ATALOGUE OF A LOAN EXHIBITION OF PAINTINGS AT THE CARNEGIE INSTI¬ TUTE, NOVEMBER SIXTH, NINETEEN HUNDRED AND TWO, UNTIL JANUARY FIRST, NINETEEN HUNDRED AND THREE $ 8 ‘ ‘ If ever this nation should produce a genius sufficient • to acquire to us the honorable distinction of an English school, the name of Gainsborough will be transmitted to posterity in this history of the art, among the first of that rising name.” This opinion, expressed by the President of the Royal Academy (Sir Joshua Reynolds) within a few months of the death of his great brother artist; and now, nearly a century later, the splendid genius, as a worthy compeer of Hogarth, Wilson and Reynolds, * * * is still pointed at with pride by those who believe in the existence of native art George Brock-Arnold, Gainsborough 55 — David Garrick 56— Mrs. Isabella Kinloch 57— Landscape with Cart 58— Landscape Nos. 55, 56, 57, 58 loaned by the A. M. Byers Estate 59— Landscape Loaned by Senator William A. Clark 60— Countess of Harborough Loaned by Mr. D. T. Watson Gerome, Jean Leon, Paris Born, Vesoul, Haute-Saone, 1824. Pupil of Paul Delaroche and Gleyre. Medals: 3d class, 1847; 2d class, 1848, 1855; of honor, 1867, 1874, 1878; for sculpture, 1878; Legion of Honor, 1855; Officer, 1867; Commander, 1878; Member of the Institute, 1865 The Christian Martyrs, the Death of Caesar, the Thumb Reversed, and its true companion piece, The Gladiators Saluting Vitellius, form the four great masterpieces of composition, invention, and erudition of all Gdrome’s works. In the Pollici Verso, * * * the burly Gaul who has thrown under his feet the lighter net-thrower (Retiarius) of the arena, turns to ask of the emperor and the spectators if he shall show mercy or slay. Every motif of the composition, every factor of the entire picture, such as the imperial gesture of the burly figure, the nervous, despairing clutch of the out¬ stretched hand of the victim appealing for mercy to the emperor and vestal virgins, has intense dramatic significance and force. That to a Roman audience it was no more than a spectacle of the theatre, and not a scene of life or death to a fellow being, the artist has well expressed by all the indications of the temper of the spectators. This finds its fullest expression in the stolid indifference with which Domitian, putting a fig to his mouth, glances from the gay courtesan at his side to the vestal virgins, and they with emphatic gesture, though the victim is even then subdued and earnestly stretching forth his arm in appeal, demand the slaying of the weaker C. H. Stranakan, A History of French Painting Here are not two, but three majesties—the lion, the sun, and G6rome; the last having on his brow the flash of a triple crown Wesley Reid Davis , Catalogue of Modern Master¬ pieces of the late William H. Stewart , 1898 61— Pollici Verso Loaned by Mrs. Henry C. Potter 62— The Two Majesties Loaned by Mr. J. M. Schoonmaker Hals, Frans, the elder Born, Antwerp, 1584: died, Haarlem, 1666. Pupil of Karel Van Mander If, I say, there is any one with any wish to be a great and true artist, let him come to Haarlem and study these truly wonderful works of an artist whose fame, long slumbering, will yet receive its due, and whose works will hold their own with those of Titian, of Velasquez, of Gainsborough, and of Reynolds; for as a portrait painter, Hals is on a level with these four—in fact he may be called the Velasquez of the North Lord Ronald Gower, Handbook National Portrait Gallery Really to know him * * * one must go not only to Holland, but to Haarlem. Haarlem is Frans Hals as Parma was Correggio. But while Correggio has almost faded from the walls where he revealed himself, Hals is as living, as fresh, as powerful in his home to-day as when his models walked its streets M. G. Van Rensselaer, Frans Hals, Century Magazine, July, 188s 63— Portrait of a Gentleman Loaned by the A. M. Byers Estate 64— Portrait Loaned by M. Knoedler and Company 65— The Burgomaster Loaned by Mr. Charles M. Schwab Harpignies, Henri Joseph, Paris Born, Valenciennes, P'rance, 1819. Pupil of Achard. Medals: 1866, 1868, and 1869; 2d class, 1878; Legion of Honor, 1875; Officer, 1883 Born, with Courbet, seven years after Rousseau, * * * Harpignies worked with the older men of 1830 }uite as much as a companion and fellow-laborer as a oupil and follower * * * and without him the 3 renascence of art in our century had wanted a character¬ istic note R. A. M. Stevenson , A History of French Art , Rose G. Kingsley 66— Landscape Loaned by Mr. John G. Holmes 67— Souvenir des Bony sur Loire Loaned by Mr. Lawrence C. Phipps Henner, Jean Jacques, Paris Born, Bernwiller, Alsace, 1829. Pupil of Droll¬ ing and Picot. Won the Grand Prix de Rome in 1858. Medals: 3d class, 1863,1865, and 1866; 1st class, 1878; Legion of Honor, 1873; Officer, 1878 The analyst does not exist who could account com¬ pletely for his charm Frederick Wed more, Jean Jacques Henner, The Magazine of Art By this manner of painting flesh and of throwing light upon it, Henner has won for himself an important place in modern art Richard Muthcr , History of Modern Painting 6S—A Head Loaned by Mr. William N. Frew 69—A Head Loaned by Mr. George T. Oliver Hobbema, Meyndert (Minderhout) Born at Koeverden or at Amsterdam (?) in 1638: died at Amsterdam; buried December 14, 1709. * * * Formed himself under the influ¬ ence of Jacob van Ruisdael. Much neglected in his lifetime, and little esteemed, this painter now takes rank as one of the greatest masters of landscape art, thanks to the initiative of England, where nine-tenths of his works are to be found. With less inventive genius and less poetic feeling than Ruisdael, Hobbema surpassed him in truth to atmospheric effect, in tone, and in brilliancy of color. These qual¬ ities give a magical beauty to the generally prosaic scenes which he habitually treated Whither does he go, if not to the mills of Guelder- land, mills made for him, around which he has lingered during half his lifetime, turning always to a new aspect of the same place, a new revelation of inexhaustible nature? You recognize them from having seen them at the Louvre, roofs tinted red, palings worm-eaten and water-worn, the shepherd from the farm, the quiet stream sleeping in the shade of large trees, and men with red caps wandering by the way. How often has he not sat there waiting for the sun to bring him the wished-for effect, forcing himself then to calculate the exact relationship of tones until his hand could give with strict justice each detail of the harmonious 1 ensemble ’ which nature displayed before him! Some read nature, some listen to her: Hobbema reveals her Leon Lagrange , Gazette des Beaux-Arts 70—The Watermill Loaned by the Art Institute of Chicago From the Demidoff Collection Hogarth, William Born, London, 1697: died, London, 1764 Holbein, Van Dyck and Lely went to England with talents already matured, with nothing to learn from, and everything to teach, their hosts; but they founded no school, and British art never know youth, even ado¬ lescence; it came into the world grave, self assured and mature, and William Hogarth was the English Giotto Theophile Gautier, Temple Bar, 18O2 What Hogarth did we hardly require nowadays to remember very carefully, because his works are house¬ hold works, but it behooves us still to keep in mind what was the place he held, for the passage of time has only made his place more eminent. He was the first of English genre painters, and though a century and a half has passed since his practice, he remains the great¬ est. For myself I hardly know where I may light upon another instance anywhere in which an endless fertility and ingenuity of invention has been allied with tech¬ nical powers of execution so sane and so unerring — in which gifts of the dramatic are joined so completely to those of the pure painter Frederick Wedmore, Masters of Genre Painting 71—Peg Woffington Loaned by Mr. George A. Hearn Hoppner, John, R. A. Born, Loudon, 1758: died, London, 1810. Pupil of the Royal Academy, London. Became an A. R. A., 1793, andR. A. in 1795. Published, 1803, “A Select Series of Portraits of Ladies of Rank and Fashion,” painted by him Hoppner was no blind worshiper of the gods of others; his chief deitv was nature—nature exalted and refined; he sought for elegant simplicity of form and poetic loftiness of sentiment Allan Cunningham. The Lives of the Most Eminent British Painters 72— Portrait of Miss Burrell Loaned by Mr. Charles M. Schwab Inness, George, N. A. Born, Newburg, New York, 1825: died, Bridge of Allan, Scotland, 1894. Pupil of Regis Gignoux. Elected an A. N. A., 1853, and N. A., 1868 Had his medium been words, he would have been nearer to Wordsworth than to Tennyson; satisfied to interpret nature rather than to use her for the settling of some thought of his own. In this