The Galleries of the Exposition by Eugen Neuhaus
page 55 of 97 (56%)
page 55 of 97 (56%)
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sense. The study of panoramic distances and the necessity for closely
observing out-of-doors new subjects which could not be studied in the work of other painters, led to a facility in the handling of paint which really constitutes the chief merit of these artists. In this gallery (59) two small outdoor sketches by Thomas Hill give a good suggestion of this Californian's great dexterity in handling paint. His career has been so closely identified with the Yosemite Valley, where he lived and died, that these two sketches will serve as a reminder of the very faithfully studied larger pictures he for many years produced. Peter Moran, a brother of Thomas, has a cattle picture in this gallery which needs the backing up of the reputation of the whole Moran family to be accepted. Gallery 58. Chronological order is not entirely maintained in gallery 58, where two large Bierstadt pictures are in control. Bierstadt, with all of his good painting, does not get any nearer the real spirit of the lofty mountaintops than all the others of this school. Big and earnest as his efforts were, they fall short of real achievement, not so much for his lack of outdoor colour as for the misunderstanding of what is possible in art and what is impossible. Another landscape in this gallery, belonging to the contemporary school, however, is Henry Joseph Breuer's "Santa Inez Mountains". It is a faithful study of a most difficult subject and very successful in its big feeling, in spite of the introduction of great detail. It is easily the best Breuer in the collection. The note of variety in this gallery is maintained in several portraits and genre pictures of unusual merit. On the right of the Breuer, Thomas Hicks' "Friendly Warning" atones for a multitude of mediocre genre pictures in the preceding gallery. Eastman Johnson's |
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