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COPYRIGHT DEPOSm
PICTURE STUDIES
Studies of one hundred five of the World's
Famous Pictures best adapted for use in the
schools and for schoolroom decoration
BY
ALICE FLORER
Assistant State Superintendent of Nebraska
AND
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University
Chicago and Lincoln
The University Publishing Company
Copyrighted, 1917
hJsio
• Fib
OCT -4 1917
©GI.A473828
CONTENTS
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51.
52.
Age of Innocence, The
Along the Lane Near Laren
Angels' Heads
Angelus, The
Ann Hathaway's Cottage
An Old Monarch
Arrival of the Shepherds, The
Aurora
Avenue, The (Middelharnis)
Baby Stuart
Beethoven, Ludwig Van
Boy and Rabbit, A
Boyhood of Lincoln
Brightness of the Sea
Brittany Sheep
Bryant, William Cullen
By the River
Calling the Ferryman
Can't You Talk
Challenge, The
Cherubs, The
Children of the Shell, The
Christ and the Rich Young
Ruler
Christ in the Temple
Christ at Twelve
Close of Day, The
Close of a Long Day
Cove in the Woodland, A
Dance of the Nymphs
Day's Decline
Distinguished Member of the
Humane Society, A
Doctor, The
Emerson, Ralph Waldo
Family Cares
Feeding Her Birds
Fields at Midday
First Step, The
Gathering Storm, The
Girl with the Apple, The
Gleaners, The
Good Shepherd, The
Good Shepherd, The
Halt at the Oasis, A
Helping Hand, A
Holmes, Oliver Wendell
Horse Fair, The
Horse Shoer, The
Hosea
Infant Samuel, The
Joan of Arc
Knitting Shepherdess, The
Lake, The
Sir Joshua Reynolds
Anton Mauve
Sir Joshua Reynolds
Jean Francois Millet
Wilfred Ball
Rosa Bonheur
Henri Lerolle
Guido Reni
Minderhout Hobbema
Antoine Van Dyck
Sir Henry Raeburn
Eastman Johnson
M. Kurzwelly
Rosa Bonheur
Henri Lerolle
Daniel Ridgway Knight
G. A. Holmes
Sir Edwin Henry Landseer
Raphael Sanzio
Bartolome Esteban Murillo
Heinrich Hofmann
Heinrich Hofmann
Heinrich Hofmann
Emile Louis Adan
J. M. Ortner
Eugene Loues Charpentier
Jean Baptiste Camille Corot
Anton Mauve
Sir Edwin Henry Landseer
Sir Luke Fildes
E. C. Barnes
Jean Francois Millet
Heinrich Schmidt
Jean Baptiste Camille Corot
Herman Rudisuhli
Jean Baptiste Greuze
Jean Francois Millet
Bernhard Plockhorst
Bartolome Esteban Murillo
Adolph Schreyer
Emile Renouf
Rosa Bonheur
Sir Edwin Henry Landseer
John Singer Sargent
Sir Joshua Reynolds
Bastien LePage
Jean Francois Millet
Jean Baptiste Camille Corot
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104.
105.
Last Supper, The Leonardo Da Vinci
Leaving the Hills Joseph Farquharson
Lincoln, Abraham
Little Children of the Sea
Little Fishers
Longfellow, Henry Wadsworth
Lost Sheep, The Alfred U. Soord
Lowell, James Russell
Madam LeBrun and Daughter Madam LeBrun
Joseph Israels
Bernardus Johannes Blommers
Madonna
Madonna and Child
Madonna and Child
Madonna Di San Sisto
Madonna Delia Sedia
Monarch of the Glen, The
Morning
Mountain Pasture, The
Mozart, Wolfgang
Noble Charger, A
Pharaoh's Horses
Pilgrim Exiles
Pilgrims Going to Church
Priscilla and John Alden
Queen Louise
Reading from Homer
Return to the Farm
Road Thru the Woods
St. Anthony and the Christ
Child
St. Cecilia
Saved
Shakespeare, William
Shepherd Boy, The
Shepherd and His Flock
Shepherdess and Sheep
Sir Galahad
Song of the Lark, The
Sower, The
Spirit of '76
Spring
Stratford-On-Avon
Suffer Little Children to Come
Unto Me
Sunbeams
Tennyson, Alfred
Thoroughbreds
Three Members of a Temper-
ance Society
Victor of the Glen, The
Washington Crossing the
Delaware
Washington, George
Washington, Martha
Webster, Daniel
Whittier, John Greenleaf
Wilson, Woodrow
Windmill, The
Cuno Von Bodenhausen
Antonio Allegri Da Correggio
Robert Ferruzzi
Raphael Sanzio
Raphael Sanzio
Sir Edwin Henry Landseer
Jules Dupre
Bahieu
Rosa Bonheur
John Frederick Herring
George H. Boughton
George H. Boughton
Alfred Fredericks
Gustav Richter
Laurenz Alma-Tadema
Constant Troyon
Joseph Farquharson
Bartolome Esteban Murillo
Naujok
Sir Edwin Henry Landseer
Jean Francois Millet
The Rosa Bonheur
Henri Lerolle
George Frederick Watts
Jules Breton
Jean Francois Millet
Archibald M. Willard
Jean Baptiste Camille Corot
Bernhard Plockhorst
M. Kurzwelly
Heywood Hardy
John Frederick Herring
Sir Edwin Henry Landseer
Emanuel Leutze
Gilbert Stuart
Gilbert Stuart
Jacob Van Ruysdael
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE AGE OF INNOCENCE
SIR JOSHUA REYNOLDS
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
SIR JOSHUA REYNOLDS
Sir Joshua Reynolds, (1723-1792) was born in the
beautiful county of Devonshire, England. His father
was a clergyman and his mother was the daughter of a
clergyman. When Sir Joshua was yet a child, his parents
decided that he should be educated for a druggist.
One Sunday, as he sat in church he sketched a picture
of the minister on his thumb nail and afterwards trans-
ferred it in oil to canvas. This convinced his hitherto
reluctant father that he should give his consent to the
boy to enter into his chosen field, and he reluctantly
apprenticed the boy to Hudson, a great London painter.
The boy was apprenticed for four years, but at the end of
two years he returned to his native home, Plympton,
England. It was said that Hudson realized the ability
of Reynolds and, because of fear in having a rival in Rey-
nolds, discharged him.
Reynolds traveled abroad extensively but the place
where he found most joy and satisfaction was in Italy
with the great masters in art. In Venice he conceived
his ideal in coloring, but not his method. This great
artist was said to be one of the seven greatest colorists
of all time, yet he won this distinction by hard work.
After three years of travel, observation, study and toil
in Italy he returned to London, determined to "survive
or perish" in his art. During his second year he had
a hundred twenty dukes, duchesses, members of parlia-
ment, and society beauties sit for him. In one year he
had a hundred fifty sit for him, among them the Prince
of Wales, afterwards George III.
THE AGE OF INNOCENCE
The joy of being called "father" was not the good
fortune of Sir Joshua Reynolds, but he loved children
dearly. He invited them to his studio, played with them
in their plays and spent many happy hours with them.
Reynolds never painted the picture of a child until he
had won its confidence, until he was sure it trusted him.
Then he could get its natural childish expressions.
This child was "Offy" his niece who sat for so many
of his pictures. What an attractive background Reynolds
has given us for this, the most beautiful of all his child
pictures.
The child seems to be interested in something as she
folds her dimpled hands against her breast while her little
pink toes are just creeping from beneath her skirts. Does
her face not reveal the fact that she is happy? She is
probably just resting from a romp with her great, true
friend, and he no doubt is talking to her and while she
turns her head to listen he is sketching her.
Altho this little girl lived nearly two hundred years
ago does she not remind you of your baby sister at home,
or of some other little girl whom you know? Her hair is
dressed much the same and her face is just as thoughtful.
She must be sitting on the ground under some friendly
trees. The sky, so full of vaporlike clouds, indicates
peace and quiet. This is said to be the most perfect
child picture ever painted by any artist.
EXERCISES
1. What kind of pictures did Reynolds paint?
2. How can you account for his ability to paint children's pictures?
3. Who were his studies?
4. What do you think are the chief characteristics of the child
portrayed in "The Age of Innocence"?
5. Why does the picture appeal to all classes of people?
So I will say that I believe there are two virtues much
needed in modern life, if it is ever to become sweet; and
I am quite sure that they are absolutely necessary in the
sowing the seed of an art which is to be made by the people
and for the people, as a happiness to the maker and the user.
These virtues are honesty, and simplicity of life.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
ALONG THE LANE NEAR LAREN
ANTON MAUVE
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
ANTON MAUVE
Anton Mauve (1838-1888) was born at Zaandam,
Holland. He ranks among the most famous of Dutch
painters of the modern school. He gave all of his atten-
tion to painting peasants and landscapes of Holland.
Strange as it may seem, he had appreciation in England
and America before his countrymen recognized his wonder-
ful genius. He won medals in Philadelphia, Antwerp,
Vienna and Paris. The largest collections of his pictures
are found in America, especially in private collections in
Saint Louis. It has been said that no other painter has
so faithfully caught the spirit of Dutch scenery.
