hundreds of the representa-
tives of Montreal's best society present, in-
cluding Sir William and Lady Dawson, Kir
Joseph and Lady Hickson. Senator and
Mrs. Ogilvie, W.W. OgUvie, J. H. R, and
Mrs. Molson, Judge and Mrs. Wurtele,
Judge and Mrs. Davidson, Robert L. and
Mrs. fiault. A. F. and Mrs. Gault, Dr. and
Mrs. Kingston and Jas. A. Cantlie.
THE RECKPTION.
The vice regal i>ai-ty consisted of His
Excellency tlie Governor-Oeneral and the
Countess of Aberdeen, Miss Wilson. Miss
Kullivan, Captain Urqnhart and Munro
Ferguson. Tliey arrived at 9 o'clock and
Mere received in the reading room by Sir
Dorald A. Smith, F. B. Oreenshielda, C. J.
Fleet.Rfev. .J. Kdgar Hill.Hugh McLennan,
David Morrice, \V. 0. JViurray, John Pop-
ham, James Ross, R. B. Angus, F. ^5.
Clouston,W. R. Fln»enlier.st, A. 'J\ Taylor,
W. p. Van Home, 1). A. W^tt and R.
Lindsay.
r^ady Aberdeen wore a gown, of crushed
strawberrj' brocade, and carried a magni-
ficent bouquet of roses. Her jewels con-
sisted of a tiara and necklace of asterias, a
stone found in the Oatineau Valley whicli
beat's a close reaembiauce to the moonstone.
The jewels were much admired by tliose
present, and the delicate complimeut paid
t<> (!ar,.'id!."-r..H hy '.vRaring r.a.t!V.-= js-#-ls W,^
gi'e.atly appreciated.
At the oouclusion of the receptior the
Vice Regal party were conducted to a plat-
forni, arranged at the west en<l of the main
galierj', 8ir Donald 8mith accompanying
His Kxcellency, andK. R. <<reenshield3 and
R. R. Auttus esjxtrtiiu' Lady Aberdeen.
THR ADD»r.S8 TO HIS KXCKIXKSCV.
The following address was then read *bji
Sir Donald A. Smith :
To His Kxcellency, the Right Hoiic^l^ble
the Farl of Aljerdeen, 1'. C, OoverriorJ
(ienerul of Canada) /IiaK ;
May it^pleaae Your Kxcellency. ' ', }'
We, the tM>uncillorn and members of the
Art A.s.sociution of Montreal, feel highly
honored by the presence this evening in our
Art tialleries, of tlie representative of ouij
(.Iracious Sovereign, and we are glhd to
have an opportunity of expressing oup
liearty loyalty and love for our Qneen.
We thank Your E.^cellency personally
for the honor of your presence and for yom^
kindness in consenting to open the newi
; gallery. VVe hope it will be only the first
of many visits that this institution will be
favored with from Your Fxcellency.
The Art Association of Montreal had its
origin in a public meeting held on the 2(>th
January, 18G0, and it was incorporated uij
April of the same year.
The objects to be kept in view were, as
stated at the meeting, the establishment of
an annual exiiiiiition, the promotion of
!;iiund judgment in art.by means of lectures,
etc-., the establisliiiient of a librarv, reading
rKom and gallery of sculpture, the forma-
tion of a permanent gatlfry of painting.4,
the foundation of a school of art and design.
In 1 877 a legal y of money, painxings and
the ground on which the lirst building was
erected wt-re beijueuthcd to tl»e Assouiation
by the late .Mr. iienaiah tiibb. This wa.s
.supplemented Ly other dunattoun and
a home for th« Association was built
and ofiened on the 'JUtli May, 187«. Shortly
alter this (he classes for instruction in art
w»*re formed and have since been an im-
portant feature in the work of the institu-
tion.
Sixteen loan exhibition.s have been held
in addition to the annual exhibitions of
M'orksof ('anadian artiste and lectures have
been delivered eucjli year by able exponents
of the fine arts.
The jjernianent collection of paintings has
Ijeen largely added to in recent years
throngh tlin generosity of some of our mem-
bers.
in 1892 a considerable legacy, including
an interesting collection of pictures was re-
ceived from the late Mr. .J. W. Tempest,
the revenue from tlie iuvestnienta being
especially devised ior the purchase of sucli
works of art .-xs the council migiit select, to
enrich the permanent gallery. '
We are now oj>ening a new building, giv-
ing a niore commodiuus i-eading room, much
i.nproved class loonis and an iidditio al
..-11 4.-. .^..u:k:i:^_ .....
