Handbook of the Minneapolis Institute of Arts Part 13

[Cattle in Suns.h.i.+ne. Heinrich von Zugel, 1850-]

Cattle in Suns.h.i.+ne. Heinrich von Zugel, 1850-

Zugel shows a brilliance in his work which suggests paintings by the American Sargent. One might hunt long for a truer animal study, or for a more beautiful rendering of sunlight and beguiling purple shadow.

[Summer Evening at the River. Gustav Adolf Fjaestad, 1870-]

Summer Evening at the River. Gustav Adolf Fjaestad, 1870-

[Dalecarlian Peasant. Helmer Mas-Olle, 1884-]

Dalecarlian Peasant. Helmer Mas-Olle, 1884-

These two paintings are the foundation of a collection belonging to the Scandinavian Art Society, and deposited in the Inst.i.tute. The figure of the old peasant is instinct with character. The complex planes of the weather-beaten face and gnarled hands are established with the minimum of means. The painting by Fjaestad owes its fascination mainly to the almost Chinese sense of style and pattern. The movement of the water's swirling lines is interesting, well schemed, and perfectly balanced.

[Mother and Children. Josef Israels, 1824-1911]

Mother and Children. Josef Israels, 1824-1911

The art of Israels, with its straightforward and sympathetic portrayal of the emotions of the common folk, makes a direct and wholesome appeal to all. Its democratic, ethical purport would have satisfied the demands of Tolstoy. Without theatricality, or morbid invention of horrible and ironic situations, he interprets the lives of poor people. The types he chooses are strong and simple. Sometimes he tenderly portrays young men and girls in the fields, or happy peasant mothers with their children, as in our painting; and when poverty or tragedy are the theme, as they in much of his later work, he sees no demoralization nor degradation-only fort.i.tude and sadness. The spirit of man triumphs.-Gift of Mrs. Frederick B. Wells.

[On the Beach. Joaquin Sorolla y Bastida, 1863-]

On the Beach. Joaquin Sorolla y Bastida, 1863-

Sorolla, born at Valencia in the warm suns.h.i.+ne of southern Spain, is one of the most joyous and spontaneous artists who ever slapped paint onto canvas. The first exhibition of his work in this country was held at the Hispanic Museum in New York in 1909; and there has probably never been in America an exhibition of paintings crowded with such enthusiastic thousands of people. As one came into the exhibition gallery, one was fairly dazzled by the high key and the headlong virtuosity of the paintings which lined the walls; one felt a sense of heightened vitality.

We are told that Sorolla studied in the Academies of Valencia and Rome, and finally that he was influenced by Bastien Lepage, Menzel, and by the old Spanish and Italian masters whom he copied. It is hard to think of him in connection with any such schools or painters. His bold brushwork, his unaffected and individual handling of bright sunlight, his high animal spirits, are like no other painter we know, unless it be the Scandinavian Zorn.

The subjects chosen by Sorolla are varied. He paints fas.h.i.+onable portraits, and occasionally landscape. Mostly he paints scenes on the sunny Mediterranean sh.o.r.es of Spain. Into these he introduces figures, sometimes subordinated to the sea, more often as the princ.i.p.al interest of the picture. Sometimes he shows fishermen working at their boats, as in the stunning canvas in the Metropolitan Museum. When he does, they are no bent-backed toilers, but joyous, active, triumphant creatures. More often Sorolla loves to paint people playing on the beach, their light clothes spotted cleverly against the bright sand or waves; or best of all, children! Healthy and full of vivid glee, they race along the beach, lie on the sand in the wash of reaching breakers, or swim frog-like in the green transparency of sheltered water.

[Landscape. Alexander Nasmyth, 1758-1840]

Landscape. Alexander Nasmyth, 1758-1840

This landscape by the Scotch painter, Alexander Nasmyth, is so un.o.btrusive as to be easily overlooked by the visitor. For those who feel the spirit of the little picture, however, it has an abiding charm. The artist was a man of extraordinary versatility and enterprise, an able scene painter and architect, and an inventor and engineer of eminence. In our painting one sees little of the boldness expected from a mind given credit for originating principles of steamboat propulsion and bridge construction.

The touch is formal, almost shy, in its reserve; the drawing is precise, and the lighting and color conventional. Much of the charm of the work is probably due to this reticence. The scene presents a restful tranquility, and a quaint homeliness. The interest plays back and forth between the romantic old ruin and the contrasting rural and domestic life which has put past splendors to such strange modern uses. The theme is reminiscent of Piranesi's etchings of cla.s.sical ruins. Out of death springs life; from the decayed tree come strange fungus growths. After hundreds of years, the castle wall of a feudal lord gives support to a peasant cottage; his hall serves to shelter cattle.