way he was much nearer to Rousseau and Daubigny than to Corot Charles H. Coffin. American Masters of Painting For there is in all his characteristic- works a rich, full, pulsing life, which testifies to his wonderful power of infusing his own exuberant spirit into the inanimate canvas and pigments, and making them breathe the very breath of nature William Hoive Downes. Twelve Great Artists 73— In the Valley Loaned by Mr. Emerson McMillin 74— The Coming Shower Loaned by Mrs. William Thaw 75— The Clouded Sun Carnegie Institute Permanent Collection Isabey, Eugene Louis Gabriel Born, Paris, 1804: died, Paris, 1886. Son and pupil of Jean Baptiste Isabey. Medals: 1st class, 1824, 1827, 1855; Legion of Honor, 1832; Officer, 1852 Th£ophile Gautier summarizes his qualities thus: He has a warm color, a sparkling faculty, * * * his smallest sketch, his roughest design, reveals the true artist and has no need of a name to be recognized; every brush stroke is a signature. He is original, and creates a microcosm of all his pieces in which he displays his talent 76— Port of Honfleur Loaned by Mr. John Caldwell 77— Country Tavern Loaned by Senator William A. Clark Israels, Josef, The Hague Born, Groningen, Holland, 1824. Studied at Amsterdam under Pienemann and in the studio of Cornelius Kruseman, and under Henri Schef¬ fer and Picot. Medals: Paris, 3d class, 1867; 1st class, 1878; Chevalier of the Legion of Honor, 1867; Officer, 1878; Order of Leopold Amongst the moderns Israels is one of the greatest and most powerful of painters, whilst he is, at the same time, a profound and tender poet. With a few strokes he has the secret of rendering the moist atmosphere and the tender notes of the sky. In him is the embodied strength of modern Holland Richard Muther, History of Modern Painting Israels’ touch makes what is ugly appear lovely. * * * He gives to ordinary matters a deep interest and a rare charm to what is commonplace. y. de Mcester , Dutch Painters of the Nineteenth Century, Max Rooses 78— Landscape with Figures Loaned by Mr. George A. Hearn 79— The Mother and Child Loaned by Mr. John G. Johnson 80— The Wide, Wide Sea Loaned by Mr. James B. Laughlin Jacque, Charles I^mile Born, Paris, 1813: died, 1894. Medals: 3d class, 1861, 1863, 1864; Chevalier of the Legion of Honor, 1867 Why have Charles Jacque’s works such a powerful charm? It is because they always show us things or persons such as they are in nature; because he studies them in the course of their usual life and avocations; and because this sincerity carries us without effort to the scene that he chooses to represent Rene Menards French Artists of the Present Day 81— An Approaching Storm Loaned by Mr. George M. Laughlin 82— Sheep: Edge of the Forest Loaned by Messrs.M.Knoedler and Company 83— Flock at Fontainebleau Loaned by Mr. D. T. Watson Kneller, Sir Godfrey Born, Liibeck, Germany, 1646: died, Twicken¬ ham, England, 1723. Reputed to have studied under Rembrandt and Ferdinand Bol at Amster¬ dam, and in Rome under Carlo Maratta and Berlini(?). In 1674 he went to England, and received such a flattering reception from Charles II. that he determined to remain there. After the death of Sir Peter Lely he was made court- painter, and he received equal favor from James II., William III., who knighted him, Queen Anne, and George I., who made him a baronet That he possessed powers of a high order is admitted by his severest critics, for some of his best portraits, as those of Newton and Dryden, are painted in a masterly manner, and had he lived in a country where his services would have been rendered according to his merits, his name would have shone among the greatest portrait painters Spooner’s Dictionary of Painters , Engravers, Sculptors and Architects Such are thy pictures, Kneller! such thy skill, That nature seems obedient to thy will, Comes out and meets thy pencil in the draught, Lives there, and wants but words to speak the thought John Dryden 84—Frances Bennet, Countess of Salisbury Loaned by Mr. R. Hall McCormick Lawrence, Sir Thomas, P. R. A. Born, Bristol, England, 1769: died, London, 1825. Pupil of the Royal Academy. Became A. R. A., 1791, R. A., 1794; knighted by George IV. in 1815; President of the Royal Academy, succeeding Benjamin West, 1820 One age of the great men, and the courtly beauties of England, will live to posterity on the canvas of Reynolds. Another will do so on that of Lawrence Allan Cunningham , The Lives of the Most Eminent British Painters 85— Portrait of Fanny Kemble Loaned by Mr. George A. Hearn 86— The Augustine Children Loaned by Mr. Joseph Jefferson Lenbach, Franz von, Munich Born, Schrobenhausen, Bavaria, 1836. Pupil of Munich Academy and of Grade, then of Piloty, whom in 1858 he accompanied to Rome. Medals: Paris, 3d class, 1867; Gold, Munich, 1869; Spanish Order of Charles, 1869; 1st class, Paris, 1875; Munich, 1879; Vienna, 1882 Some of his Bismarck portraits, as well as his last pictures of the old Emperor Wilhelm, will always stand amongst the greatest achievements of the century in portraiture. “ Bien conprendre son hommes,” says Biirger-Thor6, ‘ ‘ est la premiere quality du portraitiste, ’ ’ and this faculty of the gifted psychologist has made Lenbach the historian elect of a great period, the active recorder of a mighty era Richard Muther, History of Modern Painting 87—Bismarck Loaned by Mr. Charles M. Schwab Lerolle, Henry Born, Paris, 1851 (?). Pupil of Lamothe. Medals: Salon, Paris, 3d class, 1879; 1st class, 1880; Legion of Honor, 1889; Gold Medal, Exposition Universelle, 1900 He paints broadly and solidly. * * * Lately, somewhat in the style of Millet, he has taken subjects from peasant life. His “In the Country,” of 1880, is in the Luxembourg C. If. Stranahan , A History of French Painting 88— In the Country Loaned by Mr. Charles Donnelly 89— Seeking a New Place 90— Shepherdess 91— By the River Nos. 89, 90, 91 loaned by Mr .R.M. O’Neill Lkkrmitte, Leon Augustin, Paris Born, Mont-Saint-Pere, France, 1844. Pupil of Lecoq de Boisbaudran. Medals: 3d class, 1874; 2d class, 1880; Chevalier of the Legion of Honor, 1884; Grand Prix, 1889, Exposition Universelle; Officer, Legion of Honor, 1894 The works of Lhermitte are pathetic but not melan¬ choly, sombre but not gloomy, and there is about them all a dignity and grandeur which might, in certain cases, be characterized as almost classic. The predomi¬ nating quality of everything from his hand is sincerity, but he reverences beauty as well as truth, and recognizes with rare intuition all that is noblest and best in human nature Mrs. Arthur Bell, Representative Painters of the Nineteenth Century Lhermitte displays the peasant in all rusticity. He knows the country and the labors of the field which make the hands horny and the face brown Richard. Mather, History of Modern Painting r 92—A Young Harvester Loaned by Mr. John G. Holmes Maes (Maas), Nicholaas Born, Dordrecht, 1632, the year in which Rem¬ brandt produced his famous ‘ ‘ Anatomical Lesson;” died, Amsterdam, 1693. Pupil of Rembrandt, and distinguished from most of the Dutch genre painters by his richer coloring What Turner, Constable, De Wint did for the country—in revealing beauty and interest hidden till they pourtrayed them—De Hooch and Van derMeerand Nicholas Maes did for the home Frederick Wedmore , Masters of Genre Painting A picturesque interior, walls dashed with light and shadow, a figure or two, rich in color, and a poetic sentiment of quiet home life, were things that evidently appealed to him. It was a genre of his own, and he painted it best because he loved it best. * * * How well he felt the simple truth and tender pathos of humble life John C. Van Dyke, Old Dutch and Flemish Masters 93—The Lacemaker Loaned by the A. M. Byers Estate Manet, Edouard Born, Paris, 1833: died there, 1883. Pupil of Couture. He was founder and head of the Impressionist School It has taken him years to force open the doors of the Salon, but to-day his name shines in letters of gold upon the fafade of the Ecole des Beaux-Arts as that of the man who has spoken the most decisive final utter¬ ance on the behalf of the liberation of modern art. * * * In his “Angels at the Tomb of Christ” he has sought, as little as did Velasquez in his picture of the Epiphany, to introduce any trace of heavenly expression into the faces, but as a piece of painting it takes its place amongst the best religious pictures of the century Richard Muther , History of Modern Painting 94—Angels at the Tomb of Christ Loaned by Messrs. Durand-Ruel and Com¬ pany Maris, Jacobus Born, The Hague, 1837: died, The Hague, 1899. Pupil of The Hague Academy, then of Stroebel and Hubertus van Ho.ve, whom he followed to Antwerp, where he became a pupil of De Keyser and of Van Lerius; went to Paris, 1866, studying under Hubert. Honorable Mention, Salon, Paris, 1884; Gold