It ^v^l^ thus be seen that in the thirty
three years qf its existence, tlie .A.ssociatiou
has carried otit the \ iews of its fonnders,
beyond their anti^iputions. While very
thankful for tlic past, however, M'e hope
still greater proHperity and usefulnesn will
attnn<l its operations in the years to oomOj^ '.
KXflEr.T,T!\CY.
as then read ^>j*
Right HtMiqrable
J*. <'., Ooverrior-l
lency.
ineinbera of tha
eal, feel highly
Ilia eveniim in ouir
esentative of our|
[ we are glad to
expressing cur
r our Qneen.
ileucy personally!
Biice and for yom^
) open the newi
be only the first
istitution will be
Ixcellency.
Montreal had its
held on the '2Gth
i incorjxtcated inj
ti view were, as
eslablishnient of
lie promotion of
neans of lectures,
a librarv, reading
ture, tK'i forma-
ery of paintings,
ot art and design.
ey, painiingg and
Irst t)Milding was
thti Association
tJibb. This was
' donations and
[ition was built
ay, I87«. Shortly
istrnction in ait
Bce been an ini-
k of the inatitu-
have been held
tvl exhibitions of
iind lectures have
>y able exponents
a of paintings lias
in recent years
some of our uieni-
legacy, including
f pictures was re-
. .1. W. Tempest,
tvt-stiiieuts being
iiurchiise of such
migiit select, to
•ry.
ew building, gi/-
idiiig room, much
id an tidditio al
hat in the thirty
', tlie Association
rs of its founders,
is. While very
lowever, Me hope
1 usefulness wdl
i yeara to oome^
Mxi^liMi tbun at prwent exists wiH, ere
iaagi be established between Art and Uni-
versity education in Canada.
* If tiie example of Oreat Britain in provid-
ing Art professorships and lectnres on the
cmtivatjon of Art and its application to the
industries of the country, cannot at pre-
sent be followed possibly a more intimate
alliance with cordial co-operation miglit be
I formed between the Ganaduin universities
' and such associations as ours so tht t the
time predicted might soon come when
scholitrs will "teach also with the silent
pow*r of the Arts," and art with itstefining
influence may permeate the land btautify-
ing its homes, improving its manul actures
and enriching the life of the people. It
would not l:e too much to expect fiom tlie
progress that we see in other directions
that the outcome of such eiForts would be
the building up of our native school of art
in Canada, bringing with it material ad-
vantages aud enlarged patriotism.
We tender our warm thanks to theJCoun-
tess of Aberdeen for her presence among us
this evening, and extend to her a cordial
welcome from the Association at all times.
The well-known interest she takes in the
education of women will, we know, ensure
her thorough sympathy with the work
being done in the Art classes.
j In conclusion wo hope and pray for the
r continued happiness and welfare ot Yonr
Jixcellencies and for prosperity for the
country over which Your Excellency is
to exercise the duties of your high
galled
'}<^,
"n \
O
Sir Doxald A. Smith,
President.
E. B. Grebnshikldh,
Vice-President.
R. L!XDSA.i%
Secretary.,
Montreal, Nov. 29, 1893.
Sir Donald added that fourteen years
ago the Art Gallery had been openwl under
the auspices of Lord Lome, iiince wliioh
time the assotiiation l>ad been singularly
fortunate in receiving the support of the
noblemen, who were incumbfints at differ-
ent times of t!ie distinguished position now
iiCld by His Excellency, Under such
patronage, the work of the society was .sure
to succeed.
HJS EXCELLENCV'S RKT/.Y.
