196
EXPOSITION AT VIENNA.
After what has been said on German landscape painting there remains little to remark upon in the Austrian landscapes. In very much the same qualities that Lier differs from the majority of German landscapists, Charlemont holds place apart from his compatriots. The two pictures which oe exposed are delicately gray in tone and show a fine feeling of nature. Somewhat thinly painted, but strong in general effect, they were almost the only noticeable landscapes in the department. Robert Russ, a little more scenic in his manner, showed a series of pictures of merits as widely distinct as the localities that furnished the motives. A windmill in Rotterdam, not remarkable for truth of local color, and the ensemble broken by an injudicious repetition of brilliant lights, was, nevertheless, a relief to look at, attracting from its strong oppositions and vigorous touch. Schindler’s landscapes are the reverse in treatment, being a trifle labored, but well studied and composed with skill. The animal painters are even less numerously represented than the landscapists, and nothing particularly strong or strikingly original was shown in this line. Ottovan Thoren, conceded to be the best artist of this class in Austria, does not seem to be so close a student of animals as his reputation would lead one to imagine. Several of his sheep pictures shown are not disagreeably defective, nor yet strong, and his Goto Attacked by Wolves , has the appearance of being painted faithfully after stuffed models» the animals are perfectly stiff and lifeless, and the wolf lB fairly pinned upon the coiv’s back.
The Hungarian exhibit was in a separate room, and, though small, was representative, and contained some of the nio» boldly original conceptions and most powerfully impressiv e works in the Exposition. The larger part of the paintmg s were conventional in treatment, though the motives were i 11 general drawn from the national customs and history, and th e few grand exceptions to the rule gave a higher tone to tb e whole. It was gratifying to see evidences of national p 11 in the numerous attempts illustrating the peculiar customs the Magyars, and the grand events of their history. T° sure, they were often weak attempts, but the spirit t l1 prompted them was visible in them all. Munkacsy is a tb^ oughly original painter, individual in his motives as m