ALONG THE LANE NEAR LAREN
The refined sunset scenes, the flocks of sheep, and the
hazy atmosphere of Mauve's pictures make us easily
recognize them as works of this artist. He saw the poetic
side of labor, just as Millet saw the dramatic side of the
toiler's life. Mauve is to Holland what Millet is to
France.
This picture presents a typical landscape in Holland.
Across the stretch of flat country, windmills are seen far
in the distance. A shepherd leads a flock of sheep along
a road in the direction of a great copse that appears
almost black against the unclouded sky. On either side
of the road is green pasture land. Some of the sheep
have strayed from the flock to nibble the grass.
Mauve has painted many beautiful sheep and other
animal pictures, which are thoroly realistic and simple.
This beautiful painting is one of his very best. Notice
the birch trees in the distance so graceful and inviting
especially on a summer day. The sheep are wending
their way homeward down the lane and past the birch
trees, where they will rest. In the morning they go forth
to seek pasture and in the evening they return weary with
the day's task. The shepherd's life is just as uneventful
He loves his sheep and does not weary of his daily toil.
Over the whole scene, the artist seems to have spread a
hazy, transparent-like veil, giving rare beauty and charm
to the picture.
This picture offers an example of simplicity and of the
artist's power to suggest much thru broad painting.
The picture has no object in the immediate foreground,
the objects of chief interest being placed in the middle
ground and in the background. The monotony of the
level landscape is broken by the shapely trunks of six
small trees resembling birches, and by the heavy copse.
Contrast is secured by painting deep "patches" of shadow
here and there across the greensward. Aside from the
presence of the shepherd and his flock, Mauve imparts
the human touch by the roadway with the deep prints of
travel. Hence the words of the title, "Near Laren,"
Laren being a small village in Holland.
EXERCISES
1. Sketch briefly the life of Anton Mauve.
2. In what respect may we compare Mauve and Millet?
3. How did Mauve portray labor?
4. Describe this picture.
5. What shows the author's simplicity of arrangement?
6. Describe the setting of this picture.
7. What in this picture pleases you most?
The most important part of painting is to know what
is most beautiful in nature, and most proper for that art;
that which is the most beautiful is the most noble subject.
— Dryden
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ANGELS' HEADS
SIR JOSHUA REYNOLDS
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. Th^> University Publishing Company
SIR JOSHUA REYNOLDS
Sir Joshua Reynolds, (1723-1792) was born in the
beautiful county of Devonshire, England. His father
was a clergyman and his mother was the daughter of a
clergyman. When Sir Joshua was yet a child, his parents
decided that he should be educated for a druggist.
One Sunday, as he sat in church, he sketched a picture
of the minister on his thumb nail and afterwards trans-
ferred it in oil to canvas. This convinced his hitherto
reluctant father that he should give his consent to the
boy to enter his chosen field, and he reluctantly appren-
ticed the boy to Hudson, a great London painter. The boy
was apprenticed for four years, but at the end of two years
he returned to his native home, Plympton, England.
It is said that Hudson realized the ability of Reynolds
and, because of fear in having a rival in Reynolds, dis-
charged him.
Reynolds traveled abroad extensively but the place
where he found most joy and satisfaction was in Italy with
the great masters in art. In Venice he conceived his
ideal in coloring, but not his method. This great artist
was said to be one of the seven great colorists of all time,
yet he won this distinction only by hard work.
After three years of travel, observation, study and toil
in Italy he returned to London, determined to "survive
or perish" in his art. During his second year he had a
hundred twenty dukes, duchesses, members of parliament,
and society beauties sit for him. In one year he had a
hundred fifty sit for him, among them the Prince of Wales,
afterwards George III.
ANGELS' HEADS
Sir Joshua Reynolds knew the secret of bringing out
childish expression because he naturally loved children.
What could be more angelic than the face of a little child?
How that face changes with the various moods into which
it falls as a result of its environment.
Jesus referred to children as reflections of the angels of
Heaven. This may be the reason, why Reynolds repre-
sented little Frances Gordon as an angel. She was a
frequent visitor at his studio and when her parents asked
him to paint her picture he surprised and pleased them
by painting these five views in as many positions, repre-
senting angels. He represented Frances as looking right
at him, as discovering some strange new object, as puzzled
about something she could not understand, and twice as
happily, cheerily singing. Each face was painted when
Frances least expected it and thus represents all the
sweet, innocent childish spirit in the most natural setting.
How proud little Frances Gordon's parents must have
been to have this great artist represent her true to their
own interpretation of her sweet childish face. Ten years
after this picture was painted (1831) Frances died and her
mother gave the picture to the English National Gallery.
Other pictures by this artist are: Simplicity; Strawberry
Girl; Master Bunburg; Age of Innocence.
EXERCISES
1. Sketch briefly the life of Joshua Reynolds.
2. Why was he particularly strong in painting child pictures?
3. Who was Frances Gordon?
4. How did he come to paint her picture?
5. Describe each childish mood as you feel it is depicted by
Reynolds in these faces. Which one is happy, which thought-
ful, which surprised, which puzzled?
6. What are some of his other pictures?
7. What do you like best about these "Angels' Heads"?
None more admires, the painters magic skill
Who shows me that which I shall never see.
— Cowper
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE ANGELUS
JEAN FRANCOIS MILLET
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the "peasant painter of France." As a boy,
he lived a rugged out-of-door life, helping his father in
the fields. When he could no longer repress his desire
to become an artist he went away to study. When he
returned, he was a great painter, but still remained a
true peasant at heart. He set up his home and studio
in the village of Barbizon, not far from Paris. Here lived
the peasants who plowed, sowed, cultivated, and reaped
and Millet delighted to wander out and sketch them at
their labor or converse with the woodcutters, the char-
coal burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon, he
was at least able to gain some food for his little ones from
his garden, and he could have near him his brother
artists Dupre, Rousseau, Corot and Barye, who appre-
ciated his efforts and to whom his artistic message was
not spoken in vain.
Here he studied and painted the peasant life. Into
his pictures he put not only the things he saw around him
every day, but also many things he remembered since the
days of his youth. His paintings had an inner meaning
that could be brought out by none but the one who has
lived the life.
Millet was so full of sympathy with human life, that
in his first pictures very little attention was given to the
landscape; but later he was educated to the fact that
there is a good bond between man and nature, and that
a picture to be a true interpretation must harmonize the
one with the other. In all of his later pictures, therefore,
the landscape and the figures seem to be in perfect har-
mony.
Millet has been able to show us in his pictures very
nearly what time of day it is. In the "Sower" we have
the evening twilight; in "The Gleaners," the burning
noonday; in "The Angelus" the glow of the setting sun;
in "Woman Sewing," the glimmering lamplight. The
figures in his pictures are neither artistic nor graceful,
but they show great expression and goodness of char-
acter and look as if they were really a part of their sur-
roundings. This was the life of which, in the fullness
of his heart, he said: "The peasant subjects suit my
temperament best, for I must confess that the human
side of life is what touches me most."
He died without having been appreciated. He planted
artistic seed for others to reap a harvest. He was the
sower; we are the gleaners. We have lived to see three
nations striving in friendly rivalry to secure his master-
pieces.
THE ANGELUS
In this picture the early twilight of an autumn day
has overtaken two peasants at the close of a hard day's
work in the field. They are digging potatoes. The field
is a long way from the village, but in the still night air,
sounds are carried far across the plain. Suddenly the
bell of the village peals forth. The man stops digging
and plunges his fork into the earth and the woman hastily
rises from her stooping posture. The Angelus bell is
ringing and it calls them to prayer. Three times each
day, at sunrise, at midday, and at sunset, this bell reminds
the world of the birth of Christ. The atmosphere of
prayer pervades the picture. The woman stands with
bowed head and 'hands clasped over her breast. Her
husband has bared his head and holds his hat before him.
We often see pictures of real life in which labor is
lightened by love, but here we see labor glorified by rever-
ence and devotion.
The clumsy shoes, the coarse, home-made garments
of both the man and the woman, the rough brown fields,
and the lowering skies are all things that Millet delighted
in portraying, for it is typical of the life he himself had
lived and loved.
Hard labor is shown in every line of the homely figures.
Devoid of all pleasures, as their lives seem to be, they
are glad for a chance to stand for a short time in the
descending night to offer thanks for hands with which
to labor, and hearts with which to love.
EXERCISES
1. Tell the story of Millet's life.
2. Why was Millet called "The Peasant Painter of France"?
3. What have the persons in the picture been doing?
4. What tells you the kind of persons they are?
5. What is shown of them by what they are now doing?
6. Describe fully the picture.
7. What impression does one get upon first looking at "The
Angelus"?
