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“ THE FLAGELLANTS," BY CARL MARR. fanatical wretches who, scourge in hand, led

by the hermit Rainier, overran Italy in the ERHAPS no picture was ever thirteenth century. So strong was the illusion,

placed with better effect than so intensified by the picture's realism, that it Carl Marr's "The Flagellants" required only a slight exaltation of the senses to in the Munich Exhibition of hear the hiss of the scourge as it fell on the 1889. Entering the building lacerated and bleeding back of the devotee, from the street, one passed the praying, the groaning, and the weeping. through a vestibule which by It was certainly no small honor to the picture

the aid of Eastern rugs and to place it thus in an exhibition which repreother textiles had been converted into a mass sented not only the best of German, but also of soft, richly subdued harmonies. From the much of the best of French, art. But it was, vestibule one entered a room whose screened together with the gold medal awarded the skylight diffused a twilight effect on groups painting, an honor which was well deserved. of palms and other exotics. From this dimly An excellent composition containing over two highted apartment a door perhaps eight or ten hundred figures, all well drawn; a story requirfeet wide gave entrance to the picture-galler- ing much historical research, well told, although ies, and on the wall opposite, filling the entire not without some warrantable artistic license; opening of the doorway, was the picture. The stirring and dramatic action without a suggescontrast of the well-lighted gallery with the tion of the stage; the whole, if not vigorously, subdued light through which one had to pass, at least well painted— the artist had produced the fact that “The Flagellants” was not only in this work a picture which in its technical the first to catch the eye, but the only picture qualities easily took rank with the average in that could be seen until one had advanced the exhibition, and in its quality of invention some distance into the antechamber, together stood almost alone. with the light key of the picture, gave the effect At the date of this exhibition Carl Marr was of looking out of a window on the self-tortured, thirty years of age. Early in his teens he had

Vol. XLIV.- 14-15.

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gladly left school to learn wood-engraving in a marine painter also, for he is fond of telling his father's office, for a serious defect in his that on one occasion he painted on the stern hearing had made him a lonely boy and a dull of a schooner a composition," Agriculture and scholar. His father seems to have early recog- Commerce,” that was nearly thirty feet wide. nized that the lad was cut out for an artist, and, By 1860 he had made a reputation as a when he was eighteen, sent him to Germany to painter of easel-pictures, and in 1870 had saved study. After spending a year at Weimar, he enough money to pay for a course of study went to Berlin to work under Professor Gusson; abroad. He entered in Antwerp the studio of from Berlin he went to Munich, where he be- an animal-painter of some celebrity, Louis Van came a pupil of Seitz, and, later, of Gabriel Kuyck, where he worked for two years, and Max. While with the last named he painted then returned to America. His is also a story the "Mystery of Life," one of his two pictures of disappointment upon his return home. His now in the Metropolitan Museum of Art. penchant was for scenes of country life, the

In 1880, considering himself fairly equipped, barn-yard, the country blacksmith shop, etc. he returned to his native town, Milwaukee, These subjects he painted well, but the public with this picture as the key to unlock the door would not buy them. When his resources were of the temple of fame. A very few months almost exhausted, a picture of a kitten, a studisillusioned him. Nobody wanted the pic- dio pet, found a ready purchaser at a fair price, ture. There was no resource for him in en- and from that time his success in this genre has graving, and had it not been for his ability as been such that he rarely paints any other class a pianist, his career, artistic and other, would of subject, and the knowledge that he is a good in all probability have come to an end at that portrait- and figure-painter is confined almost time. At the expiration of eighteen months of to his brother artists and intimates. It is hardly precarious existence he secured from Boston to be wondered at that Mr. Dolph should be and New York publishers enough illustrating kept painting puppies and kittens, he paints to enable him, by careful economy, after five them so well, as is shown in his picture on page months, once more accompanied by the “Mys- 64; his knowledge of their construction, of tery of Life,” to cross the ocean. Soon after their action, of their ways is so intimate; there his return to Munich he painted his “Epi- is so much “cattiness” in his cats, that one sode of 1813," and with it scored his first must like them. success, the picture being purchased by the (German) Society of Historical Art. In 1885 he began work on “The Flagellants," and fin