His Excellency's reply was as follows :
Sir Doneld Smith, Ladies and tientlo-
n»en, — I heartily recognize the kindness and
the cordiality of yoiu- address, and I fully
appreciate the loyalty and the courtesy
which has prompted you Sir Donald aud
Vmir r«ntli«n.vi«A« M^f iUtt. A'..^ A :.«.: J —
.? —J...--, ... *..(»» fmr art-rn-.Tvif-i tT»i: t.^^
present this greeting and welcome to Hor
Alajeaty's representative. Vou hove spoken,
Sir Donald, in very kindly ^einiE of ilie
VWit of Lady Abenleen and in> ^lf on thp
oc«tMi|Wi- the oftcu^ion of thi ope»^,_ ^.^^p,.,^ ,
new wing .of , the An, G^^leE^ ;}'
but I cannpjt. h«lp wishing to (remind yoji'
that vye, orj pur part, are undonbtediy in-
debted tp this A«.socJalion fo* the oppor-
tunity which you am giving us of perform-
ing wJint is not only a privilege but a duty,
under the most plea-siug circuinstancos. 1
mean the duty of making ourselves ao-
quainteil by all means in our power with all
that pertains to the culture and develop-
ment of this Dominion. [.-Applause.] IJn-
p doubiwlly, this association is to be much
valued for promoting education in this re-
-;i spect. t think. Sir Donald, niapy years
ago tliere \\&h a controversy between
two distinguislied gentlemen as to
whether tlie existence of a Democratic
system in a country was favorable to the
development of art. Tliat is a topic on
wliicii a great deal miglit be said, but on
wliioh I shall not enter to-niglil. But
whateve,r opinion.^ niny be held on that Riib-
jeet we may all .say with suii.-ifactiou ijiat
so far as regards the Colonies of Great
Britain -which maybe said to be eminently
Democratic— in all tliese Colonics there is
no want of appreciation of art in the fullest
rcsjiect, and this is more particularly the
case in regard to Canada. (Cheers). But
we must not forget that this
appri'iiial ion does nol come to pass
of itself; it is necessary that
there shoul'' be some special incentive —
some remiui.er and stimulus to ensui'o its
existence. An<l this is admirably fur-
nished by such an Association as tin's; and
when we meet together on festive occasions
I like this to celebrate any such event as
that to lie celebrated to-night we will do
j well to ineniljer that the real work is done
i by those who often in the most unostenta-
j tious manner carry on the work of the
i movement. And on this o(;caHion I think
I we ought to refer gratefully to the services
: rendered l.y Sir Donald Smith and the
Art Association of jMontreal for the
watchfid care taken by them in the
work of culture and art and which is so
fully set foth in the annual report of the
Association. (Applause.)
In a young couiiiry especially therein
need of, such an oiijuni/.ation as this be-
cause the demands upon tlu^ energy and en-
I terpnsc of the counlry made il diflicult for
the people to find time for liie develupmeut
of the other departments of national life.
Indeed, we do not siilliciently record the
wonderful enterprise being shown in this
aud other branches of the JlriLish Empire.
Possibly because we do not wish to allude
too nuic!» to the difficulties to be overcome,
but we may well admiie the spirit, which
is not to be deterred by any obstacles in
carrying on the interests of the country
in a. nianncr wortiiy nf the people of
the country and of the country itself.
Only the other day the Lieutenanl-tiovernor
of Manitoba told me a st<)rv illustrative of
this spirit. A traveller coming to a small
! i
hoto), , .j^i^l a. goud sound 8l««^ th^ Hrst
night, ami according to tlie custom of tlie
countr j ott. coining to breakfast next moni-
iug, waij c^keil by his liost wjiat he would
order jjor break f;tst. " Wo.il,,'? naid he, ''in
tJie fiifit, pla(^, I should Uke ft flttpKin."
((ireat daughter.) Hlin host preswjtly cauje
back lo say, " VV< 11, we have no napkins
ithisutoritiiig; but it yon like napkiuA for ;^
breakfast I will uudt^rlake , to say yoti will
liavtt oce tomorrow if I have to ao and. ^.
shoot it niyst^lf.' (lx)nd lang^itt'r.) 1 think
the holelkeeper ftirnishrd aji odmirab'.e ex-
ll \ ampin of nttenlionto his gue^t (lu t^hter).
Bui on tills occasion X think we shtndd also
refer to the use «t art in Ciinuda ti"m a
priw^tical point of view and this rcnwnds uie
tliut under the atispioes of an eniigratioii
society in London there was aonx! time iijjo
an exhibition of Oanadiun pioture.s,b4r <Jana-
diaa arl.ists, and these represented the
advantages of Canada as an opening for
energetic and Indiistrioiis emigrants. It
seetned to have a great effect. For instanee,
there were harvest scenes and orehards and so
forth, and it was, I think, a very tjootl
idea to adoj>t. Possibly tiiere, are persons
wllfi are aicfiiiainted with only one aspeet
of grtV eertiiiiiK and while it would tea
niistnlie n<> dbmlit to allow too much em-
pliasite'Uibe laid on the recreative side of
tlie ('anudian winter, on the other hftnd we
may "Say that if the Canadians do enjoy
their, winter it is a sign that the
bracifeg air leads them instead of croucliing
around the tirp and moping, go out
and lake recreation; and it la a cvpdit to
them*'^Tand the climate. (Applause.)
But Wpart from the utilitfidnu side
of tbtiB ^nestion we muHt not forget that
general culture itself atl'ords a olaini for an
osMoiatitia of this sort. A speoiatl respon-
aiblity uttaehes to the (:iatasrdtan8 of Art.
: Thoreforo we may, rejoice thafc tJipw wl»o
! I have the management of this institution are
so wcU miatified for such a position. Like
all good things iwrt is capable of misuse.