Medal, Exposition Universelle, 1889 None since Constable, the ancestor with whom to my mind he has most in common, has rendered clouds— the mass and the gait of them, the shadows and the light, the mystery and the wonder and the beauty—with such an insight into essentials, and such a command of appropriate and moving terms as Jacobus Maris. He paints them * * * full Q f the daylight and the wind, menacing with storm, or charged with the benedic¬ tion of the rain; and they look upon you from this can¬ vas like the living children of the weather that they are IV. E. Henley , Views and Reviews: Art 95— Amsterdam Loaned by Mr. William L. Elkins 96— The Bridge Loaned by Mr. John G. Johnson 97— Canal and Buildings: Holland Loaned by Mr. Alexander R. Peacock Martin, Homer Dodge, N. A. Born, Albany, N. Y., 1836: died, St. Paul, Minn., 1897. Pupil of William Hart. Elected A. N. A. 1868, and N. A., 1875. Member of the Society of American Artists In that beautiful “Adirondack Scenery,” with its waves of brilliant foliage rolling between the brow, on which w r e feel ourselves standing, and the distant cliffs of mountains, what exuberance of spiritual joy! In his masterpieces there is the evidence of a great mind, for the time being unreservedly consecrated to great ends, and expressing itself in an imagery of grandeur and enduring suggestiveness. To recognize these qualities is to rank him highest of all the poet-painters of American landscape Charles H. Caffin , American Masters of Painting 98—Adirondack Scenery Loaned by Mr Samuel Untermyer Mauve, Anton Born, Zaandam, Holland, 1838: died, Arnhem, 1888. Pupil of Pieter Frederick Van Os. Member of the Dutch Society of Arts and Sciences and the Soci6t£ des Aquarellistes Beiges, and a Knight of the Order of Leopold And when shall we find another Mauve ? The void he has left behind will probably never be filled. * * * I have lost a friend, but the country has lost an artist Joseph Israels , Dutch Artists of the Nineteenth Century, Max Rooses 99—Over the Sand Dunes Loaned by Mr. John Caldwell 100— The Woodcutters Loaned by Mr. Joseph Jefferson 101— Near the Journey’s End Loaned by Mr. Alexander R. Peacock Max, Cornelius Gabriel, Munich Born, Prague, Bohemia, 1840. Pupil of the Prague Academy under Engerth, 1854-58, then for three years of Vienna Academy under Blaas, Wiirzunger, Rubens, Mayer, and finally in Munich of Piloty, 1S63-67. Honorary Member of Munich Academy. Gold Medals in Berlin and Munich His art was an art without ancestry, an entirely personal art; something which no one had before Max, and which after him few will produce any more Richard Muther, History of Modern Painting 102—A Roman Girl Loaned by Mr. John Caldwell Meissonier, Jean Louis Ernest Born, Lyons, 1815: died, Paris, 1891. Pupil of Cogniet, and was made a member of the Beaux- Arts in 1861. Medals: 3d class, 1840; 2d class, 1841; 1st class, 1843, 1848; Chevalier of the Legion of Honor, 1846; Officer, 1856; Com¬ mander, 1867; Grand Officer, 1878; Member of the Institute, 1861; Munich Academy, 1867; Honorary Member of the Royal Academy, London, and other academies. He first made himself known as an illustrator of books, but soon began to paint genre pictures on a small scale, with the microscopic detail and finish for which he was famous I never hesitate about scraping out the work of days and beginning afresh, so as to satisfy myself, and try to do better. Ah! that “better” which one feels in one’s soul, and without which no true artist is ever content Meissonier's Conversations Perfection is so rare in this world that when we find it we must pause and pay it the tribute of our silent admiration. It is easy to say that Meissonier should have put in this and omitted that. Had he painted dif¬ ferently,he would have been some one else. The work is faultless, and such genius as he showed must ever com¬ mand the homage of those who know by experience the supreme difficulty of having the hand materialize the conception of the mind William Michael Rossetti Of all the celebrated modern painters of Europe * * * Meissonier’s personality stands out as the most * * * interesting in regard to painting, both on account of his particular method and process of work, and because of his wonderful power, conscien¬ tiousness, and respect for his art Charles Triarte, E. Meissonier, Personal Recollections and Anecdotes 103—The Standard Bearer Loaned by Mr. Henry W. Oliver Mettling, Louis Born, Dijon, France, 1847. Studied at the Ecole des Beaux-Arts, Lyons, and with Cabanel, Paris. Honorable Mention, Salon, Paris, 1888, and at the Exposition Universelle, Paris, 1889. Member of the Soci£t6 des Artistes Francais He is a painter pure and simple. For beauty, human interest, human sentiment, he cares little or nothing. But he is keenly alive to the suggestiveness of light and atmosphere, the pictorial quality of facts. * * * His method masterly, his style of a sober brilliance. A modern as Velasquez is modern, he may be said to derive from that great master, and to be not unworthy his descent W. E. Henley. Memorial Catalogue , French and Dutch Loan Collection , Edinburgh, i88b 104—Head of a Boy Loaned by Messrs. Cottier and Company Meyer, Johann Georg, called Meyer von Bremen Born, Bremen, Germany, 1813: died, Berlin, 1886. Pupil of the Diisseldorf Academy under Karl Sohn and Schadow. Painted Biblical subjects, after¬ wards genre. Member of the Amsterdam Acad- emy; Order of Leopold; Medal, Centennial Exposition, Philadelphia, 1876 The pictures seem to belong to each person who has looked at them, because they appeal to all hearts and fix themselves in all memories Clara Erskine Clement, Artists of the Nineteenth Century and Their Works 105—Faggot Gatherer Loaned by Mr. Charles Donnelly Millais, Sir John Everett, R. A. Born, Southampton, England, 1829: died, 1895. He won the silver medal at the Royal Academy in 1843, and the gold medal in 1847. In 1848, with Holman Hunt and D. G. Rossetti and others, he founded the Association which was afterwards known as the Preraphaelite Brother¬ hood. He became an A. R. A., 1854, and R. A., 1863, and was created a baronet in 1885. Medals: 2d class, Paris, 1855; Medal of Honor, 1878, in which year he was made an Officer of the Legion of Honor, and was chosen a mem¬ ber of the Institute of France in 1883. He was also a member of the Academies of Edinburgh, Antwerp, Madrid and Rome Only a worshipper of children, with the most abso¬ lute sympathy with their ways and habits, could have painted pictures as persuasive as “Cherry Ripe,’’ “A Waif,” “ The Princess Elizabeth,” and that long series of pretty studies, of which “ Perfect Bliss,” “Dropped From the Nest,” “ Forbidden Fruit ” and “ Little Mrs. Gamp ” may be quoted as types A. L. Bahlry, Sir John Everett Millais 106—Little Mrs. Gamp Loaned by Messrs. M. Knoedler and Com¬ pany Millet, Jean F"ran 90 is Born, Greville, France, 1814: died, Barbizon, 1875. Pupil of Moucbel and of Langlois in Cherbourg and of Delaroche in Paris. Medals: 2d class, Paris, 1853, 1864; 1st class, 1867; Legion of Honor, 1868. “A peasant himself in origin, his representations of peasant life were painted with simple, earnest feeling and a comprehension of its pathos such as no other painter has reached” “ I recognize,” wrote Millet of a drawing of Michael Angelo’s in the collection at the Louvre, “ that the man who did that had the power to personify in a single figure all human good and all human evil.” The reflection is exactly descriptive, on a narrower scale, of the nature of Millet’s own capacity and of the object of his own endeavor. ‘‘ It is necessary to be able to make what is trivial serve to express what is sublime,” he said on one occasion; ‘‘One must grasp the infinite,” on another, and these two utterances, as they explain his ambition, may be held to describe his achievements also. * * * From his hillsides and darkling expanses of plain he speaks with the very voice of the ground. In a solitary figure he resumes and typifies the fortunes of a hundred generations of patient toil. He is a Michael Angelo of the glebe; and his shepherds and his herd-women are akin in dignity and grandeur to the prophets and sybils of the Sistine frescoes W. E. Henley, Jean Francois Millet There are people who say, I see no charm in the country. I see much more than charm — I see infinite splendors, but none the less I see down there in the plain the steaming horses dragging the plough, and in a rocky corner a worn out man whose “ban!” has been heard since early morning, and who stops for a moment to straighten himself and take breath Extracts from the Letters of Jean Francois Millet 107— The Milk Carrier Loaned by Mr. Charles M. Schwab 108— Returning Home Loaned by Mr. Samuel Untermyer 109— Counting the Flock 110— Country Lane Nos. 109, 110, loaned by Mr. E. Burgess Warren