This picture is worth three dollars of any man's money for the frame is worth two dollars, and there is at least a dollar's worth of paint on the picture that is just as good as ever. The artist has handled the feet in a masterly manner, bringing them out so that they hang over the frame like a thing of life. If I could paint feet as M. Pissaro does I would not spend my life striping buggies in a close room among coarse men with putty on their pantaloons, but I would burst forth from my humble surroundings, and I would attract the attention of the whole great world of art with my massive and heroic feet. Then from this I would gradually get so that I could make pictures that would resemble people. There is no reason why M. Pissaro should not do well in that way, for he has painted No. 171, "A woman at a Well," in which the most unkempt and uncultivated peasant can at once distinguish which is the woman and which is the well. He is also the author of "Spring," a squirt study with a blue rash, which has broken out where the sky ought to be.
No. 136 is the "Execution of Maximilian," by Edouard Manet, a foreign artist. The scene is laid at the base of an old Mexican slaughter-house. In the foreground may be seen the rear of the Mexican army with its wealth of tournure and cute little gored panties. All Mexican troops have their trousers gored at the hips. Sometimes they also have them gored at the bull-fights which take place there. In the contiguous distance Maximilian maybe seen, wearing the hat which has evidently infuriated the Mexican populace. The artist says that Maximilian objects to being shot, but I pretend not to hear him, and he repeats the remark, so I have to say "Very good, very good," and then we pass on to No. 60, which is entitled "Dreams," by Prévis de Chavannes.
In this picture a weary man, who has worn himself out sleeping in haystacks and trying to solve the labor problem, so that the great curse of industry may be wiped out and the wealthy man made to pay the taxes while the poor man assists in sharing the burden of dividends, is lying on the ground with a pleasant smile on his face. He is asleep, with his mouth slightly ajar, showing how his teeth are fastened in their places. He is smiling in his slumber, and there is hay in his whiskers. Three decalcomanie angels are seen fastened to the sky in the form of a tableau. One is scattering cookies in his pathway, while the second has a laurel wreath which is offered at a great reduction, as the owner is about to leave the city for the summer. These are the new style of wingless angels recently introduced into art and now becoming very popular.
M. Chavannes is also the mechanic who constructed a picture numbered 61 and called the "Poor Fisherman." The history of this little picture is full of pathos. The scene is laid in Newark Bay, N. J. A poor fisherman and his children go out to spend the day, taking their lunch with them.
"O papa, let us take two or three cucumbers with our lunch," says one of the children, in glee.
"Very well, my child," exclaims the father, with ill-concealed delight, "Go down to the market and get one for each of us."
The artist has chosen to make his study of the fisherman a short time after lunch. The father is engaged in regretting something which it is now too late to recall. Cholera infantum has overtaken the younger child and the other is gathering lobelia for her father. The picture is wonderful in its conception ana execution. One can see that he is a poor fisherman, for he has not caught any fish, and the great agony he feels is depicted in his face and the altitude of his hair. The picture might have been called a battle piece or a French interior, with equal propriety.
Manet has several bright and cheery bits of color, among them No. 147, "Spring at Giverny," which might be called Fourth of July in a Roman candle factory without misleading the thoughtful art-student.
No. 150, "Meadows at Giverny," by the same man, is a study in connecting the foreground and background of an oil painting by means of purple hay and dark-blue bunches of boneset in such a way as to deceive the eye.
I have always bitterly regretted that while I was abroad I did not go to Giverny and see the purple hay and navy-blue tansy and water cress which grow there in such great abundance. How often we go hurrying through a country, seeing the old and well-worn features shown us by the professional guides and tourists, forgetting or overlooking more important matters, like a scene in France, No. 142, entitled "Women Bathing." I presume I was within three-quarters of a mile of this view and yet came home without knowing anything about it.