8. What do you like best about the picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
ANN HATHA WAY'S COTTAGE
WILFRED BALL
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
WILFRED BALL
Wilfred Ball is an English painter known especially for
his fine water colors and etchings. He was educated
in the Grammar School at Hackney, England. He began
his career as a public accountant in London, but was
drawn incidentally into a study of art, a study he pur-
sued with zest at the Heatherley School, London. At
the Paris Exposition in 1900, he was awarded a bronze
medal for his etching. His most popular painting is
that of "Ann Hathaway 's Cottage," done in oil.
ANN HATHAWAY'S COTTAGE
The picture, "Ann Hathaway's Cottage," is of peculiar
historical interest, owing to the fact that Ann Hathaway
was the wife of the great English dramatist, William
Shakespeare. The cottage, which is spoken of in certain
legal papers as a "farm-house," is in Shotterly, a hamlet
of Stratford, and not far from the home of Shakespeare.
This picture is a reproduction of an oil painting by the
artist Ball. It is intended to carry out the idea of the
"farm-house," showing the comfort of a quiet home in
the country. It is not a lonely place, for other cottages
are nearby, and people may be seen upon the well-traveled
public road that leads past the cottage.
The cottage, as the main feature of the picture, first
attracts attention with its queer thatched roof, and the
three large chimneys. We can see the vines, the small
windows with the little panes of glass, the wooden strips
across the plaster of the outside walls, and the odd attic
windows near the eaves. About the cottage we next
observe the grounds containing large oaks and evergreens,
a hedge of shrubbery, a stone wall, a fence, and a wooden
gate.
The light in the picture comes from a direction to
enhance the beauty of the scene. We "enter the picture "
from the right, directly opposite the old-fashioned open
gate to "Ann Hathaway's Cottage." The trees and
shrubbery just coming into leaf, the abundant green grass,
the flowers and the bright blue sky, all suggest a day in
early spring.
EXERCISES
1. What historical interest centers about this picture?
2. Where is this "cottage" located?
3. What is this "cottage" made to represent?
4. Describe the picture.
5. What prevents this from being a lonely scene?
6. What general feeling comes to one as he studies the picture?
7. What do you like best about the scene?
The enemy of art is the enemy of nature. Art is nothing
but the highest sagacity and exertion of human nature;
and what nature will he honor who honors not the human.
— Lavater
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
AN OLD MONARCH
ROSA BONHEUR
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
ROSA BONHEUR
In the quiet old town of Bordeaux, on the west coast
of France, was born, October 22, 1822, one of the world's
most famous artists, Rosa Bonheur. Her father was an
artist. Her mother was a musician. Rosa's waking
hours were spent in playing with the cats and dogs.
She loved every animal that came along, no matter how
wretched it might be.
When her father moved to Paris, little Rosa became
very homesick for the familiar scenes in her quiet old
home in Bordeaux. There was a school for boys nearby,
and the master, seeing the loneliness of the little girl,
asked her father to send her with her brothers to his school.
The boys became very fond of her, for she entered into
their sports as readily and with as much spirit as one of
their own number.
In 1835, Rosa's mother died, leaving the father to care
for four small children. The family now had to be
separated. Juliette, .Rosa's sister, was sent to a friend
of the mother in Bordeaux; the boys to one boarding
school; and Rosa to another. She, at least did not feel
happy with this change. She had always lived a free,
unrestrained life, and to thus be held within the bonds
of school life was too much for the child. She made a
dash for freedom, so transgressing on the rules of the
school that the authorities of the institution gave her
up in despair and she went joyously home to her father.
Rosa's father was so busy with the giving of his lessons
that he had not time to instruct his little daughter. She
was free to amuse herself as she wished, which she did by
drawing and painting. One day, upon returning home
to his studio, he was surprised to find that she had sketched
a very lovely bunch of cherries. After that he took time
to give her lessons, and she progressed so rapidly that she
was soon able to give lessons herself. She was advancing
so well that she took to copying famous masterpieces in
the Louvre, and these copies were so well done that she
received good prices for them in the market places.
In 1847 Rosa Bonheur received her first prize, a gold
medal of the third class, presented in the king's name.
One of her best works, "Oxen Plowing," was painted
for the Salon exhibit of 1849. Rosa's father was gradual-
ly failing in health at this time, but when this picture was
finished, he rallied sufficiently to go out and see it. A
few days later he died, satisfied that his daughter had
more than fulfilled the dreams of success that he had at
one time hoped himself to achieve.
After her return to Paris, she withdrew to the village
of By, in the very heart of the grand old forest of Fontaine-
bleau. Here at By, Rosa purchased a rambling old house
where she kept a menagerie consisting of birds of all
kinds, and animals, both wild and domestic. Here she
lived the life of a peasant, rising early, and retiring at the
setting of the sun, eating the simplest of food and painting
to her hearts content.
AN OLD MONARCH
This picture is one of the artist's best pictures of wild
animal life. The details of the picture are worked out
with the utmost care. Notice the finely set eyes, the
ferocious mouth and nose, the shaggy mane telling of
strength, and the general air of alertness and superiority.
The lion is familiarly known as the king of beasts, and the
artist has here represented him as worthy of the title.
EXERCISES
1. What appeals to you most in this picture?
2. Does it seem strange to you that a woman should delight in
painting ferocious animals? Why?
3. What type of woman was this artist? Tell all you can of her
life.
4. Tell the story of Rosa Bonheur and of this picture as it appeals
to you.
5. Name other pictures painted by Rosa Bonheur.
There's no way of getting good Art, I repeat, but one
— at once the simplest and most difficult — namely, to
enjoy it. Examine the history of nations, and you will
find this great fact clear and unmistakable on the front
of it — that good Art has only been produced by nations
who rejoiced in it; fed themselves with it, as if it were
bread; basked in it, as if it were sunshine; shouted at
the sight of it; danced with the delight of it; quarreled
for it; fought for it; starved for it; did, in fact, precisely
the opposite with it of what we want to do with it —
they made it to keep, and we to sell.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE ARRIVAL OF THE SHEPHERDS
HENRI LEROLLE
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HENRI LEROLLE
Very little can be learned of the life of this painter
who is a modern French artist, born in Paris.
His works are mostly those of nature, and all his works
show the influence of other painters of that same period.
He paints landscapes, interiors of buildings, and of late,
scenes from peasant life. His pictures, altho not con-
sidered extraordinary, are pleasing to the eye. Lerolle
has many admirers in America. His figures in outdoor
scenes are placed in a clear, luminous atmosphere, filled
with reflected light.
Lerolle had a fortune of his own and was thus able to
pursue his studies without being hampered by poverty.
Lerolle's best known paintings are: By the River;
The Nativity; The Shepherdess; The Arrival of the
Shepherds.
THE ARRIVAL OF THE SHEPHERDS
And there were in the same country Shepherds abiding
in the field, keeping watch over their flocks by night.
And lo, the angel of the Lord came upon them and the
glory of the Lord shone round about them : and they were
sore afraid. And the Angel said unto them, "Fear not,
for behold I bring you good tidings of great joy, which
shall be to all people.
For unto you is born this day, in the city of David,
a Saviour which is Christ the Lord, And this shall be a
sign unto you; ye shall find the babe wrapped in swad-
dling clothes, lying in a manger; and suddenly there was
with the Angel a multitude of the heavenly host praising
God and saying "Glory to God in the highest, and on
earth peace, good will toward men." — Luke 2, 8-14.
Thus we read the story of the birth of Jesus of Naza-
reth in the humble stall of Bethlehem. It is very sweet
and tender and impresses the lowly circumstances of
the birth of Him who was to become the Prince of Peace.
The shepherds saw this star and the angel told them
where to find the Child. Then the shepherds wrapped
their cloaks about them and hastened to Bethlehem.
This picture represents their arrival. It also reminds
us of the sacred season of Christmas, the time of giving
to one another in commemoration of the greatest Gift
in the world. It is a season of promise because of the
wonderful blessing showered upon us in this glorious
country of ours.
EXERCISES
1. Of what nationality is Lerolle?
2. Of what do most of his works consist?
3. Which is the principal group in this picture?
4. What feeling is expressed by that group?
5. What is the center of interest in the picture?
6. Where is the strong light? Why?
7. What seems to be the attitude of the Shepherds?
8. Why do they not draw near to the Christ Child?
9. Why is the donkey in the picture?
10. What other interesting details are given?
11. What do you like best in the picture?
All nature is but art unknown to thee;
All chance, direction which thou can'st not see
All discord harmony not understood;
All partial evil, universal good;
And spirit of pride in erring Reasons spite
One truth is clear, whate'er is is right I admire.
— Pope
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
AURORA
GUIDO RENI
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GUIDO RENI
Guido Reni was born at Bologna, November 4, 1575,
and died there August 18, 1642. He was a son of Daniele
Reni, a musician. His first studies were taken under
Denys Calvaert, and he afterwards studied under Carracci.
For a time he was the favorite pupil of Lodovico by whom
he was dismissed because of jealousy. After painting
for a time in Bologna, he, with his fellow pupil Fran-
cesco Albani, went to Rome. There Cardinal Borghese
gave Guido an order for "The Crucifixion of St. Peter"
on condition that it should be done "after the manner of
Caravaggio," leading Bolognese painter of the day. After
twenty years in Rome, he returned to Bologna. Later
he was induced to open his study in Rome. There
he painted the famous "Aurora."