Monet, Claude Jean, Paris Born, Paris, 1849. Pupil of Gleyre. * * * A legitimate heir in his passionate sense of color of the great Turner, M. Claude Monet has gone further in his analysis of color, of light, of atmosphere, than any other member of the Impressionist School. He paints straight from nature; and seing nature with the eye of the colorist as well as the poet, he is not afraid to find in nature color harmonies hitherto hardly noticed Rose G. Kingsley , A History of French Art Monet is subtle in his own way, so superbly successful within his own limits, that it is time wasted to quarrel with the convention-steeped philistine who refuses to comprehend even his point of view, who judges the pictures he sees by the pictures he has seen. He has not only discovered a new way of looking at nature, but j he has justified it in a thousand particulars. Concen¬ trated as his attention has been upon the effects of light { and atmosphere, he has reproduced an infinity of ( nature’s moods that are charming in proportion to their transitoriness, and whose fleeting beauties he has caught and permanently fixed IV. C. Brownell , French Art 111— Belle Isle: Sunshine 112— Dawn at Antibes Nos. Ill, 112, loaned by Mr. William H. 9 Fuller Monticelli, Adolphe Adolphe Monticelli was born in 1824 in Mar¬ seilles. He was grounded in art by the local \ master, who was a pupil of Ingres. In Paris, ‘ however, he succumbed to the influence, first of Delacroix and then of Diaz, and was converted ! from a belief in line to the fanaticism of color. . Returning to Provence, he seems to have filled the Rhone valley with legends about himself and with pictures the w'ork of his hand; but he j was presently obliged to go again to Paris. He was driven south by the advance of the German armies, and, after crossing France on I foot, he settled in his native city, and lived there until his death in 1886 Adapted from W. E. Henley , Memorial Catalogue, French and Dutch Loan Collection , Edinburgh , /880 True it is that he has a magic—there is no other word for it—of his own IE E. Henley , Memorial Catalogue , French and \ Dutch Loan Collection, Edinburgh , rS 80 113—The Princess Loaned by Messrs. Cottier and Company Munkacsy, Mihaly (Michael Lieb) Born Munkacz, Hungary, 1844: died, Bonn, Rhenish Prussia, 1900. The original family name was Lieb, but when Hungary was recog¬ nized as an independent kingdom every Hungarian citizen received the right to choose a destinctive Hungarian name, and the Lieb family, loyal Hungarians, though of German descent, adopted a modification of the name of their town. Pupil of Szamosy, at the College of Arad, and Ligeti; also studied in Munich under Franz Adam. Medals: Paris, 1870; 2d class, 1874; of Honor, 1878; Vienna 1872; Legion of Honor, 1877; Officer, 1878; Member of the Munich Academy, 1881 Few men have experienced such vicissitudes of fortune, and fewer still have attained the degree of success achieved by Munkacsy, and therein we render homage to the man Arthur Fish , The Magazine of Art 114—The Haymakers Loaned by Mr. Emerson McMillin Murillo, Bartolome Esteban Born, Seville, Spain, 1618: died there, 1682. Pupil of Juan del Castillo, later of Velasquez, then in the zenith of his fame, who gave him valuable counsel, and obtained admission for him to the royal galleries, where he copied the • works of the great masters. The fertility of his talent, only paralleled by that of Lopez de j Vega in literature, enabled him to cover the walls of private and public buildings at Seville with pictures, now scattered all over Europe. In representing his favorite subject, the Virgin | of the Conception, of which the finest example is that in the Louvre,Murillo so far surpassed all j other painters that he obtained the surname of the Painter of the Conception As a religious painter he ranks second only to the great masters of Italy. In ideal grace of thought and in force and perfection of style he yields, as all later artists must yield, to that constellation of genius of which Raphael was the principal star. But his pencil was endowed with a power of touching religious sympathies and awakening tender emotions which belong to none of the Italian painters of the seventeenth century Sir William Stirling-Maxwell, Annals of the ’ Artists of Spain ' 115—The Triumph of Religion Loaned by Mr. D. T. Watson Neuville, Alphonse Marie de Born, Saint Omer, France, 1836: died, Paris, 1885. Pupil of Picot. Medals: 3d class, 1859; 2d class, 1861; Legion of Honor, 1873: Officer, 1881. He has freedom, audacity, movement, truth of physiognomy, truth of gesture, truth of color. * * * In a word he has the genius of action Ernest Duvergier de Hauranne, Revue des Deux Mondes Neuville is peculiarly the French painter of fighting Richard Mitt her. History of Modern Painting 116— The Wounded Friend Loaned by the A. M. Byers Estate 117— Salute to a Wounded Officer Loaned by Mr. Henry Darlington Opie, John, R. A. Born, St. Agnes, Cornwall, 1761: died, London, 1807. About 1780, he went to London, heralded by Dr. John Wolcot, (Peter Pindar) as the Cornish Genius, was introduced to Sir Joshua Reynolds, and became the wonder of the hour. He became an A. R. A. in 1787, and R. A. in 1788. His vigorous pencil, in pursuit of art, Disdain’d to dwell on each minuter part, Impressive force—impartial truth he sought, And travell’d in no heathen track of thought; Unlike the servile herd, whom we behold, Casting their drossy ore in fashion’s mould, His metal by no common die is knowm, The coin is sterling, and the stamp his own Sir Martin Archer Shee, Preface to his Lectures, 1809 There is a freshness of look and a rude homely strength in his pictures which belong to the wide academy of Nature, and came upon him in Cornwall. His strength lay in boldness of effect, simplicity of composition—in artless attitudes, and in the vivid por¬ traiture of individual nature Allan Cunningham , The Liz>es of the Most Eminent British Painters 118— Portrait of the Artist Loaned by Mr. R. Hall McCormick Pasini, Alberto Born, Busseto, Italy, 1826: died, Cavoretto, Italy, 1899. Pupil of Ciceri, Isabey, and Rous¬ seau. Medals: 1859, 1863, 1864, 1868. Legion of Honor, 1868; Officer, 1878. Medal of Honor, Exposition Universelle, 1878 Turkey in Europe and Asia Minor are his domain. The landscape gives the ground-tone of his pictures. With white marble palaces that gleam bathed in sun¬ light, and the showy saddles of Arab horses; with inlaid weapons and Oriental turbans adorned by precious stones; with the outline of far-off mosques and tapering minarets with wandering caravans, * * * with elements such as these he composed his * * * exquisite pictures Richard Muther , History of Modern Painting 119— Oriental Stable Loaned by Mr. J. M. Schoonmaker Raeburn, Sir Henry, R. A. Born, Stockbridge, Scotland, 1756: died near there, 1823. Elected president of the Society of Artists in Scotland in 1821, and in 1831 an A. R. A., and in 1815 R. A. On the visit of George IV. to Edinburgh in 1822 he was knighted and the next year he was appointed his majesty’s limner for Scotland. His portraits are distin¬ guished for great breadth of treatment, and character. Although influenced by Reynolds, his manner of execution w r as more like that of Gainsborough, with a certain appearance of facility, yet lacking in that pearly freshness, which w T as a marked peculiarity of the latter painter The two painters with whom one is inevitably tempted to compare Raeburn are Hals and Velasquez Sir Walter Armstrong , Sir Henry Raeburn He was a born painter of portraits. He looked people shrewdly between the eyes, surprised their manners in their faces, and had possessed himself of what was essential in their character before they had been many minutes in his studio. What he was so swift to per¬ ceive he conveyed to the canvas almost in the moment of conception R. L. Stevenson , Virginibus Puerisqnc 120—Mrs. Campbell Loaned by the A. M. Byers Estate Rembrandt van Rijn, Harmenszoon Born, Leiden, 1606: died, Amsterdam, 1669. Pupil of Jacob van Swanenburch at Leiden and Pieter Lastman at Amsterdam. As etcher and painter, he holds a unique place in the history of art. No one has rivalled him in the manage¬ ment of light and shade; few in color, in char- acter, in the expression of homely but deep interest. Absolutely original, he taught many able scholars whose best efforts show how unapproachable he is His place is with the Michael Angelos, the Shake- speares, the Beethovens. An artistic Prometheus, he stole celestial fire, and with it put life into what was inert, and expressed the material and evasive sides of nature in his breathing forms From the French by Florence Simmonds 1 The eyes and the mouth are the supremely signifi¬ cant features of the human face. * * * In Rem¬ brandt’s personages the eye is the center