Alexander Nasmyth was a pupil of the portraitist, Allan Ramsay (1713-1784). Ramsay discovered him in Edinburgh painting armorial bearings on carriage doors, and took him to London. Upon his return to Edinburgh, he painted portraits, including a famous portrait of Robert Burns; but turned his attention, after 1793, exclusively to landscapes.

[Psyche's Wedding. Sir Edward Burne-Jones, 1833-1898]

Psyche's Wedding. Sir Edward Burne-Jones, 1833-1898

The story of Psyche's Wedding is a myth of Greek origin, and runs as follows: A certain king in the west country had three beautiful daughters.

The youngest was by far the most beautiful; so beautiful, indeed, that she received homage from men which was due to Venus alone. The anger of the G.o.ddess was aroused against her, and the maiden herself became unhappy because, due to her awesome beauty, no one sought her in marriage. The King, her father, inquired of the Oracle of Apollo what should be done.

The story is told in Walter Pater's Marius the Epicurean, from which the following extract is taken:

"And Apollo answered him thus: 'Let the damsel be placed on the top of a certain mountain, adorned as for the bed of marriage and of death. Look not for a son-in-law of mortal birth but for that evil serpent-thing by reason of whom even the G.o.ds tremble and the shades of Styx are afraid.'

So the king returned home and made known the oracle to his wife. For many days she lamented, but at last the fulfillment of the divine precept is urgent upon her, and the company make ready to conduct the maiden to her deadly bridal. And now the nuptial torch gathers dark smoke and ashes, the pleasant sound of the pipe is changed into a cry, the marriage hymn concludes in a sorrowful wailing, below her yellow wedding veil, the bride shook away her tears; insomuch that the whole city was afflicted together at the ill-luck of the stricken household.... she was silent, and with firm step went on her way, and they proceeded to the appointed place on a steep mountain and left there the maiden alone and took their way homeward dejectedly." It was Cupid, however, not a monster, who welcomed the sorrowful maiden, and after many adventures, Psyche found happiness.

[Silver and Green. Hilda Fearon, English, ?-1917]

Silver and Green. Hilda Fearon, English, ?-1917

In this cheerful painting, representing two little girls seated at a breakfast table flooded with the bright, clear light of a summer morning, the real theme which has engaged the artist is nothing more nor less than light itself. The tablecloth and window curtains half in sunlight, half in luminous shadow, and the s.h.i.+ning gla.s.sware and silver urn are ably painted. The green of the garden and the yellow-green of sundrenched lawn are seen through the window echoed in the interior by daffodills, lemons and lime juice bottle, while happy touches of blue appear in the china and one of the frocks. Silver and Green was painted 1913, and was awarded Honorable Mention at the International Exhibition in Pittsburg in 1914.

MODERN DRAWINGS

[Studies of Draped Figures, Pencil Drawing. Sir Edward Burne-Jones, English, 1833-1898]

Studies of Draped Figures, Pencil Drawing. Sir Edward Burne-Jones, English, 1833-1898

Our Burne-Jones sketch book belonged formerly to the artist's son, Sir Philip Burne-Jones. In a letter Sir Philip writes: "This book of studies and designs by my father is an important example of his work and methods.

Before starting upon the actual painting of a large composition, it was my father's custom to make innumerable careful studies of limbs, draperies, etc., in chalk and pencil, and from these he worked upon the picture. The book which is now in your possession exemplifies this system." The sketch book contains 113 original drawings. Some of these are on both sides of a leaf, and frequently two or more drawings on a page. For the greater part, they are executed in lead pencil, although several of the most interesting are in colored chalk. Sir Edward Burne-Jones was a member of the Pre-Raphaelite Brotherhood, which sought to displace the conventionality of English art of the period by detailed naturalism and the mystical sincerity of the Italian primitives.

[Fire in Ingram Street, Pencil Drawing. Muirhead Bone, Scotch, 1876-]

Fire in Ingram Street, Pencil Drawing. Muirhead Bone, Scotch, 1876-

What can be done with lead pencil by a man who has sureness of hand and the power of rapid decision is shown in this fine characterization, in light and shade, of the ruins of a row of buildings that remain in desolation after fire has spent its fury.

[Portrait, Drawing in Chalk and Wash. William Strang, Scotch, 1859-]

Portrait, Drawing in Chalk and Wash. William Strang, Scotch, 1859-

[Mucherach Castle, Drawing in Pen and Wash. David Young Cameron, Scotch, 1865-]

Mucherach Castle, Drawing in Pen and Wash. David Young Cameron, Scotch, 1865-

Cameron's fine emotional quality would be inexpressible without his sure draughtsmans.h.i.+p and power to compose. Wedmore writes of Cameron: "He is certainly, of living British etchers, the one whose work excites among the generally cultivated public the keenest curiosity and evokes the highest admiration."