Among his many other famous paintings are: Christ
on the Cross; Sampson Victorious; Death of Cleopatra;
Rebecca at the Well; Atalanta's Race; David and
Goliath.
AURORA
In this picture, the sun is represented by Helios who
sits in his golden chariot. Each day he drives his pranc-
ing steeds across the heavens and back again to his palace.
There is strength in his determined features and in that
firm hand which directs with such perfect ease, the path
of these dancing, prancing horses. Just above and in
front of him is Cupid, or the morning star, who goes
forth to herald his approach. Around Helios' chariot
we can see several beautiful figures draped in graceful
robes. These are the hours. They follow him all day
long stepping so lightly that their feet scarcely touch the
clouds. Their faces show that it is with a spirit of joy
and delight that they accompany him who seems so
grand and glorious in their midst. Notice that the hours
in the foreground are the happiest of all. They
are the morning hours, probably, and are just starting
out fresh rested for the day's journey. Those in the
background are the afternoon hours. One looks back at
Helios as if to remind him that she is weary.
But of all the Gods and Goddesses in our Fairyland,
none are so much loved as the beautiful Aurora. See
her as she goes forward clad in soft draperies. It is her
duty to rouse the sleeping world. She glides out of her
palace, wakens the God of Day, and then goes on to the
palace of the sleeping hours. The steeds come forth, and
harnessed to the golden chariot by the hours, away they
go on their journey. As if by magic the birds waken,
the eastern sky lights up, the dew laden flowers and plants
lift their heads, and the morning breezes begin to blow.
When Helios and his mysterious company return to
their palaces the light of day goes out and night settles
over all.
Cardinal Seipio Borghese commissioned Guido Reni
to decorate the garden pavilion of his palace on the site
of the Baths of Constantine. This pavilion is located at
the end of a beautiful garden planted with magnolias,
and consists of three halls on the ground or first floor.
This picture is painted upon the ceiling of the central
hall. A large mirror has been placed below it so that
visitors may see the picture with ease by looking into
the mirror on the floor. The colors are as bright as if
the picture were painted only yesterday.
EXERCISES
1. What does this picture represent?
2. Who is the sun-god? What indicates that he is strong and
firm?
3. What does Cupid do?
4. Describe the hours. What do they do? Which hours are
happy? Which are weary? Why?
5. Who is the fairest Goddess of our Fairyland?
6. Tell what changes take place as she makes her journey.
7. Where does this company go when we have night?
8. Who painted this picture? Where is it?
9. What do you like best about the picture?
From the mingled strength of shade and light
A new creation rises to my sight.
Such heav'nly figures from his pencil flow
So warm with light his blended colors glow
The glowing portraits, fresh from life, they bring
Home to our hearts the truth from which they spring.
— Byron
PICTURE STUDIES
ALICE FLORER .
Assistant State Superintendent. Lincoln, Nebraska
THE AVENUE (MIDDELHARNIS)
MINDERHOUT HOBBEMA
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MINDERHOUT HOBBEMA
Minderhout Hobbema belongs to the Dutch school of
art. He was born in 1638 at Amsterdam, where he spent
his entire life.
He was unimaginative. He had few of the dreams
and inspirations which most artists have. He was very
practical and invariably painted just what lay before him.
He did not paint a great many pictures, his earliest one
bearing the date of 1650, while his last but one is dated
1670. His last picture was "The Avenue of Middel-
harnis," which was made in 1689.
Hobbema's master, Jacob van Ruysdael, was one of
the most noted of Dutch painters. While Hobbema cer-
tainly displayed less poetic feeling and genius than did
his master, yet it is thought that his effects were truer
and his colors more brilliant.
Hobbema's art was decidedly neglected in his own
country, so nearly all of his works have been carried to
England where they have found their way into private
collections. Some of them have been brought to America.
Hobbema died at Amsterdam on December 14, 1709.
His noted paintings are: Avenue of Middelharnis; The
Water Mill; Wooded Landscape; The Wooded Road;
Showery Weather.
THE AVENUE OF MIDDELHARNIS
This picture is considered Hobbema's masterpiece.
Undoubtedly the chief attraction is the avenue at the
center of the picture. We see two rows of tall, peculiarly
shaped trees, which are very straight and well-trimmed,
having only a small tuft of leafy branches at the top.
They skirt the sides of a rather rutted road, and seem to
rear themselves almost to the sky. As we follow their
great length, we are attracted to the dull, leaden, but
nevertheless beautiful, sky. The very shape and color
of the clouds lend a touch of grandeur to the scene.
As we look down the avenue, we can distinguish several
figures. The foremost are a man and his dog, while
further in the distance we see three other figures. This
causes us to think that the avenue may be a thorofare
leading from the village in the back of the picture.
Studying the painting more closely, we see a collection
of low houses, almost overshadowed by a towering castle
in the foreground, overlooking the open country to the
left. These comprise the village. On the right side of
the picture, detached from the others, we notice a low
thatched cottage, in front of which stand two figures.
We also see a well-kept garden of small trees which
are trimmed in a manner similar to those of the avenue.
A small canal is seen in the foreground.
This picture now hangs in the National Gallery,
London.
EXERCISES
1. Of what nationality was Hobbema?
2. Name some of the characteristics which distinguished him
from other artists. Under whom did he study?
3. How long a time was it between the last two pictures he
painted?
4. How was his art treated in Holland?
5. Where were his paintings received?
6. What can you say about the popularity of this picture?
7. What attracts your attention first on looking at this painting?
8. Describe the trees; the road; the sky.
9. Compare the trees of the avenue with those on each side.
10. How many persons do you see? Tell what each is doing.
11. In what country do you think this is? Why?
12. Describe the picture as it now appears to you.
13. Why do you think so many persons have liked this picture?
The one thing that marks the true artist is a clear
perception, and a firm, bold hand, in distinction from that
imperfect mental vision and uncertain touch which gives
us the feeble pictures and the lumpy statues of the mere
artisans on canvas or in stone.
Oliver Wendell Holmes
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
BABY STUART
ANTOINE VAN DYCK
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ANTOINE VAN DYCK
Antoine Van Dyck, the celebrated Flemish artist, was
born in Antwerp, in 1599. His father was a merchant,
and his mother, who died when her son was only eight
years old, was noted for her beautiful embroidery. The
son early showed a remarkable talent for art. At fifteen
years of age he entered the studio of the great Rubens.
Here he made rapid progress, and had the honor of being
admitted to the "Guild of Painters" in Antwerp when he
was only nineteen years of age.
It was in England that Van Dyck had his greatest
successes. Many of his masterpieces are owned there
today. Van Dyck was considered the most brilliant of
all of Rubens' pupils. So thoroly has Van Dyck acquired
Rubens' touch of the brush, that it is frequently diffi-
cult to decide whether certain pictures produced in these
years are the work of the master or of the pupil. It
has been said that Rubens became very jealous of Van
Dyck's ability; but when they finally parted, they were
the best of friends.
The last nine years of Van Dyck's life were passed in
England, where the family of Charles I and the brilliant
group of persons forming his court, were the subjects of
a final series of portraits. In fact, the men in Van Dyck's
pictures are all noblemen, the women all great ladies,
and the children, all princes and princesses.
BABY STUART
This famous painting of "Baby Stuart" is taken from
a group picture of the children of Charles I, King of
England. Baby Stuart's name, at the time of the
painting of the picture, was James, Duke of York. On
the death of his brother, Charles II, in 1685, he became
King of England.
What a dear little fellow he is! See his big round
eyes, his soft red lips, and plump rosy cheeks and neck.
He looks at something away off that seems to be very
interesting to him.
What rich beautiful clothes he has! They are surely
suited to the baby of a king and queen. The dress is
of lovely soft silk, the cuffs of lace, rich and rare, and a
dainty cap covers his round little head.
Altho Baby Stuart looks so sweet and innocent in his
baby picture, he was a bad king, so that in three years
he had to give up his crown, and flee to France.
EXERCISES
1. When and where was Van Dyck born?
2. When and under whom did he begin his study of art?
3. What honor was bestowed upon him at an early age?
4. Of what class of people did the artist paint portraits?
5. In what country did he achieve the greatest success?
6. Tell of the relations between Rubens and Van Dyck?
7. Who was "Baby Stuart" at the time this portrait was painted?
8. What kind of a king was "Baby Stuart"? What finally
became of him?
9. Describe the baby's face. His dress.
10. How old do you think he is?
11. Tell about any babies you know about the same' age.
X2. Why do you think this picture is so well liked?
We're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times, nor cared to see;
And so they are better, painted — better to us,
Which is the same thing.
— Robert Browning
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
LUDWIG VAN BEETHOVEN
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LUDWIG VAN BEETHOVEN
Ludwig van Beethoven, the great German musical
composer, was born at Bonn in December of 1770. In
early days, his people lived near Louvain, Belgium. His
father was a musician and singer, and his mother was
Magdalena Laym. Both father and mother were un-
distinguished. The father had shiftless habits that later
assumed forms of viciousness. Into this home of poverty
young Beethoven was born.