wherein life, in its infinity of aspect, is most manifest. * * * His portraits are distinguished, not only by the absolute fidelity and precision of the likeness, but by the limpidity of the gaze, which seems to reveal the soul of the sitter, inviting us to yet closer study and a yet deeper knowledge of its secrets Emile Michel, Rembrandt: His Life., His Work, and His Time 121'—Portrait Loaned by the A. M. Byers Estate 122—The Accountant Loaned by Mr Charles M. Schwab Reynolds, Sir Joshua, P. R. A. Born, Plympton, England, 1723: died, London, 1792. Pupil of Thomas Hudson in London. In 1768, on the establishment of the Royal Academy, he was chosen its first president, and was knighted by George III. In 1784, he became principal painter in ordinary to the king, j Ruskin calls him the “ Prince of portrait painters” and ‘‘one of the seven colorists of the world,” placing him with Titian, Giorgione, Correggio, Tintoretto, Veronese and Turner Sir Joshua Reynolds is the painter of English gentle¬ men, English ladies, and English children, painting little else—save charming bits of English landscape to set them in E. G. Johnson , Introduction to Reynolds’ Discourses His portraits of illustrious men have the dignity and authority of history; his portraits of beautiful women, all the charms of poetry Anna B. Jameson , Private Galleries of London 123— Miss Nesbitt Loaned by the A. M. Byers Estate 124— Lady Penn Loaned by Mr. D. T. Watson Ribot, Augustin Theodule Born, Breteuil, Eure, 1823: died, Colombes, Seine, France, 1891. Pupil of Glaize. Medals: 1864, 1865; 3d class, 1878; Legion of Honor, 1878 From the seventies his specialty was heads—separate figures of weather-beaten old folk, old women knitting or writing, old men reading, or lost in thought. * * * No artist, not even Ribera, has been a better painter of old people, and only Velasquez has painted children who have snch sparkling life. Ribot attains a remarkable effect when he paints these expressive faces of his, which seem to follow you with their looks, and are thrown out from the darkness of his canvas Richard Muther, History of Modern Painting 125— Mignonne Loaned by Messrs. Durand-Ruel and Com¬ pany Romney, George, R. A. Born, Dalton-le-Furness, England, 1734: died, Kendal, England, 1802. Studied with the painter Steele, at Kendal. Never exhibited at the Royal Academy, and therefore was not elected a member of that institution. From 1775, when he settled in London, he divided the patronage of the great and wealthy w T itli Reynolds and Gainsborough The works of Romney are of two kinds, history and portrait; in both of which he attained, in the eyes of many, great distinction, and during his day ranked with the foremost. Allan Cunningham, The Lives of the Most Eminent British Painters 126— The Daughters of Lord Chancellor Thurlow: Katherine and Maria Loaned by the A. M. Byers Estate Rosenthal, Toby Edward, Munich Born, New Haven, Conn., 1848. Studied in San Francisco under a Spanish painter (1861), then in Munich (1865) at the Royal Academy, later under Raupp, and again at the Royal Academy under Piloty. Medals: Philadelphia, 1876; Munich, 2d class, 1883 Mr. Rosenthal’s picture of the “Young Monk” in the refectory of a convent was one of the most poetic in sentiment to be found in the whole Exhibition. It is pure and delicate in feeling, and skillfully painted Prof. Weir’s Official Report of the American Centennial Exhibition of 187b 127— Forbidden Longings — Remind me not that for me alone there is no Spring Loaned by Mrs. A. A. Schmertz Rousseau, Pierre Etienne Theodore Born, Paris, 1812; died, Barbizon, near Fon¬ tainebleau, 1867. Pupil of R6mond and of Lethiere. Medals: 3d class, Paris, 1834; 1st class, Paris, 1849, 1855; Medal of Honor, 1867; Legion of Honor, 1852. With Corot, Daubigny, Duprd and Diaz, he founded the modern French school of landscape painting, of which he is one of the chief glories. The P'orest of Fon¬ tainebleau, where he spent many years of his life, supplied him with an inexhaustible mine of subjects, which he rendered with rare felicity Theodore Rousseau has been for twenty-five years the first apostle of truth in landscape painting. * * * He emancipated the landscape painters as Moses liber¬ ated the Hebrews. * * * He led them into a land of promise, where the trees had leaves, where the rivers were liquid Edmond About , / 8 s 7 The forest has no truer lover and no better painter. He saw it not as a crowd of trees, but as a monstrous organism, an enormous individuality; and he has ren¬ dered as none else has done the sense of its complex mystery and immensity, its infinite changefulness of color and form, its multitudinous life, its impenetrable confusion of birth and death and increase and decay IV. E. Henley , A Century of Artists 128— Le Passeur Loaned by the A. M. Byers Estate 129— The River Seine Loaned by Miss Helen Miller Gould 130— Old Oak Loaned by Mr. E. Burgess Warren Roybet, Ferdinand Victor Leon, Paris Born, Uzes, France, 1840. Pupil in Lyons of / the Ecole des Beaux-Arts Ruled by a passion for the Spanish masters, * * * Roybet painted cavaliers of the seventeenth century, and other historical pictures of manners which are distinguished to their advantage from older pictures of their type, because it is not the historical anecdote, but the pictorial idea, which is their basis. * * * Roybet reveled in the rich hues of old costumes, and sometimes attained a bloom and a strong, glowing tone which rival the old masters Richard Muther , History of Modern Painting 131—Two Amateurs Loaned by the A. M. Byers Estate Rubens, Peter Paul Born, Siegen, Westphalia, 1577: died, Antwerp, 1640. Pupil of Tobias Verhaegt, Adam van Noort and Otto van Veen, at Antwerp. In 1588 he was admitted to the Guild of Painters, in Antwerp. In 1600 he went to Venice and studied the works of Titian and Paul Veronese. For eight years he was in the service of the Duke of Mantua. An excellent Latin scholar, hew T as also proficient in French, Italian,English, German and Dutch. These gifts procured him diplomatic employment, and he was sent on missions to Spain, to Philip IV, and to Charles I, of England. He w r as knighted by Charles, and given an honorary degree by the University of Cambridge. How hard he labored is known by the enormous number of his works—between two and three thousand His eye is the most marvelous prism of light and color that has ever been vouchsafed to us. * * * He stamps all with the directness of his character, the warmth of his blood and the magnificence of his vision Eugene Fromentin , Maitres d’Autrefois Rubens is to Titian what Titian was to Raphael and Raphael to Phidias. Never did artistic sympathy clasp nature in such a wide embrace M. Taitie, Philosophc de FArt dans les Pays-Bas 132—St. Andrew Loaned by the A. M. Byers Estate Ruisdael, Jacob van Born, Haarlem, 1625 (?): died there, 1682. Son and pupil of Izack van Ruisdael and probably a pupil of his uncle, Salomon van Ruisdael. He developed himself under the influence of Cor¬ nelius Vroom, Guilliam du Bois, Allaert van Everdingen, and others. Among his pi 1 pils were Meindert Hobbema and Johannes van Kessel. He was the first artist who habitually went to nature in the true spirit of a landscape painter, the first who loved the scenes of nature for themselves, the first who distinguished himself by non-conformity to the per¬ petual, popular requirement of figure interest in land¬ scape Philip Gilbert Hamer loti , Etching and Etchers 133—The Waterfall Loaned by the A. M. Byers Estate Schreyer, Adolf Born, Frankfort-on-the-Main, Germany, 1828: I died, Kronberg, Prussia, 1899. Studied at Staedel Institute, and at Stuttgart, Munich and Dusseldorf. Accompanied the Austrians on the march through the Danubian Principalities, 1854. Lived in Paris until 1870, when he settled in Kronberg, near Frankfort. Medals: Brussels, 1863; Paris Salon, 1864, 1865, 1867; Munich, 1876; Member of Antwerp and Rotter¬ dam Academies; Court Painter to Grand Duke of Mecklenberg, 1862; Order of Leopold, 1866 Schreyer joins to a grand and bold conception a profoundly poetic sentiment. This makes him both German and French. His manner, as well as his talent, has two natures; it recalls both Delacroix and Fromentin Courrier Artistigue , February, /S 6 v 134— Noonday Rest Loaned by Mr. Herbert DuPuy 135— Arab Cavaliers Loaned by Mr. Lawrence C. Phipps 136— The Bridge Loaned by Mr. H. K. Thaw Swan, John Macallan, London Born, Old Brentford, England. Pupil of the Worcester School of Art; Lambert Art School; Gerome, Bastien-Lepage in Paris, for painting, and of Fremiet, for sculpture. Member of Dutch Water Color Society, 1884; Honorable Mention, Salon, 1885; Silver Medal, Paris Universelle Exposition, 1889; 1st and 2d Gold Medals, Munich; 1st class Gold Medal, Paint¬ ing, and 1st class Gold Medal, Sculpture, Paris Exposition. 