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The Galleries of the Exposition by Eugen Neuhaus
page 57 of 97 (58%)
has the same feeling for drawing without showing any understanding of
either texture or atmosphere. The old and the new overlap in this
gallery by the inclusion of some of Remington's paintings and also of a
few pieces of sculpture. Remington's paintings will never be classified
as anything but very good illustrations, and in the company of easel
pictures they look much out of place. Their interest is only of a
passing kind. His sculpture is lacking in repose and looks wild and
ill-mannered in the presence of the older things. Homer Martin's appeal,
in two big landscapes on the same wall, may not be very immediate, but a
serious contemplation of these big and noble landscapes will make them
reassuringly sympathetic. Martin's pictures are not exhibition pictures.
They suffer in an exhibition which is after all as much of a specimen
show of conflicting varieties as a display of canned goods in the Food
Palace. Martin, while never having enjoyed the popularity of an Inness,
will always rank as high as any of our best interpreters of the Barbizon
school.

Gallery 54.

We have to go over into this gallery in order to get the full meaning of
that great company of men who had something which is so difficult to
discover in many artists, namely, style. Inness and Wyant above
everything have style, a quality which carried their otherwise not very
original work above that of their fellow-painters. We shall never tire
of such canvases as "The Coming Storm," "The Clouded Sun," and the
limpid pastorals by Wyant. They maintain their position as classics.
Winslow Homer occupies a position all by himself. An entire wall full of
specimens by him shows the evolution of the man, his struggle with the
problem of the choice of subjects, and his technical development,
culminating in that one really great theme in the center, showing his
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