PORTRAIT BUST, BY HERBERT ADAMS. ished it in 1889. It won a gold medal. One It seems necessary in art to discriminate year later he produced “ 1806 in Germany," between the imaginative and the inventive, now in the Royal Gallery at Königsberg, and between the poetical and the tentative. An artfor which he was awarded by the Royal Acad- work may possess much invention, and yet lack emy of Berlin another gold medal. As was imagination; may possess this latter quality,and to be expected from the influence of the mas- yet no invention. Thus a work by Watts posters under whom he has studied, Carl Marr's sesses imagination; one by Doré, invention. work is intellectual, serious, and thoughtful. Many a so-called poetic work is poetic simply His pictures are the work of a faithful and because the power to execute is lacking. The diligent student, of one who takes life seriously. thought that projected the work may have been His work, which possesses imagination and in- commonplace and literal enough, but the lack vention, excellent drawing, composition, con- of technical ability on the part of the worker struction, and masterful story-telling, has fairly left it vague and illusive. The thought that inwon for him the recognition he has received. spired Watts's “Love and Death” was poetic.

The execution embodied the thought. The “AN AFTER-DINNER NAP," by J. H. DOLPH.

thought was a dream. Had the execution been

bold and vigorous, the vigor of the technic would CARL MARR has been more fortunate in his have robbed the dream of its poetry. environment than has J. H. Dolph. He also, Mr. Herbert Adams seems to understand while a mere boy, made his hands minister to these distinctions, and to have combined haphis necessities in a field other than that of fine pily the imaginative, inventive, and technical in art. Born in 1835 on a farm in the interior of the marble a reproduction of which is printed New York State, by the death of his parents on page 121. This bust is quite in the spirit of he was left to shift for himself when only ten the Renaissance, and yet is thoroughly modern. years of age. From that time until he went There is such a sweet, womanly, simple grace in abroad in 1870 he had a very varied experience: it; such a real unreality; such thoroughly good at first as a painter of ornamental cards, later as modeling and construction, with a conscious a scene-painter, and, in a very broad sense, as letting go of convention when the strength of the technic would say too much, would make In 1885 he went to Paris, where his serious too personal the personality, that in looking at art study began under Antonin Mercié. He it one instinctively thinks of that other in the remained in Paris six years, exhibiting in each Louvre, the delight of the artist, the despair successive Salon, and in 1888 he received a of the copyist, and the puzzle of the Philistine, mention. He returned to America two years “ La Femme Inconnue.”

ago, and at present is connected with the Pratt Mr. Adams was born in Concord, Vermont, Institute, Brooklyn. His most important work in 1859. His first lessons in art were taken at is the public fountain at Fitchburg, Massachuthe Massachusetts Normal Art School, where, setts, a group in bronze, larger than life, cast as student and teacher, he passed several years. by the cire perdue process.

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[The death of Herman Melville, which took place in New York soon after midnight on the morning of September 28, 1891, was the signal for an outpouring of articles on the life and writings of an author whose vogue had temporarily subsided, partly through his own self-seclusion. Melville has rightly been called the pioneer of South Sea romance, and his “ Typee” and “Omoo” gained an international reputation at an earlier date than the writings of Lowell, although both authors were born in the same year — 1819. These books, with “Moby-Dick; or, the White Whale," soon became classics of American literature, and are likely to remain such. They have been continuously in print in England, and new American editions are now in course of publication. Melville's art of casting a glamour over scenes and incidents in the South Pacific, witnessed and experienced by himself, has not been exceeded even by Pierre Loti. The Civil War first turned his attention to lyrical writing, and many of his “Battle-Pieces and Aspects of the War" (1866) obtained a wide circulation. Near the close of his life he had printed for private distribution a few copies of two little books of miscellaneous poems, the last fruit off an old tree, entitled “ John Marr and Other Sailors” and “ Timoleon." From these volumes the following pieces have been selected.

N placid hours well pleased we dream

Of many a brave, unbodied scheme;
But form to lend, pulsed life create,
What unlike things must meet and mate:
A flame to melt, a wind to freeze;
Sad patience, joyous energies;
Humility, yet pride and scorn;
Instinct and study; love and hate;
Audacity, reverence. These must mate
And fuse with Jacob's mystic heart,
To wrestle with the angel — Art.


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