1900 As an animal painter Mr. Swan is alone at the ! present time in the British school Cosmo Monkhouse, The Magazine of Art He constructs his animals with peculiar 'accuracy; the form, the character, the gesture, are admirably ! realized; the environment, of light and air and scenery, {i Q which they are placed is observed, and rendered with a keen sense of the requirements of modern landscape ana a full knowledge of the means by which they are to be met W. E. Henley , Memorial Catalogue, French and Dutch Loan Collection , Edinburgh, i88b 137—Lioness and Cubs Loaned by Mr. Charles Donnelly 138— Evening in the Desert Loaned by Mr. Emerson McMillin Tkrborch (TerbergO, Gerard Born, Zwolle, Holland, 1608: died, Deventer, Holland, 1681. Received his first instructions from his father, Geert Terborch, then formed himself in Amsterdam, and especially in Haar- | lem, where he entered the Guild in 1635 under the influence of Frans Hals, and through inde¬ pendent study of the master works by Titian, j Rembrandt and Velasquez. In 1646-48, at Munster, he became, through the favor of the 1 Spanish envoy, the painter of the diplomatic ■] circle, and executed the famous portrait group of the Peace Congress, now in the National i Gallery, London I Nature under his brush became filled with new *j meanings, for he saw that fitness to a designed end ■which nature stamps upon all her creations. * * * f| There are a few of his pictures left to us, but each one j of them is worthy of long study John C. Van Dyke , Old Dutch and Flemish Masters 139— Portrait of a Woman 140— Portrait of a Man Nos. 139 and 140 loaned by Messrs. Cottier | and Company Troyon, Constant Born, Sevres, 1810: died, Paris, 1865. In 1842 Constant Troyon left Sevres and went to Paris. And entering the studio of Roqueplan,he found the great school of landscape painters in its glory. ‘ * From the day that he became a painter of animals, Troyon took a place of his own in the school,” says Charles Blanc In Troyon’s landscapes, the light makes the whole scene luminous, and shines in the cattle’s healthy eyes and touches with silvery tint the white hides of the cows, sometimes burnishing with a warmer color the woolly coats of the sheep into which you could thrust your hand, and speaking the deep repose of nature—the stream too where the cattle are drinking and standing and in whose mirror the clouds are reflected, the wind¬ less wood, the entire unity of landscape and life y. M. Hoppin, The Early Renaissance His good things are numbered with the art treasures of the world IV. E. Henley , A Century of Artists 141— La Bergeronnette Loaned by the A. M. Byers Estate 142— Cows in Stable Loaned by Messrs. Cottier and Company 143— Black Cow and Dog Loaned by Mr. E. Burgess Warren 144— Going to Market Loaned by Mr. D. T. Watson Turner, Joseph Mallord William, R. A. Born, London, 1775: died there, 1851. In 1787 he entered the school of the Royal Academy, and for a short time worked with Sir Joshua Reynolds. He was made associate of the Royal Academy in 1799, and royal academician in 1802 Mr. Ruskin places Turner amongst the seven supreme colorists of the world, the other six being, in his estimate, Giorgione, Titian, Veronese, Tintoretto, Cor¬ reggio, and Sir Joshua Reynolds. I need hardly dwell upon his imaginative power, which is so evident to an} 7 one who can recognize imagination when he sees it that instances are superfluous. Every picture of Turner’s, every drawing, almost every sketch, executed after he reached manhood, bears evidence of the action of imagination, which in his works would often amplify a simple theme, or heighten still further the sublimity of a sublime one Philip Gilbert Hamerton , The Life of J. M. W. Turner 145—The Wreckers Loaned by the A. M. Byers Estate Van Dyck, Sir Anthony Born, Antwerp, 1599: died, London, 1641. Pupil of Hendrick van Balen and Rubens in Antwerp. Admitted to the Antwerp Guild of Painters in 1618. Made a short visit to London 1620-21. Lived in Italy 1623-1627. Became court painter to Charles I., of England, in 1632, and was knighted while in that position It was during the six or seven years which he passed in his native country, after his return from Italy, that he painted some of his most important and carefully executed works. The great altar-pieces to be seen to-day in many of the churches of Belgium were produced in rapid succession. Again and again, he painted the "Holy Family,” "The Madonna,” "The Cruci¬ fixion,” * * * pictures full of a touching religious feeling and enthusiasm A. y. Wauters , La Peinture Flammande Distinction—that is this artist’s pre-eminent gift, his master quality, which forms an individuality, and is indelibly stamped on all those glorious works from the first tentative efforts of Rubens’ pupil to the immortal portrayals of Charles I., his family and court yules Gniffrey , Antoine Van Dyck , Front the French by William Alison 146— Portrait of the Princess Helena Leonora de Sievere Loaned by the Art Institute of Chicago From the Demidoff Collection 147— The Abbe 148— The Madonna Nos. 147 and 148 loaned by the A. M. Byers Estate Whistler, James Abbott McNeill, Paris Born, Lowell, Mass., 1834. Pupil of Gleyre. Medal: Paris, 3d class, 1883; Chevalier of the Legion of Honor, 1889; Officer, 1891; Knight of the Order of St. Michael of Bavaria; Hon. Member Royal Academy of St. Luke, Rome; Hon. Member of Royal Academy of Bavaria, Munich; Member of the Socidtd Nationale des Beaux-Arts, France; President, Society Sculp¬ tors, Painters and Gravers, England; Grand Prix, Exposition Universelle, 1900 Nature contains the elements, in color and form, of all pictures, as the keyboard contains the notes of all music. But the artist is born to pick, and choose, and group with science, these elements, that the results may be beautiful—as the musician gathers his notes, and forms his chords, until he brings forth from chaos glorious harmony ,James Abbott McNeill Whistler, ’’''Ten O'clock" The Nocturne, as Mr. Whistler has often conceived it, is suggestive rather than evocative, and it may con¬ vey no meaning whatever, unless the sympathetic spectator brings with him a store of observation and souvenirs which will enable him to travel in thought over strange sites of sky and water that form magic and yet natural landscapes John C. Van Dyke, Art and Criticism 149—Nocturne Loaned by Mr. John G. Johnson 150—The Falling Rocket: Nocturne in Black and Gold Loaned by Mr. Samuel Untermyer Wilkie, Sir David, R. A Born, Cults, Fifeshire, 1785: died in the Bay of Gibraltar, 1841, an event which has been magnificently commemorated by the brush of J. M. W. Turner in his painting “ Peace: Burial at Sea.” He studied in Trustees’ Academy, Edinburgh, from 1799 to 1804. In 1805 he went to London and entered the Royal Academy as a student'with a certain reputation which was acknowleged by leading artists. In 1809 he was elected an A. R. A., and in 1811, R. A. In 1823 he was appointed Limner to the King in Scotland, and in 1830, at the death of Sir Thomas Lawrence, he was made Painter in Ordinary, retaining this office under William IV. and Victoria. Knighted by William IV. in 1836 The Escape of Queen Mary is a charming picture, full of beauty and chivalry. Josephine and the Sorceress of St. Domingo is a romantic scene. * * * The perfect loveliness of these compositions and the clear elegance and harmony of the coloring, place them amongst the finest pictures of the British school Allan Cunningham , The Life of Sir David Wilkie The Castle Lochleven, the remains of which are still standing, was on the island of the same name in Kinrossshire, Scotland, eighteen miles from Edin¬ burgh, and was the scene in 1567-68 of the imprison¬ ment of Mary, Queen of Scots 151—The Escape of Mary, Queen of Scots, from Lochleven Castle Loaned by Mr. R. Hall McCormick Wyant, Alexander H., N. A. Born, Defiance, Ohio, 1836: died, New York 1892. Pupil of George Inness and Hans Gude, and later studied in London. Elected Associate of the National Academy, New York, 1868; Academician, 1869. Honorable Mention, Exposition Universelle, Paris, 1889. W. T. Evans Prize, American Water Color Society, 1891. Was a member of tbe Society of Ameri¬ can Artists, and the American Water Color Society While so many of his twilights breathe simply the ineffable loveliness of quiet, others are astir with persuasion to spiritual reflection, with the gentle admonition to sadness that itself is purifying, or with deeper, fuller suggestion of the infinite mystery of nature’s recurring sleep that swallows up the littleness of man in its immensity. * * * And the music of his painting is that of the violin; tenderly vibrating, searching home to one’s heart, by turns lightsome, melancholy, caressing, impetuous, but with a tenderness in all Charle H. Ctiffin, American