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EXPOSITION AT VIENNA.
siasm of his love for nature as she moves him, he forgets to detail. The grandest artistic efforts are not the most complex ones, and in the noblest strains of poetry is found a heroic simplicity which dignifies the verse and is more eloquent than volumes of detail. Corot’s individuality and his poetical sympathy with nature arc illustrated by his smallest works, and, although he sometimes falls into a careless treatment and frequent repetition, the same conception of the subtleties of nature’s charms is always prominently displayed in the loving and impulsive manner in which they are rendered.
Nature’s more positive moods are successfully represented by Emile Breton, who chooses the mournful aspect of the landscape, in the autumn or winter, and very sympathetically illustrates it. He exposed an Evening in Winter, with snow- covered earth, and trees, and a chill light, in harmony with the 1 season. Much feeling for like phases of nature, and a strong, free touch, with a well-trained eye for oppositions of tone,—these are his characteristics. Daubigny was represented by but two canvases, neither strong examples of his power. Français was also but feebly seen. A nook in the forest, with impenetrable hedge of foliage, and well-grouped trees, skilfully managed light, and Daphnis and Chloe in mutual embrace in the solitude of the beautiful glen, rather scenic in effect, and a trifle harsh in tone,—this is one of his pictures. The other—a scene in Pompeii, with the laborers among the ruins—is much better felt, and has a delicious glow of light in it. Robinet finds a year’s study in the gravelly bed of a stream, rough bowlders, and a clump of trees. The smallest pebble, and the irregularities of each, are painted with microscopic fidelity, and, though the light is sometimes harsh, the general effect is often good. In several pictures shown, it was wonderful to observe the perfection of texture and minute finish, and withal a very perfect subordination of the detail to the mass. One feels, in the contemplation of these and similar pictures, wonder at the infinite patience, more than admiration for the illustration of any one of the myriad of nature’s expressions.
Of the animal paintings, Troyon’s works were almost the only ones claiming attention, and my admiration for the unequalled power of this master finds satisfaction in none of the