Just as there may bo ca^it , in Religion
there may be cant in art when dhimatic or
j pictorial art is used in a manner not calcn-
1 lated to refine but in the opposite direc-
tion. (Applause). Therefore we may well
' rejoice wlien art is conducted in the manner
in which it is conducted in this place.
There is one sentence in the address re-
ferring to the entrance of art into the homes
, of the people. We may well look forward
I to the gi'owth of a Canadian Hchool of Art,
j there are the germs we may hope already.
I notice that a large number of the loan ool-
I leijliou 'j^re of th^ Dutch schooU and why
does iisttMidso high ? Because those wito
A
{minted wei'e satistied to take their uispira-
tion froni.their ow n couoti-y, (Hear, hc*»;^
And certftinly you may get inapiration m>m
this country if it was obtained from Hol-
land.', 4ifflF?"'®^*
j|lp3dther point Co 1
They .^f^' eare tiiat a cood paintittg win
bourfht iiind retained in tne country, (lifl^,
hear) and J. am glad* to think that l£ant-
real is ,yel} represented by patrona <rf art.
(Apphnrse)l ' '
YoUjfcave with justice attributed to I.<ady
Aberdeen keen appreciation and aym-
pathy with the work of art and for
myself ntay I say that having seen many of
tlie rooms of mjrdldlibm^ in Scotland'decor-
ated by the prbdn^^sf bf her brush and pen-
dil I «an certainly'iflWerstand the beueht of
the products of art in the Home. (Loud
Ih conditsion, I Mflglfl^i^kte np on the
o|>«Bing of this new wjng, aodextend to
you my cordial wjfites for this society. It
will be our gieatest pleawrco to undertake
anything in which we<-can, op-iiperate with
the Aftsociation for ilta benefit of this work.
(Loud applause).
His Excellency then foirtnally declared
the new wing opened, and headed by the
Vice-tlBgaflTJarty the collection was viewed.
The new gallery is beautifully arranged and
is the realization of long cherished liopea.
It. gives an expansion, dignity, and educa-
tional value to the Art' Association which
the latter previously lacked. Not Only was
there need for addition to the krallery pro-
per, but for class 1*000)8. for studies, audfor
reading roouis.
The pictures,- which have been kindly
i loaned by the friends of the association are
[ ari'anged in schools. ' On the east wall are
i examples of thoold Djjtch School. . On the
south side English art of the' Isth" century
is exhibited, and the west wall is entli^ly
devoted to the French School, while the
riortli side contains a miscellaneous collec-
tion. The collectio'h is not large, but what
is tacking in number is mante tip in the
value of it.
In addition to the valuable collection of
pictures, there were some beautiful bronzes
resting on the marble tops of the two ra-
diators whicli occupy the centre of the new
wing.
After refreahments under the direction
of Joyce, had been served in t lie class room
adjoining the new galler^ not her the
tour was made of the galK <•«; and it was
nearly midnight before the iust visitoc had
left the teiapTe of a,yi. , . .
%
a take their iaspir*-
inti-y, (Hear, licftt).
get iofpiration front
obtalii^ from Hol-
. good|>atei<^ w^
th« country, (lifltf,
think that Mont-
1 by patrons, 0^ art.
-.4
e attribut«cl to I^dy
eciation and syra-
'k of art and for
mving seen many of
tti in Scotland' decor-
' her brnsh and pen-
rstand the beuefat of
I the Home. (Loud
J[atuIt.te^$^ on the
mg, ana extend to
for this society. It
■a«iEe to nndertttke
satt do-Operate with
TieJiefit of this Work.
Bf*4oWnally declared
ijid headed by the
(lleetion waa viewed,
iitif uliy arranged and
b; cherished Itopea.
digjiity, and educa-
; Association which
sked. Not Only waa
to tlie jfillery pro-
f. fQf- Qtudiesi a^d for
>1 have been kindly
f the association are
)n the east wall are
tch School. On the
of tlie 18th' centiiry
'est wall is ^ntli^ely
h School, while the
tniscelianeops coUec-
) not large, bnt what
' is ' madb -up in the
valuable collection of
itne lieautiful bronzes
e tops of the two ra-
he centre of the new
under the direction
ved in t 'le class room
jailer V not her the
gall' <v»^ and it waa
i the uist visitor had
C OJ 2 i N tn M n C = 1-' ji i ti t*
* 2.9 E 5,^ CO EDi^^js
SEic^l
g g U C * ^ _
S O . 3 S "C
i3X)_>>t( tn C .5
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PIST, (JCEER CERMiCS
in Pottery at tte Art
The oollecUon of Japaneae and Chinese
potitery now exhibited In tli« netr art
sallery is almost unique In the history
of c»ranilcs. It presents a remarkably
complete series of the productions of
Japan both In pottery and porcelain,
collected durlny the last twenty-two.
years. Upon the teacup, a vessel found
In every housediold from palace to hovel,
the Japanese have lavished that exqui-
site skill in workmanship and dainty de-
coration that everywhere characterise*
their productions, and which of late has
so extenslvMy ihflftenced the art «>f other
countries.