Masters of Painting 152— Moonlight and Frost Loaned by Mr. George A. Hearn 153— Early Twilight Loaned by Mr. Emerson McMillin Ziem, Felix, Paris Born, Beaune, Cote d’Or, France, 1841. Pupil of Art School at Dijon. Medals: 3d class, 1851, 1855; 1st class, 1852; Chevalier of the Legion of Honor, 1857; Officer, 1878 He excels in mirroring the most brilliant colors in a canal Edmond About, Nos Artistes att Salon de l8S7 He has the gift of charm W. E. Henley, Viezvs and Reviews: Art 154— The Canal Loaned by Mr. Charles Donnelly 155— The Salute Loaned by Mr. Lawrence C. Phipps CARNEGIE LIBRARY OF PITTSBURGH A selected list of the books and articles in the Library on the artists represented in this exhibition Alexander, John W. Century, n. s., v. 32, p. 155 Critic, v. 35, p. 609 Harper’s, v. 99, p. 694 Harper’s weekly, v. 41, p. 82 Scribner’s magazine, v. 25, p. 340 Studio, v. 20, p. 71 Alma-Tadema, Sir Lawrence La Sizeranne’s English contemporary art, p. 158-170 Rooses’ Dutch painters of the nineteenth century, y. 1, p. 141-164 Stephens’ Lawrence Alma-Tadema Century, n. s., v. 25, p. 483 Magazine of art, v. 2, p. 193; y. 20, p. 42 Portfolio, v. 5, p. 109 Scribner’s magazine, v. 18, p. 663 Boldini, Giovanni Catalogue of the masterpieces gathered by W. H. Stewart, p. 12-13. Gupernatis’ Dizionario degli artisti italiani yiyenti Munsey, v. 18, p. 824 Bonheur, Rosalie (Rosa) Marie Bonheur’s Rosa Bonheur, her life and work Century, n. s., v. 6, p. 833 Harper’s, v. 104, p. 136 Magazine of art, v. 5, p. 45 Outlook, v. 62, p. 41, 237 Portfolio, v. 6, p. 98 Review of reviews, v. 20, p. 34 Breton, Jutes Adolphe Aime Louis Breton’s Life of an artist; an autobiography Atlantic, v. 66, p. 557 Nation, v. 52, p. 223 Brush, George de Forest Caffin’s American masters of painting, p. 129-140 Hartmann’s History of American art, v. 1, p. 261-271 Century, n. s„ v. 29, p. 954 Cazin, Jean Charles Child’s Art and criticism, p. 43-56 Century, n. s., v. 33, p. 393 Outlook, v. 67, p. 751 Chase, William Merritt Benjamin’s Our American artists, p. 59-72 Hartmann’s History of American art, v. 1, p. 226-230 Rummell and Berlin’s Aims and ideals of representative Ameri¬ can painters, p. 86-94 Harper’s, v. 78, p. 549; v. 87, p. 3 Studio, v. 21, p. 151 Constable, John Arnold’s Gainsborough, p. 77-125 p. 191-205 Hamerton’s Portfolio papers, p. 3-38 Leslie's Memoirs of the life of John Constable Stephen and Lee’s Dictionary of national biography Wedmore’s Studies in English art, v. 2, p. 35-68 Pall Mall magazine, v. 21, p. 437 Corot, Jean Baptiste Camille Mollett’s Painters of Barbizon, v. 2, p. 1-32 Muther’s History of modern painting, v. 2, p. 403-426 Thomson’s Corot » V an Dyke’s Modern French masters, p. 107-116 V an Rensselaer’s Six portraits, p. 139-189 Contemporary review, v. 26, p. 157 Eclectic magazine, v. 126, p. 625 New England magazine, n. s., v. 5, p. 691 Cottet, Charles Kingsley’s History of French art, p. 426-427 Studio, v. 15, p. 227 Couture, Thomas Brownell’s French art, p. 69-72 Van Dyke’s Modern French masters, p. 3-14 Wolff’s La capitale de l’art, p. 201-214 Atlantic, v. 52, p. 233 Dagnan-Bouveret, Pascal Adolphe Jean Child’s Art and criticism, p. 65-69 Muther’s History of modern painting, v. 3, p. 46-48 V an Dyke’s Modern French masters, p. 237-248 Magazine of art, v. 16, p. 121 Daubigny, Charles Francois Mollett’s Painters of Barbizon, y. 2, p. 35-58 Thomson’s Barbizon school, p. 267-286 Van Dyke’s Modern French masters, p. 155-166 Wolff’s La capitale de Part, p. 145-157 Century, n. s., v. 22, p. 323 Magazine of art, v. 12, p. 300 Decamps, Alexandre Gabriel Catalogue of the masterpieces gathered by W. H. Stewart, p. 25 Chesneau’s La peinture fran£aise au XIXe sifecle; les chefs d’ecole, p. 195-261 Hamerton’s Contemporary French painters, p. 109-117 Moreau’s Decamps et son oeuvre Stranahan’s History of French painting, p. 222-228 Wolff’s La capitale de Part, p. 189-197 Degas, Hilaire Germain Edgar Brownell’s French art, p. 132-134 Moore’s Impressions and opinions, p. 298-323 Muther’s History of modern painting, v. 2, p. 752-760 M agazine of art, v. 13, p. 416 Delacroix, Ferdinand Victor Eugene Brownell’s French art, p. 53-57 Chesneau’s La peinture franfaise au XIXe siecle; les chefs d’ecole, p. 3214379 Hamerton’s Contemporary French painters, p. 58-63 Muther’s History of modern painting, v. 1, p. 344-366 Wolff’s La capitale de l’art, p. 79-95 Lippincott, v. 34, p. 307 Diaz de la Pena, Narcisse Virgilio Brownell’s French art, p. 68-71 Mollett’s Painters of Barbizon, v. 1, p. 87-107 Thomson’s Barbizon school of painters, p. 167-198 Van Dyke’s Modern French masters, p. 131-139 Wolff’s La capitale de l’art, p. 99-111 Dupre,Jules Brownell’s French art, p. 68-70 Mollett’s Painters of Barbizon, v. 2, p. 59-76 Thomson’s Barbizon school of painters, p. 289-290 Wolff’s La capitale de l’art, p. 57-75 Fortuny y Carbo, Mariano Jose Marie Bernardo Catalogue of the masterpieces gathered by W. H. Stewart,'p. 29-42 Downes’ Twelve great artists, p. 57-67 Fromentin, Eugeine Gonse’s Eugene Fromentin, peintre et ecrivain Wolff’s La capitale de l’art, p. 131-142 Century, n. s„ v. 3, p. 829 Contemporary review, v. 77, p. 277 Magazine of art, v. 18, p. 454 Gainsborough, Thomas Armstrong’s Gainsborough Armstrong’s Thomas Gainsborough Arnold’s Gainsborough, p. 1-76 Bell’s Thomas Gainsborough Carr’s Papers on art, p. 159-195 Conway’s Artistic development of Reynolds and Gainsborough, p. 35-95 Fulcher’s Life of Thomas Gainsborough Stephen and Lee’s Dictionary of national biography Wedmore’s Studies in English art, v. 1, p. 3-23 Gerome, Jean Leon Collection of the works of Gerome (photogravures) Hamerton’s Contemporary French painters, p. 116-120 Menard’s French artists, p. 19-22 V an Dyke’s Modern French masters, p. 31-43 Century, n. s., v. 15, p. 483 Magazine of art, v. 3, p. 453 Portfolio, v. 6, p. 82 Hals, Frans Fromentin’s Old masters of Belgium and Holland, p. 224-234 Head’s V an Dyck, p. 85-112 Knackfuss’ Franz Hals (in German) Kugler’s Handbook of painting, v. 2, p. 350-354 Van Dyke’s Dutch masters, p. 17-25 Century, n. s., v. 4, p. 417; n. s., v. 25, p. 323 Nation, v. 75, p. 287 (Oct. 9, 1902) Portfolio, v. 5, p. 167 Harpignies, Henri Joseph Catalogue of the masterpieces gathered by W. H. Stewart, p. 47-48 Studio, v. 13, p. 143 Henner, Jean Jacques Henry’s Hours with famous Parisians, p. 217-220 Current literature, v. 19, p. 552 Magazine of art, v. 11, p. 217 Studio, v. 18, p. 77 Hobbema, Meindert Cundall’s Landscape painters of Holland, p. 39-62 Van Dyke’s Old Dutch and Flemish masters, p. 131-134 Century, n. s., v. 25, p. 832 Hogarth, William Dobson’s Hogarth Hazlitt’s Lectures on the English poets and the English comic writers, pt. 2, p. 181-204 Hogarth’s Works, from the originhl plates restored by James Heath Ireland and Nichols’ Hogarth’s works, with life and anecdotal descriptions of his pictures, 3 v. Lamb’s Complete works, p. 295-308 Sala’s William Hogarth Stephen and Lee’s Dictionary of national biography Blackwood’s magazine, v. 106, p. 140 Century, n. s., v. 32, p. 323 Portfolio, v. 3, p. 146 Hoppner, John Cunningham’s Lives of the most eminent British painters, v. 2, p. 287-297 Stephen and Lee’s Dictionary of national biography Century, n. s„ v. 34, p. 686 Munsey, v, 17, p. 913 Inness, George CafBn’s American masters of painting, p. 3-15 Downes’ Twelve great artists, p. 145-150 Muther’s History of modern painting, v. 3, p, 484-486 Rummell and Berlin’s Aims and ideals of representative Ameri¬ can painters, p. 36-43 Century, n. s„ v. 27, p. 530 Forum, v. 18, p. 301 Isabey, Eugene Louis Gabriel Henley’s Century of artists, p. 89-90 Larousse’s Grand dictionnaire universel, v. 9 and 17 Argosy, v. 74, p. 350 Israels, Josef Muther’s History of modern painting-, v. 3, p. 233-246 Rcoses’ Dutch painters of the nineteenth century, v. 1, p, 83-94 Leisure hour, v. 45, p. 648 Magazine of art, v. 13, p. 397 Jacque, Charles Emile Hamerton’s Contemporary French painters, p. 106-108 Menard’s French artists, p. 30-32 Stranahan’s History of French painting, p. 298-300 Portfolio, v. 6, p. 130 Kneller, Sir Godfrey Spooner’s Biography of the fine arts, v. 1, p. 96-100 Stephen and Lee’s Dictionary of national biography Munsey, v. 17, p. 550 Lawrence, Sir Thomas Gower’s Romney and Lawrence, p. 25-78 Gower’s Sir Thomas Lawrence Stephen and Lee’s Dictionary of national biography Thornbury’s British artists from Hogarth to Turner, r. 1, p. 64-86 Century, n. s., v. 37, p. 372 Magazine of art, v. 2, p. 129, 230 Lenbach, Franz von Muther’s History of modern painting, v. 2, p. 641-646 Rosenberg’s Lenbach (in German) Art journal, v. 40, p. Ill Century, n. s., v. 31, p. 323 Harper’s, v. 102, p. 398 Magazine of art, v. 9, p. 51 Pall Mall magazine, v. 17, p. 483 Lerolle, Henry Stranahan’s History of French painting, p.'390 Lhermitte, Leon Augustin Kingsley’s History of French