The father early discovering that his son had wonderful
talent, and deciding to make the most of it, set the boy
to hard musical study, especially the violin, before young
Beethoven was five years old. The boy made such won-
derful progress that, at the age of nine, his father could
no longer teach him. The boy was not allowed much
formal schooling outside of music, and because of this
fact it has been a matter wondered at that the musician
developed such breadth and depth in his intellectual
and moral life.
But Beethoven was an indomitable worker and con-
sequently announced to the world his motto, "Give only
your best." It was said that Beethoven could never
understand why any one should do anything that did
not represent the man at his best. The boy had many
trials as his talent developed, but his most sorrowful
disappointment was that of deafness, which was largely
due to improper treatment and lack of care when he was
young. He was able to go on with his work as a com-
poser, but he missed the conversation of friends, nor
could he have the pleasure of hearing his own wonderful
compositions performed. His father died, and Beethoven
assumed the care of the family, at all times showing the
tenderest devotion toward his mother.
Beethoven had a loving disposition, and a most affec-
tionate nature which had been starved when he was
young. He sympathized with all men, and encouraged
them. His mind entitles him to rank among the greatest
geniuses that have ever lived. His mental, moral and
intellectual balance is little short of marvelous. He is
called the greatest artist and musician that the world
ever produced. The great composer died March 26,
1827, during a fierce thunderstorm. The final tribute
to him is that he revealed in the highest degree the
truthfulness and self-control of a noble soul. His great
compositions are ranked as unsurpassable and some-
what unique in the realm of art.
The idea of the portrait by Vogel, the German por-
trait painter, is to express the sensitive nature, the great
intellect, the patient suffering, and the mighty will power
of the great soul Beethoven who triumphed in his attempt
to make the most of his talent in spite of fearful physical
handicaps.
EXERCISES
1. Where and when was Beethoven born?
2. What had he to overcome?
3. At what age did he begin his study of music?
4. Why had he probably so little formal schooling?
5. What was his standard of work?
6. What was his greatest handicap?
7. What shows that he was a dutiful son?
8. Describe his nature and disposition.
9. What was his rank as composer and artist?
10. What does the picture seem to convey ,to the beholder?
11. What to you is the lesson of Beethoven's life?
The highest problem of every art is, by means of appear-
ances, to produce the illusion of a loftier reality.
. — Goethe
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
A BOY AND RABBIT
SIR HENRY RAEBURN
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SIR HENRY RAEBURN
Henry Raeburn was born March 4, 1756, at Stock-
bridge, Edinburgh, in Scotland. His parents died soon
after his birth and he was left in the care of an elder
brother, who sent the lad to Heriot's Hospital where he
received the fundamentals of a good education. It be-
came necessary, however, for him to leave school at
the age of fifteen, when he was apprenticed to a gold-
smith. During his spare moments, he studied and
painted. At first he attempted only miniatures, but later
began to work in oil. At the age of twenty he was re-
ceiving so many orders for portraits that he quit his
apprenticeship to give all his time to painting. Two
years later, he married a wealthy widow with two daugh-
ters. It was the son of one of his step-daughters who
is represented in "A Boy and Rabbit."
At the age of twenty-nine, Raeburn had so increased
in his power and ambition as a portrait painter, that he
decided to go to Rome. On his way he stopped at the
studio of Sir Joshua Reynolds, who did much to encourage
him. Raeburn remained in Rome for two years, where
he studied the works of the old masters. Upon his
return to Edinburgh, he opened a studio of his own. In
1808, a mercantile firm in which he had an interest,
failed, leaving the artist entirely bankrupt. He then
decided to move to London where he might regain his
fortune. Jealous portrait-painters, fearing Raeburn's
rivalry, advised him to return to Edinburgh as a wider
field. The simple, honest man believed this, so he
returned to his home.
Feeling that Raeburn was now safely out of the way,
the Academy bestowed honors upon him. In 1814 he
was made an Associate of the Academy and the following
year, a full member.
His greatest honor, however, was yet to come. In
1822, King George IV, visiting Edinburgh, and charmed,
not only by the painter's art, but by his gentlemanly
bearing and dignity as well, knighted him. The follow-
ing year the king desired a portrait by Raeburn. The
artist, however, had just started it when he was taken
suddenly ill, dying July 8, 1823.
The striking feature of Raeburn's art is that it is all
his own. He copied no one. He followed no set rules.
His supreme gift was that of painting not only material
things, but character.
A BOY AND RABBIT
The sweet, delicate face of the lad in the picture
reflects a gentle spirit within, and we feel no fear that
the rabbit will not be tenderly cared for while he is with
his little master. Even now, the little animal is con-
tentedly munching some greens with which he has been
provided, and nestles calmly within the circle of the
boy's arm.
The youth's quaint dress, the long trousers, white
stockings, frilled waist thrown open to reveal a white
throat, and the hat set so boyishly on the fine head, add
to the charm of a lovely scene. It is a picture that we
like to look at — for it holds so much of all that is delight-
fully childish and innocent — and is so freefrom all worldly
EXERCISES
1. Sketch briefly the life of Raeburn.
2. Where and by whose aid did he receive his first education?
3. Under whom did he study?
4. How long did he remain in Rome?
5. What did he do upon his return?
6. Tell of the influence of his visit to Rome.
7. How did he attempt to regain his wealth?
8. With what opposition was he met?
9. What honors were bestowed on him?
10. Who is the boy in this picture?
11. What is he doing?
12. What is the rabbit doing?
13. Do you think the lad is kind to his pet?
14. Describe the boy's clothing. Is it like that worn today?
15. What do you like best about this picture?
Art is the child of Nature; yes,
Her darling child in whom we trace
The features of the mother's face,
Her aspect and her attitude.
— Longfellow
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
BOYHOOD OF LINCOLN
EASTMAN JOHNSON
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EASTMAN JOHNSON
This artist is one of the modern American painters.
He was born in Lovell, Maine, in 1824. His first work,
begun at an early age, was in black and white. He
painted in Washington and in Boston devoting most
of his time to portraits.
From 1849 to 1856 he studied at Rome, The Hague,
and Dusseldorf. Upon his return he met his first success
after presenting his picture "Old Kentucky Home."
His paintings of New England life have brought him
much popularity and many of his portraits have become
standard portraits. He died in 1906 at his home in
New York City.
BOYHOOD OF LINCOLN
The story of Abraham Lincoln's boyhood, so well
portrayed here, is a familiar one. It is best described
by his step-mother, who was a broad-minded woman,
kind to the sad-faced youth to whom she was known as
"Mother," and whom she helped in every way possible.
She says, "Abe read diligently. He read every book
he could lay his hands on; and when he came across a
passage that struck him, he would write it down on
boards, if he had no paper, and keep it there until he did
get paper. Then he would rewrite it, look at it, repeat it.
He had a copy book, a kind of scrap book in which he
put down all things, and thus preserved them."
Lincoln, himself, declares that all told he had less than
a year of work in the public schools; yet he became the
chief ruler of his nation. His genius developed in this
barren room of a rude cabin with rough, unfinished walls,
uncouth furniture, and light furnished only by the glowing
fireplace.
The list of books available to him as a boy was a short
one: Robinson Crusoe; Aesop's Fables; Pilgrims'
Progress; Weems's Life of Washington; and a His-
tory of the United States. He worked all day splitting
rails or hoeing corn, yet no day's toil was so hard and no
hours too long for him to cause him to deny himself
the pleasure of this peep into a world as yetjanknown to
him.
EXERCISES
1. Sketch briefly the life of Eastman Johnson.
2. What brought him his greatest popularity?
3. Tell something of Abraham Lincoln as a boy.
4. Tell of Lincoln's early home.
5. Describe the room here shown.
6. What is the young Lincoln doing?
7. What time of day is it?
8. From what does he receive his light?
9. What is here shown of Lincoln tells of the kind of man he is
likely to become?
10. What traits of Lincoln's character do you most admire?
We speak of profane arts; but there are none properly
such; every art is holy in itself; it is the son of Eternal
Light.
The study of art possesses the great and peculiar charm,
that it is absolutely unconnected with the struggles and
contests of ordinary life. By private interests, by political
questions, men are deeply divided and set at variance,
but beyond and above all such party strifes they are
attracted and united by a taste of the beautiful in art.
— Guizot
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
BRIGHTNESS OF THE SEA
M. KURZWELLY
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M. KURZWELLY
M. Kurzwelly is a noted landscape painter who now lives
in Berlin. His "Sunbeams" and "Brightness of the Sea"
have attracted very favorable comment. He now spends
his time painting in Berlin.
BRIGHTNESS OF THE SEA
A distinguished painter once said that he could scarcely
hope to sell a landscape that was not one-half water.
"Brightness of the Sea," by Kurzwelly, is a study
that fully satisfies this demand for a picture that is a
combination of land and water.
