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 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 °^^ 
 
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 '""""""■• '" '•"■ '•' 'i'"i'i"" "I' Mnil,..s ami t.-ar.s, d'the familiar 
 
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 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 
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 11. 
 
 12 
 13. 
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 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. 
 
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 -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 
 
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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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'^4 
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