art, p. 340-341 Muther’s History of modem painting, v. 3, ,p. 30-32 Stranahan’s History of French art, p. 388-390 Art journal, v. 38, p. 266 Maes, (Maas) Nicholaas Gower’s Figure painters of Holland, p. 61-64 Kugler’s Handbook of painting, v. 2, p. 384-385 Van Dyke’s Old Dutch and Flemish masters, p. 59-64 Wed more’s Masters of genre, p. 63-71 Manet, Edouard Brownell’s French art, p. 119-123. Mother's History of modern painting, v. 2, p. 719-741 Van Dyke’s Modern French masters, p. 213-223 Wolff’s La capitale de l’art, p. 217-234 Scribner’s magazine, v. 15, p. 48 Studio, v. 21, p. 227 Maris, Jacobus Rooses’ Dutch painters of the nineteenth century, v. 2, p. 3-1 Art journal, v. 52, p. 107 Magazine of art, v. 24, p. 481 Studio, v. 18, p. 231 Martin, Homer Dodge Caffin’s 1 American masters of painting, p. 115-126 Critic, v. 30, p. 132 Mauve, Anton Rooses’ Dutch painters of the nineteenth century, v. 3, p. 3-33 Magazine of art, v. 19, p. 71 Max, Cornelius Gabriel Catholic world, v. 74, p. 157 Current literature, v. 23, p. 248 Meissonier, Jean Louis Ernest Gerard's Meissonier Mollett’s Meissonier 6 Muther’s History of modern painting, v. 2, p. 139-147 Van Dyke’s Modern French masters, p. 91-101 Wolff’s La capitale de l’art, p. 171-186 Magazine of art, v. 4, p. 133; v. 14, p. 199 Nineteenth century, v. 43, p. 822 Portfolio, v. 24, p. 90 Meyer, J. G. (Meyer von Bremen) Clement and Hutton’s Artists of the nineteenth century, p. 113 Meyer’s Konversations-Lexikon Millais, Sir John Everett Baldry’s Sir John Everett Millais ; his art and influence Millais’ Life and letters of Sir John Everett Millais. 2 v Monkhouse’s British contemporary artists, p. 47-82 Spielman’s Millais and his works Nineteenth century, v. 43, p. 376 National review, v. 6, p. 784 Nation, v. 63, p. 156 Art journal, v. 50, p. 1 Millet, Jean Francois Cartwright’s Jean FranfoisMillet Child’s Art and criticism, p. 137-154 Gensel’s Millet und Rousseau Mollett’s Painters of Barbizon, v. 1, p. 1-46 Naegely’s J. F. Millet and rustic art Sensier’s Jean Francois Millet Thomson’s Barbizon school of painters, p. 201-264 Yriarte’s J. F. Millet (in French) V an Dyke’s Modern French masters, p. 179-195 Nineteenth century, v. 24, p. 419 Pall Mall magazine, v. 23, p. 433 Monet, Claude Jean Brownell’s French art, p. 124-132, 134-137 Moore’s Modern painting, p. 84-88 V an Dyke’s Modern French masters, p. 167-174 Artist, v. 29, p. 57 Current literature, v. 30, p. 618 Pall Mall magazine, v. 21, p. 209 Studio, v. 22, p. 49 Monticelli, Adolphe Stranahan’s History of French painting, p. 390, 391 Fortnightly review, v. 65, p. 412 Munkacsy, Mihaly (Michael Lieb) Child’s Art and criticism, p. 155-161 Ilges’ M. von Munkacsy (in German) Art journal, v. 52, p. 199 Magazine of art, v. 24, p. 414 Outlook, v. 65, p. 100 Public opinion, v. 28, p. 596 Murillo, Bartolome Esteban Curtis’ Velasquez and Murillo, p. 115-315 Hoppin’s Early Renaissance, p. 128-142 Hurll’s Murillo Knackfuss’ Murillo (in German) Maxwell’s Annals of the artists of Spain, v. 3, p. 983-1100 Minor’s Murillo Catholic world, v. 72, p. 305, 615 Neuville, Alphonse Marie de Bryan’s Dictionary of painters and engravers Clement and Hutton’s Artists of the nineteenth century, p. 146 Montrosier’s Les artistes modernes, v. 2, p. 1-15 Wolff’s La capitalede l’art, p. 299-314 Opie, John Rogers’ Opie and his works Stephen and Lee’s Dictionary of national biography Century, n. s., v. 35, p. 579 Pasini, Alberto Clement and Hutton’s Artists of the nineteenth century Gubernatis’ Dizionario degli artisti italiani viventi Raeburn, Sir Henry Andrews’ Life of Sir Henry Raeburn Armstrong’s Sir Henry Raeburn Brown’s Spare hours, v. 3, p. 345-368 Sir Henry Raeburn; a selection from his portraits with introduc¬ tion and notes by W. E. Henley Stephen and Lee’s Dictionary of national biography Stevenson’s Virginibus puerisque, p. 205-221 Century, n. s., v. 35, p. 48 Portfolio, y, 10, p. 200 Rembrandt Van Rijn, Harmenszoon Bell’s Rembrandt and his work Curtis’ Rembrandt’s etchings Fromentin’s Old masters of Belgium and Holland, p. 218-223, 235-313 Hamerton’s Etchings of Rembrandt Knackfuss’ Rembrandt Michel’s Rembrandt; his life, his work, and his time. 2 v. Mollett’s Rembrandt Van Dyke’s Old Dutch and Flemish masters, p. 29-42 Century, n. s., v. 25, p. 163 Edinburgh review, v. 150, p. 151 Westminster review, v. 154, p. 73 Reynolds, Sir Joshua Armstrong’s Sir Joshua Reynolds Leslie and Taylor’s Life and times of Sir Joshua Reynolds. 2 v Phillips’ Sir Joshua Reynolds Pulling’s Sir Joshua Reynolds Smetham’s Literary works, p. 3-97 Stephen and Lee’s Dictionary of national biography Century, n. s., v. 32, p. 815 Portfolio, v. 4, p. 66, 82 Ribot, Augustin Theodule Larousse’s Grand dictionnaire universel, v. 17 Muther’s History of modern painting, v. 3, p. 553-557 Romney, George Gamlin’s George Romney and his art Stephen and Lee’s Dictionary of national biography Wedmore’s Studies in English art, v. 2, p. “-32 Century, n. s„ v. 34, p. 350 Magazine of art, v. 2, p. 70: v. 24, p. 440 Nineteenth century, v. 49, p. 523 Portfolio, v. 4, p. 18, 34 Rosenthal, Toby Edward Clement and Hutton’s Artists of the nineteenth century, p. 222 Overland monthly, v. 14, p. 284 Rousseau, Pierre Etienne Theodore Gensel’s Millet und Rousseau, p, 67-112 Mollett’s Painters of Barbizon, v. 1, p. 47-85 Sensier’s Souvenirs sur Th. Rousseau Thomson’s Barbizon school, p. 97-166 Van Dyke’s Modern French masters, p. 119-128 Wolff's La capitale de l’art, p. 115-128 Roybet, Ferdinand Victor Leon Catalogue of the masterpieces gathered by W. H. Stewart, p. 73-74 Montrosier’s Les artistes modernes, v. 1, p. 141-143 Rubens, Peter Paul Fairholt’s Homes, haunts and works of Rubens, Van Dyke. Rembrandt and Cuyp, p. 1-97 Fromentin’s Old masters of Belgium and Holland, p. 18-107 Galerie de Rubens Kett’s Rubens Knackfuss’ Rubens (in German) Michel’s Rubens: his life, his work and his time. 2 v Stevenson's Peter Paul Rubens Van Dyke’s Old Dutch and Flemish masters, p. 163-174 Century, n. s„ v. 28, p. 483 Ruisdael, Jacob van Cundall’s Landscape and pastoral painters'of Holland, p. 5-38 Fromentin's Old masters of Belgium and Holland, p. 183-195 Kugler’s Handbook of painting, v. 2, p. 470-475 Van Dyke’s Old Dutch and Flemish masters, p. 121-127 SCHREYER, ADOEF Clement and Hutton’s Artists of the nineteenth century, p. 244 Magazine of art, v. 18, p. 133 Swan, John Macallan A cademy, v. 51, p. 386 Magazine of art, v. 17, p. 171 Studio, v. 11, p. 236 ; v. 22, p. 75, 151 Terborch (Terberg), Gerard D ohme’s Early masters, p. 274-292 Fromentin’s Old masters of Belgium and Holland, p. 168-182 Gower’s Figure painters of Holland, p. 14-20 Kugler’s Handbook of painting, v. 2, p. 394-396 Van Dyke’s Old Dutch and Flemish masters, p. 79-84 Wedmore’s Masters of genre, p. 72-105 Magazine of art, v. 11, p. 91 Troyon, Constant Blanc’s Les artistes de mon temps, p. 313-323 Hamerton’s Contemporary French painters, p. 89-% Thomson’s Barbizon school of painters, p. 287-289 V an Dyke’s Modem French masters, p. 143-151 Wolff’s La capitale de l’art, p. 159-170 Turner, Joseph Mallord William Hamerton’s Life of J. M. W. Turner Monkhouse’s Turner Stephen and Lee’s Dictionary of national biography Sweetser’s Artist biographies, v. 4, pt. 1 Thornbury’s Life of J. M. W. Turner Turner gallery Turner’s Liber studiorum. 2 v Van Dyck, Sir Anthony Cust’s Antony Van Dyck Guiffrey’s Sir Anthony Van Dj-ck Head’s Van Dyck, p. 1-83 Knackfuss’ Van Dyck Law’s Van Dyck’s pictures at Windsor Castle Rooses’ Fifty masterpieces of Anthony Van Dyck Van Dyke’s Old Dutch and Flemish masters, p. 177-185 Living age, v. 223, p. 799 Whistler, James Abbott McNeill Bowdoin’s James McNeill Whistler, the man and his work Caffin’s American masters of painting, p. 37-51 Child’s Art and criticism, p. 81-97 Moore’s Modern painting, p. 1-24 Muther’s History of modern painting, v. 3, p. 645-664 Fortnightly review, v. 57, p. 543 Independent, v. 51, p. 2954 McClure’s, v. 7, p. 374 Scribner’s magazine, v. 21, p. 277 Wilkie, Sir David Cunningham’s Life of Sir David Wilkie, 3 v Gower’s Sir David Wilkie Hazlitt’s Lectures on the English poets and on the English comic writers, pt. 2, p. 189-193 Mollett’s Sir David Wilkie Pinnington’s Sir David Wilkie and the Scots school of'painters Stephen and Lee’s Dictionary of national biography The Wilkie gallery; a selection of the best pictures, with notices biographical and critical Wyant, Alexander H. Caffin’s American masters of painting, p. 143-152 Clement and Hutton’s Artists of the nineteenth century, p. 303 Hartmann’s History of American art, p. 90-94 Rummell and Berlin’s Aims and ideals of representative American painters, p. 33-35 Ziem, Felix Clement and Hutton’s Artists of the nineteenth century, p. 370 Larousse’s Grand dictionnaire universe!, v. 15 Muther’s History of modern painting, v. 2, p. 533 EICHBAUM CO. PRESS