We shall imagine that it is the beginning of a new day
with its array of silvery splendor. The mellow light of
the sun shining upon the sea thru a rift of cloud, casts soft
reflections upon the trees and heather on the sloping sea-
shore. A group of shadowy trees by contrast render more
conspicuous the objects in the middle ground of the
picture. The sea is gently ruffled by the breeze, and
the waves are rolling about the rocks near the shore.
That the seashore here is a favorite haunt is suggested
from the fact that a well-worn pathway leads thru the
foreground to the sea. The artist wished to suggest that
many other people, doubtless, have been accustomed to
enjoy this lovely landscape with its broad outlook of the
sea. i «■
Why should this picture be called, "Brightness of the
Sea" when more than one-half of the painting is a view
of the land? Here the painter has shown fine skill.
Altho we do not see so much of the ocean, yet the strong
point of light on the surface first attracts our attention.
Then the entire picture, the clouds included, also receives,
light from the reflection of the sunlight on the water.
The foreground to the left is rendered especially pleas-
ing by the broad masses of purplish heather, leading the
beholder immediately to associate the scene with Scot-
land. This picture, justly a favorite, has been designated
as the kind of picture that one cares "to live with."
EXERCISES
1. What tells you the time of day?
2. What tells that the artist has not pictured a lonely spot?
3. Where is probably the scene of the picture?
4. How does the picture get its name, since so much of it is land?
5. Why has this been termed a picture "to live with"?
6. What do you like best about this picture?
7. Account for the popular demand for "water in a landscape."
The appreciation of Art is a rich source of happiness.
— Pres. Chas. W. Eliot
PICTURE^ STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
BRITTANY SHEEP
ROSA BONHEUR
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
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ROSA BONHEUR
In the quiet old town of Bordeaux, on the west coast
of France, was born, October 22, 1822, one of the world's
most famous artists, Rosa Bonheur. Her father was
an artist. Her mother was a musician. Rosa's waking
hours were spent in playing with the cats and dogs. She
loved every animal that came along, no matter how
wretched it might be.
When her father moved to Paris, little Rosa became
very homesick for the familiar scenes in her quiet old
home in Bordeaux. There was a school for boys near-by,
and the master, seeing the loneliness of the little girl,
asked her father to send her with her brothers to his
school. The boys became very fond of her, for she entered
into their sports as readily and with as much spirit as one
of their own number.
In 1835, Rosa's mother died, leaving the father to care
for four small children. The family now had to be
separated. Juliette, Rosa's sister, was sent to a friend
of the mother in Bordeaux; the boys to one boarding
school; and Rosa to another. She, at least, did not feel
happy with this change. She had always lived a free,
unrestrained life, and to thus be held within the bonds
of school life was too much for the child. She made a
dash for freedom, so transgressing on the rules of the
school that the authorities of the institution gave her up
in despair and she went joyously home to her father.
Rosa's father was so busy with the giving of his lessons
that he had not time to instruct his little daughter. She
was free to amuse herself as she wished, which she did by
drawing and painting. One day, upon returning home
to his studio, he was surprised to find that she had sketched
a very lovely bunch of cherries. After that he took time to
give her lessons, and she progressed so rapidly that she
was soon able to give lessons herself. She was advanc-
ing so well that she took to copying famous masterpieces
in the Louvre, and these copies were so well done that she
received good prices for them in the market places.
In 1847 Rosa Bonheur received her first prize, a gold
medal of the third class, presented in the king's name.
One of her best works, "Oxen Plowing," was painted
for the Salon exhibit of 1849. Rosa's father was gradual-
ly failing in health at this time, but when this picture
was finished, he rallied sufficiently to go out and see it.
A few days later he died, satisfied that his daughter had
more than fulfilled the dreams of success that he had at
one time hoped himself to achieve.
After her return to Paris, she withdrew to the village
of By, in the very heart of the grand old forest of Fontaine-
bleau. Here at By, Rosa purchased a rambling old house
where she kept a menagerie consisting of birds of all kinds,
and animals, both wild and domestic. Here she lived
the life of a peasant, rising early, and retiring at the set-
ting of the sun, eating the simplest of food and painting
to her heart's content.
BRITTANY SHEEP
Can you think of a more quiet, peaceful scene than
this? How true to life these sheep appear! One can
almost fancy that they are alive. They have probably
been out all morning and are taking a rest, for when the
leader starts all follow. Rosa Bonheur has painted them
in so many positions, each characteristic of sheep we have
seen. With what accuracy has she painted those nearest
us! Nor did she forget the faithful old dog upon whom
the owner of these sheep absolutely depends. The dog
knows well how to take care of them and they are safe in
his care. See how he sits lazily, half asleep; but let a
sound or a footstep of strange animals or persons be
heard and he will be wide-awake and on duty. The entire
scene is one of rest, of peace, of security, a typical pastoral
scene of rare beauty and charm.
EXERCISES
1. Who painted "Brittany Sheep?"
2. Tell something of the life of the artist.
3. Who guards these sheep? Do you think he can be trusted?
4. Describe the picture.
5. What in the picture is the center of our attention?
6. What tells you of the time'of day?
7. What is the mood of the picture?
8. Why do you think the picture is so greatly admired by every-
one?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
WILLIAM CULLEN BRYANT
This series of Picture Studies includes a hundred
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WILLIAM CULLEN BRYANT
William Cullen Bryant was born of Puritan ancestry
in Cummington, Mass., November 3, 1794.
It is said that when he was sixteen months old he knew
his a, b, c's both forwards and backwards. When he
was three years old he started to school and learned to
read well. When he was twelve he showed such marked
ability that his parents decided he should be educated.
He was sent to live with his uncle for the purpose of study-
ing Latin. In eight months he had learned enough Latin
to enter the sophomore class in Williams College. Next
he studied with Rev. Hollock, who bore the record of
being a past master at training young men for college.
When he had been with Rev. Hollock two months he could
read the Greek testament as well as if it had been English.
At a very early age, Bryant began to write poems
that were published in the country papers. Before he
was ten, he had written the book of Job in verse for his
grandfather, who prized it very highly.
At this early age he had decided that he would be a poet
and was most enthusiastic over all poetry he could find.
He was a lover of nature; he admired the beauty of a
winter sunrise from his window, the glories of the autumn,
the spring with its birds and flowers, and even the
approaching storm.
Bryant entered a law office. He neglected his poetry
and applied his energy to his new profession. On one
occasion, his father found Thanatopsis in the drawer
of young Bryant's desk and took it to Boston for publica-
tion. As a result it appeared in the North American
Review, in September, 1817. Some one has said, "There
was no mistaking the quality of the verses. The stamp
of genius was on every line. No such verses had been
made in America before." These verses were written
before Bryant was eighteen years of age, but when they
appeared, his reputation was established.
Bryant became more and more dissatisfied with leading
the life of a lawyer and decided that if it was his lot to
starve he would go to New York and "starve peace-
ably and quietly." There he worked on the Evening
Post for many years, becoming one of the leading journal-
ists of the country.
For more than fifty years, he was actively engaged as
a writer and speaker in the shaping of American ideals.
He died June 12, 1878, mourned by leaders in every land.
This portrait represents Bryant as he was best known.
He was a striking figure with long, white hair, keen eyes,
over-hanging eyebrows, and the general appearance of
a great patriarch who retained the elastic step and fine
spirit of youth.
EXERCISES
1. Sketch briefly the life of Bryant.
2. What signs of greatness did he show in childhood?
3. Tell of his work as a lawyer.
4. What established his reputation as a literary man?
5. In what way was he a leader in American life?
6. Describe Bryant as he was best known.
7. What does this portrait tell of him as man and leader?
This is her picture as she was;
It seems a thing to wonder on,
As though mine image in the glass
Should tarry when myself am gone.
— Rosseter
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
BY THE RIVER
HENRI LEROLLE
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
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HENRI LEROLLE
Very little can be learned of the life of this painter who
is a modern French artist, born in Paris.
His works are mostly those of nature, and all his works
show the influence of other painters of that same period.
He paints landscapes, interiors of buildings, and of late,
scenes from peasant life. His pictures, altho not
considered extraordinary, are pleasing to the eye. Le-
rolle has many admirers in America. His figures in out-
door scenes are placed in a clear, luminous atmosphere
filled with reflected light.
Lerolle had a fortune of his own and was thus able to
pursue his studies without being hampered by poverty.
Lerolle's best known paintings are: By the River; The
Nativity; The Shepherdess; The Arrival of the Shep-
herds.
BY THE RIVER
In "By the River" we see two peasant women return-
ing from their work. We wish the mother with her baby
might stay at home to care for her children. What be-
comes of this baby while its mother is working. We
cannot tell whether she works all day in the fields or in
somebody's home. As she holds the baby to her breast,
we feel that she loves it as dearly as does the mother who
can give all of her time and attention to her children.
This mother looks happy as does the peasant woman at
her side with the sack on her shoulder. This sack may
contain something for the evening meal for when these
peasant women return from the hard day's work, they
must prepare the evening meal.
