We find much that is interesting in the paintings of E. L. Weeks. They are marked by a powerful individuality, which delights in glowing effects of light, and revels in the brilliant coloring of tropical scenery or the varied splendor of Oriental architecture and costumes. There is something Byronic in the fervor of this artist's enthusiasm for the East, and the easy adaptability that has enabled a son of New England to identify himself with the life and scenery of lands so exactly the opposite of his own. Although a pupil of Bonnât, and an ardent admirer of the excessive realism now affected by some of the followers of the later French school, Mr. Weeks is, in spite of himself, an idealist, and no imitator of any style. This has, perhaps, been an injury to him, for he finds difficulty in mastering the technical or mechanical problems of his profession. A lack of knowledge or feeling for form, a weakness in drawing which is too often perceptible in his works, and sometimes an apparent opaqueness in his pigments, impair the quality of compositions which are inspired by the fire of genius.
J. M. Stone, who is one of the professors at the Museum of Fine Arts, and a graduate of the Munich schools, indicates considerable force in rendering the figure, both in color and drawing, and a touch of genius in the painting of dogs and horses. His service in the army during the war intensified his interest in equine art, and will probably result in important compositions suggested by that conflict. C. R. Grant has a delicate poetic feeling for color and form, and a pleasant fancy tinged with quaintness; and in his choice of treatment and subject suggests the works of G. H. Boughton. In T. W. Dewing, a pupil of Lefévre, who has recently settled in Boston, we find much promise in figure-painting, but altogether after the clear-cut, well-drawn, but somewhat dry method of Gérôme.
J. Foxcroft Cole, who has been a careful student of the best phases of French landscape art, but has formed, at the same time, a sufficiently individual style of his own, is an artist whose works command a growing esteem. Although adding groups of cattle to his compositions, he is essentially a landscape-painter. We receive from a study of his works an impression of sameness, like that conveyed by the landscapes of Corot, chiefly because they are generally on one key, and refer to a class of subjects so quiet and undemonstrative that only he who observes them repeatedly and reflectively discovers that each work is the result of a distinct inspiration, and possesses suggestions and qualities of its own. Exquisite feeling for space and atmosphere, for the peaceful effects of pastoral life, and the more subtle aspects of nature, especially in color, are the characteristics of the style of Mr. Cole.
In reviewing the Boston school, we note in its development much activity and earnestness, too often combined, however, with crudeness; while the foreign influence that is, on the whole, most evident in it is that of the contemporary French school. As Boston is intense rather than broad in its intellectual traits, and is inclined to follow the lead of its own first thinkers and artists, it is the more unfortunate that one influence should predominate, because in such a case the errors as well as the good qualities of a style are liable to receive too much attention; while free growth depends on the catholic eclecticism which supplements the study of nature by culling the good from different schools, and correcting one by comparison with another, thus enabling the artist to arrive at a more just and profound view of a question that proceeds upon irreversible laws. The mind thus educated learns by balancing the merits of different schools, and the results are not so much imitation as assimilation, yielding healthy growth and development.
In New York there seems to be, with no less activity than that of Boston, an art movement which is based on broader grounds, and offers more encouragement for the future of our art. The artists who are the most influential in this advance are more equally divided between the French and the German schools than those of Boston, and indicate more breadth of sympathy and art culture, together with a cosmopolitan love for the good in the art of all schools, which is one of the most encouraging of signs in a dawning intellectual reform. So decided had the tendency toward Munich become soon after 1870, that the colony of American art students in Munich soon grew sufficiently large to establish an art association, having stated days of meeting, at which contributed paintings were exhibited and discussed, and carefully prepared papers on art topics were read. Opinions were exchanged in this manly, earnest, sympathetic manner, and breadth and catholicity were reached in the consideration of the great question in which all were so profoundly interested. Thus were gained many of the influences which are destined to affect American art for ages to come.
The writer regards as among the most improving and delightful evenings he has enjoyed those passed with some of these talented and enthusiastic art students at the table where a number regularly met to dine—at the Max Emanuel café in Munich. Dinner over, huge flagons of beer were placed before each one, and pipes were lit, whose wreaths of upward-curling smoke softened the gleam of the candles, and gave a poetic haze to the dim nooks of the hall that was highly congenial to the hour and the topics discussed. The leonine head of Duveneck, massively set on his broad shoulders, as from time to time behind a cloud of smoke he gave forth an opinion, lent much dignity to the scene; while the grave, thoughtful features of Shirlaw, and the dreamy, contemplative face of Chase, occasionally lit by a flash of impetuous emotion, aided by an eloquent gesture, made the occasion one of great interest. Others there were around the board whose sallies of humor or weighty expressions of opinion made an indelible impression.
Among the resident artists of New York who have recently studied abroad, Louis C. Tiffany, a follower of the French school, holds a prominent position. He has done some very clever things in landscape and genre from subjects suggested by his trip to the East, and has succeeded equally in oil and water colors, and is now giving a preference to American subjects, and also turning his attention to the pursuit of decorative art. He is essentially a colorist, to whom the radiant tints of the iris seem like harmoniously chorded strains of music. William Sartain, a pupil of Bonnât and Yvon, has also proved himself an excellent colorist, and shows vigor and truth of drawing both in figure and architectural perspective, as well as pleasing composition in work which he has done abroad.