Although the present collection u
chiefly from Japanese furnaces -t in-
cludes a number of speolmens of Chinese
manufacture, among them many of
value and Interest, while the few ex-
amples of metal ware, admitted because
complet.ns the Illustrative series, are
generally choice and old.
The term Heapof has been taken
ratther mwe broadly than as used. In i
Us native equivalent, by the Japane'se '
themselve«, who apply different words
to the tea-containing- vessel and to that i
perhaps Identical in form and material' ■
from which the boillnir water is L-oured i
upon the leaves. The public of Mont-
real are excortlona.ly fortunate In be- '
ing able to ex-.mlne th'a collection, per- ''■
■ haps the largest and most varied in the i
world, not even excepting the famous'
*'^^^*'^ °' *'''- Emperor of Russia,
7t!ti u |*« owner of the present collec-
tion helped to eollec-t. We take a few
examples out of over a thousand dis-
played, for Illustration and description
♦K- ^T^ ^S <^®corated Kiyoto, made by
the elder Kosan (Makusa) graudf*ther
9^<iU«iKU KITOTO.
l«..-> I
of Mokuaa Kosan, now the creat art
potter of Japan, is shown at No. 1. It
is a teapot In the form of a white ele-
phant, with trappings.
No. 3, Is the work o^« later period ol
L.akusa Kosac. who la still living but
JfAKVBA TtOZAN.
very old, and likely to leave no worthy
sucoe«sor. Teapot, dark green glaze
wlfh decoration of flowers and leaves.
No. 3, Old Nlnsel ware, very rare spe-
cimen of one of the potters of a hun-
dred years ago. It Is a charming ll'titie
p'ece o* pottery, gray flabes on a warm
stone ground.
No. 4. Old. Sa^mima. about el.rhty ye».r«
old, of the earlier decorative period, but-
w the srcat art
swn at No. 1. ijt
n of a wbl'te «le.
a lat«r period of
% stm liviag but
AN.
leavis no worthy
rk green glaze
Ts and leaves.
'. very rare spe-
•ttera of a hun-
charmlnff llsMe
acs on a warm
ut eLyhfy ypar<g
Ive perloO, but-
or;
OLU SATaUHA.
terfll«s and sprays of rtower* oi. a white
•tono giound, highly glazed— very hand-
some.
No. 5, Blrd's-earv alhaped teapott, rnound
I pretty b:rd'8-egg biue, Old Girlojln, the
God of Ions' Mfe, with head hl.^li where
brains have extendei it wlille striving
to grant long life to his worahlppersi,
) t>ie nWrilo flziTe is :he (>o1 of 0'i-v,
the left hand flffuro, th« rtod nt Content-
ment. On the other side is Bemtln, the
Gkidd*!S uf Love, i^he God of Dally Food
wtth th» choice Ash Tai and the tiod of
R'.che* with his hammer and bag upon
wh'ch, when he knocks, whatever hie
devotees pray for is supposed to come
out.
-T " — — — -v;» uj via Bsaa, tiic
OiilNEgb: COCK
; base forms a field upon which the fowl
•tands. Date unknown, but very old.
No, 7, l8 a dingy piece of pottery, the
I>n*«»l*l. CHUTSANTIIKMUM iNII r hgr.
oolffT of old BtwRrn Bronze, but it has
an exceedingly curioua hls-cory. It bears
the Imperial chrysan-thtmum crest and
, the triple leaf of the Imperial family.
: These pieces were used for one day only
and then broken; It was treason, and
- brought death to possess one In the old
days. How this piece escaped is not
known, but when a Japanese native sees
' It he regards it with a feeling of rever-
ence and a bow.
ThiB piece follows the fashion and
tasite of the Imperial family, which was
fhen simple, although elabcraiiely decor-
ated pottery was used by the people be-
yond the pale.
Prof. E. Morse, the great authority up-
on art poittery, win leciure at Che art
gallery with special reference to thi.'i
collectton, «n Friday, Dec. 15, at 8.15
o'clock.
/•".'.v rMinrrnx, .\"r/:.\f/:;:j\ /v
MEMORANDA.
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