We imagine that they are glad to be so near the end of
their journey. They are looking forward and may be
enjoying a beautiful sunset or perhaps they are going to
meet some friends whom they are glad to see.
In the background we see a man leading two cows.
The entire scene is quiet and restful; the trees, the river
banks, the river, all harmonize so completely. The lights
and shades of the pictures are so arranged as to produce a
fascinating lighting effect and to make this picture of
real brightness even on a dull day.
EXERCISES
1. Sketch briefly the life of Lerolle.
2. What do you think these women have been doing?
3. Describe the picture.
4. What tells whether these women are coming from, not going
to work?
5. What tells you the time of day?
6. What objects in the picture occupy the center of our attention?
7. What do you like best about the picture?
It is the glory and good of Art
That Art remains the one way possible
Of speaking truth, — to mouths like mine, at least
Immortal art! Where'er the rounded sky
Bends o'er the cradle where thy children lie,
Their home is earth, their herald every tongue.
— Holmes
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska .
CALLING THE FERRYMAN
DANIEL RIDGWAY KNIGHT
This series of Picture Studies includes a hundred
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DANIEL RIDGWAY KNIGHT
This artist was born in Philadelphia, Pennsylvania,
and is still living. He exhibits at Paris Salon, and at
the National Academy Studio at Poissy, France. All
of his works illustrate every-day life and manners. He
was a pupil of the E'cole des Beaux-Arts, Paris, in 1872;
of Gleyre, and of Meissonier in 1876. He painted
The Veteran, 1870; Strolling in the Garden, 1874; Noon-
day Rest, 1884; Chatterboxes, 1887.
CALLING THE FERRYMAN
In this picture we see two peasant maidens probably
of France. How strong and healthy they look! They
seem to be hard-working girls as may be seen by^ their
large, muscular arms and sturdy bodies. That they are
very poor is shown in the patched garments. They are
no doubt happy in spite of poverty for theirs is a free
out-of-door life in the fields where the women work as
well as the men.
The one has her hand raised to her lips as if to make
the sound carry further. The other is beckoning with
the hand. Who is it they are calling? It is the ferry-
man with his boat on the other side of the river. We can
scarcely distinguish him as he stands on the bank amid
the trees and shrubs.
Far in the distance we can see dim outlines of one or two
houses. Perhaps there is a village across the stream and
the girls wish to cross the river in order to get to it.
Altogether this is a very pleasing picture and the longer
we look at it, the more beauty we can find.
EXERCISES
1. Tell something of the life of Knight.
2. Why is the picture called, "Calling the Ferryman"?
3. To what class of people do these girls apparently belong?
How can you tell?
4. What time of year is it? What time of day?
5. Why are the girls carrying baskets?
6. How are they calling the ferryman? Why do you think they
are calling him?
7. Where is the ferryman?
8. Describe the dress of these girls.
9. What do you like best about the picture?
Painting is silent poetry, and poetry is painting with
the gift of speech. — Simonides
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
CANT YOU TALK
G. A. HOLMES
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studies of the world's famous pictures best adapted for
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G. A. HOLMES
Altho Mr. Holmes has painted some most charm-
ing child and animal pictures, we know very little of his
life. He was a very obscure English artist but we do not
know when he lived. He seemed to have a love for
children and animals in happy association. "Can't You
Talk" is one of his best pictures. Another which seems
to appeal to everyone who sees it is the little girl having
two big puppies in a cheese-box while a cat is looking
over her shoulder as if he wishes he might be in the box,
too. The name of this picture is, "Which Do You Like?,"
referring to the two puppies. His main idea seems to
be to express the close bond of sympathy which exists
between child and animal life. In his pictures, children
and animals are companions and seem to understand
each other perfectly.
While Mr. Holmes won no personal fame for himself,
he has certainly left us some very rare examples of the
sympathy and affection children and animals have for
each other.
CANT YOU TALK
What could be more innocent and child-like than the
baby in this picture as he looks up at his companion,
the dog, with such perfect trust. To him, the dog is
human. He talks to the dog and when the dog does
not reply, we think he is asking him the question, "Can't
You Talk," and eagerly awaiting a reply. No doubt
the dog does talk to him and we believe each understands
the language of the other.
The kitten peeping in at the door seems to be listen-
ing too, for he is a friend of the baby and the dog, and is
waiting for his turn; or perhaps he is getting ready to
tease the dog as kitties often do.
Do you have a dog or a cat? Perhaps you have both,
but best of all, perhaps you have a dear little baby brother
or sister, who loves to play with you and your dog and
kitty.
EXERCISES
1. Tell briefly what is known of the life of Holmes.
2. What pictures did he paint?
3. What do you see in the picture, "Can't You Talk"?
4. Why does this baby think the dog can talk?
5. Do you think the dog understands what the baby says?
6. What do you think the kitty is going to do?
7. Do you have a dog? A kitty? A baby brother or sister?
8. Tell some stories about your pets at home.
9. What animals do you like best? Why?
The painter who is content with the praise of the world
in respect to what does not satisfy himself is not an artist,
but an artisan ; for though his reward be only praise, his
pay is that of a mechanic, — for his time, and not for his
art.
— Allston
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE CHALLENGE
SIR EDWIN HENRY LANDSEER
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SIR EDWIN HENRY LANDSEER
Sir Edwin Henry Landseer was born in the outskirts of
London on March 7, 1802. His father, an artist, took
a deep interest in his son's artistic tendencies, which be-
gan to show at a very early age. Some of the lad's
youthful studies are preserved at South Kensington
Museum, London, and, from the notes they bear, indicate
that they were made when the artist was only five or six
years old.
While living in the place of his birth, Landseer spent
many days in the open fields, sketching the sheep, the
cows and the horses.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at
the age of fourteen. At a very early age he had begun to
show a preference for the dog above all other animals, so
at the Academy he was known as "the little dog-boy."
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of Land-
seer's skill, and one of his chief patrons. He became the
Court Artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred the
honor of knighthood upon the artist, and from that time
on he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate in the Academy in 1826. In 1831,
he was elected to full membership, and in 1865 he was
offered the presidency of the Academy, but refused on
account of his failing health. He died October 1, 1873.
THE CHALLENGE
One does not look upon "The Challenge," by Landseer,
the great English painter of animals, without an immediate
realization that it is unusual. The setting of the picture
is quite as interesting as the central figure. The clear
winter sky with its constellations of stars that shine like
points of light, the long range of ice-clad mountains
beyond the stream which constitutes the chief feature
of the middle ground of the picture, the foreground with
two large pine trunks that have probably drifted in by
flood, the black rocks, and the long stretch of snow across
the foreground is in itself a charming picture.
The great stag that forms the chief object of interest
in the foreground stands in a defiant attitude on the bank
of the stream and sounds a challenge to his enemy that
may be seen swimming toward him. We understand
that the inevitable result will be a death struggle. The
figure of the "Challenging" stag stands outlined against
the background like a great silhouette.
This picture reveals Landseer's interest in details. In
the first place, very few artists would attempt to paint
stars and their reflections in the water, much less attempt
the painting of constellations as Landseer has done. An
astronomer might name directions by reading the con-
stellations in this picture. The topography of the nearest
mountain is also carefully indicated. The forest along
the stream with its tree tops frost laden like tufts of
cotton is equally effective. We notice also the shadow
of the deer in the snow, the footmarks, the hair on the
stag, the eye, the muscles and the ribs, for the animal
during the long snowy season has been close pressed for
food.
EXERCISES
1. Tell how Landseer rose to fame as a painter of animals.
2. What honors came to him?
3. Describe the setting of this picture.
4. What tells of the coming death struggle?
5. How has the artist emphasized details in the picture?
6. How does this picture get its name?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE CHERUBS
RAPHAEL SANZIO
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RAPHAEL SANZIO
Raphael Sanzio was born in Urbino, a little city located
among the Apennine Mountains in Italy. His father
was Giovanni Sanzio, a reputable painter and writer.
Urbino contained a ducal palace, where Raphael and his
father were ever welcome visitors. It is thought that
these visits did much in arousing the lad's artistic sense.
Little is known of Raphael's childhood. His mother
died when he was eight years old, and his father married
again shortly. When the little boy was eleven years old
his father also died, leaving him to the care of his step-
mother and an uncle who was a priest, who utterly neg-
lected Raphael. Finally, a brother of Raphael's own
mother came to the rescue and decided that the boy
should be placed in the care of a good painter of Perugia,
Italy. Pietro Perugino was chosen, and for nine years,
Raphael was his devoted pupil. At the end of that time,
when the young painter was only seventeen years old, he
began to paint his own first works in various churches.
In 1504, when he was twenty-one years of age, Raphael
returned to Urbino where he painted a short time. But
he had heard of the wonderful art of Da Vinca and
Michael Angelo at Florence and was desirous of going
there. The Duchess of Sora, who lived in Urbino, had
taken an interest in the young artist and wrote a letter
of introduction to Pietro Soderini, a Gonfaloniere of
Florence, which means that he was the chief officer of
one of the sixteen corporations of art in that city. With
this letter, he went to Florence, where he was received
with open arms by citizens and artists alike.
He remained in Florence four years, where some of
his finest works were produced. We next hear of him in
Perugia, where he engaged upon his first fresco in a
monastery. In the autumn of 1508, Raphael received
the greatest commission of his career, which, in itself,
was work enough to occupy a lifetime. He was sum-
moned to Rome by Pope Julius II, to contribute his share,
in company with many artists, to the decoration of the
Palace of the Vatican. He hastened to obey, and, at
the age of twenty-five set to work upon the labor which
was to occupy him the remainder of his life.
Raphael's reputation as a painter was now fully estab-
lished. Everywhere he was received with honor and
deference. While the work at the Vatican was progress-
ing, Raphael was engaged in various other ways. He
was appointed by the Pope to decorate the interior of
St. Peter's, the Metropolitan church of the Romans.
He was also invested with the power to purchase ancient
statuary of any kind which he might think the city
should possess.
About a year before his death, Raphael painted that
loveliest of Madonna pictures, and probably the most
famous of all his paintings, "The Sistine Madonna."
The following year while working upon his famous canvas,
"The Transfiguration," Raphael became ill and because
of his weakened condition, caused by overwork, died
within a few days. He was born on Good Friday and he
died on Good Friday, just thirty-seven years later.
Raphael's motto was, "We must not represent things
as they are, but as they should be."
CHERUBS
Raphael has given us many interesting pictures but
none that appeal to all classes of people, probably, so
much as does "The Sistine Madonna."
This beautiful painting has a separate room in the
Dresden Art Gallery in Germany. People come here
and with uncovered, bowed heads, gaze for hours, then
go away and return again and again.
At the feet of the beautiful mother and babe are two
young cherubs. There are several opinions as to how
these cherubs came to be a part of the picture. Some
say they were two hungry little street waifs, anxiously
gazing into a baker's window at some loaves of fresh
bread, when Raphael sketched them for his picture.
Others say they were two little hungry waifs who stood
watching Raphael paint this picture and that he hastily
sketched them, adding the wings later, as we see them.
These little angelic faces seem to complete the picture
"The Sistine Madonna" and they make this charming
little picture which we know as "Cherubs."
EXERCISES
1. Tell the story of Raphael's early life.
2. What great work was given him at the age of twenty-five?
3. Tell of the circumstances of his death.
4. Of what larger picture is "Cherubs" a part?
5. Tell something of the larger picture.
6. How is the presence of the "Cherubs" in the larger picture
accounted for?
7. What do you like most about the "Cherubs"?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE CHILDREN OF THE SHELL
BARTOLOME ESTEBAN MURILLO
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BARTOLOME ESTEBAN MURILLO
Bartolome Esteban Murillo was born in Seville,
Spain, in 1618. His father, a merchant by trade, was so
poor that he was allowed to occupy his house free from
rent. Almost the first we know of the boy's early child-
hood is that his parents had both died before he was
eleven years old. Murillo then went to live with an aunt
and uncle, who, seeing his artistic ability, made him an
apprentice to another uncle, Juan del Castillo, who was
an artist of ordinary ability. In 1640, Castillo moved
to Cadiz, leaving young Murillo to fight his own artistic
battles.
Without money, without even a very ordinary reputa-
tion as an artist, where should he turn? There was only
one place where he could satisfy his desire to paint and
that was at that studio which was free to all and where
so many struggling young artists spent the greater part
of their time, the public market place, where he painted
pictures of artistically grouped fruits and vegetables, and
even of little beggar boys who crowded around him as he
painted.
After a time he went on foot to Madrid where he worked
under his former fellow-townsman Velazquez, who was
then court painter to Philip IV, and at the height of
his success. When he returned to Seville, the commission
to decorate the inside of the Franciscan convent was
given him. After he had completed his work in the
Franciscan convent, his position in the world of art was
established. As the years went on, he was much in
demand as a decorator of churches and convents.
He was commissioned to such important work as
decorating the All Saints' Chapel and the church and
hospital of the Holy Charity. When he was sixty-two
years old, he went to Cadiz to decorate the interior of
the Capuchin convent. While working here he fell from
a high scaffolding injuring himself so seriously that he was
forced to discontinue. He died quietly in the year 1682,
at his birthplace in Seville.
THE CHILDREN OF THE SHELL
Murilio is often spoken of as having two styles of
paintings, the one, clear, vigorous and full of color; the
other, misty, dreamy and tender. ''The Children of the
Shell" is an example of the latter style.
The subjects of this painting are the little Christ Child
and young St. John. The Christ Child is in the act of
giving his companion a drink of water from a shell; and
St. John, with a "girdle of skins about his loins," and his
ever-present bannered cross over one shoulder, kneels
to receive it.
The beauty of the picture lies perhaps in the repre-
sentation of the divine love and tenderness of the Christ
Child, which is symbolic of his whole life, and which is
a divine example of helpful giving, of thoughtfulness.
The little lamb lying at his Master's feet, and seemingly
gazing so devotedly into his face, further adds to the per-
fect love, dependence, and tenderness here portrayed.
Angel faces hovering in the clouds above gaze down upon
the little scene and rest like a benediction above the
sweet, innocent forms of "The Children of the Shell."
The painting has been called "the most beautiful
picture of children in the world, in which childlike love-
liness can no further go."
EXERCISES
1. Tell briefly the story of Murillo's life.
2. What are some of his best pictures?
3. What do you think is symbolized by this picture?
4. Who are the characters here?
5. What is St. John carrying?
6. What is the Christ Child doing?
7. Describe the expression of the Christ Child's face.
8. What do you see in the foreground?
9. Describe the attitude of the lamb.
10. What do you see in the background?
11. Look up and tell all you can about St. John, or John the
Baptist, as he is later known.
12. What has been said about this picture?
13. What do you like best about the picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
CHRIST AND THE RICH RULER
HEINRICH HOFMANN
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
HEINRICH HOFMANN
Heinrich Hofmann, who was born at Darmstadt in
1824, has spent a large part of his life as a teacher of
painting in the Dresden Art Academy. He paints
religious pictures and an occasional historical subject.
Besides "The Rich Young Ruler," Hofmann has painted
"Christ in Gethsemane," "Christ before the Doctors,"
and "Christ Knocking at the Door." He paints pictures
that appeal to the masses, especially those who are
Christians.
CHRIST AND THE RICH YOUNG RULER
"Christ and the Rich Young Ruler" by Heinrich
Hofmann, like most of the pictures by this popular
artist, is an illustration of a familiar passage in the Bible,
found in Luke 18:18-24.
"And a certain ruler asked him, saying, 'Good Master,
what shall I do to be saved?' And Jesus said unto him,
'Why callest thou me good? None is good save one, and
that is God. Thou knowest the commandments, Do
not commit adultery, Do not kill, Do not steal, Do not
bear false witness, Honor thy father and thy mother.'
And he said, 'All these I have kept from my youth
up.' Now when Jesus heard these things, he said unto
him, 'Yet lackest thou one thing: Sell all thou hast and
distribute unto the poor, and thou shalt have treasure
in heaven; and come, follow me.' And when he heard
this he was very sorrowful, for he was very rich. And
when Jesus saw that he was sorrowful he said, 'How
hardly shall they that have riches enter into the Kingdom
of God!'"
One is first attracted to the central figure of Christ
in a simple robe, but with exceptionally beautiful hands.
The other figure that attracts immediate attention is that
of the rich young ruler in the rich apparel of the wealthy
Jew. The eye next fixes upon the two figures at the
extreme left of the picture. One is the figure of a crippled
man; the other is the figure of a woman. The look of
despair on the woman's face, and the helpless attitude
of the cripple are powerfully depicted. We are led to
believe that they have come to listen to the teachings of
Christ. The face of the handsome young Jew is clouded
with the look of sorrow and bitter disappointment as
Christ points out to him the way of life. The face of
the Christ is a wonderful study. Hofmann and Tissot,
the French religious painter, have painted the Christ,
the most satisfactorily of all modern painters. As we
study the details of the picture we are impressed by the
wonderful handling of the lights and shadows, by the
splendid grouping and the proportion and balance of the
picture. A pleasing landscape with a few clouds touched
by the golden light is suggested to the left of the picture.
The thatched porch, the massive stones of the simple
architecture are interesting details. Christ has prob-
ably been teaching before a table on which the Jew
places his hand. As our gaze returns to the face of Christ,
we notice about the head the three beams of light sug-
gesting a cross.
EXERCISES
1. Sketch briefly the life of Hofmann.
2. What Bible story does this picture interpret?
3. Who are the two leading persons in the picture?
4. What point in the story is here represented?
5. What in the picture shows how the words of Jesus are received?
6. Can you cite another instance where a picture has modified
the course of conduct?
7. What in this picture and its story do you like best?
Those devoted men who have upheld the standard of
truth and beauty amongst us, and whose pictures, painted
amidst difficulties that none but a painter can know,
show qualities of mind unsurpassed in any age — these
great men have but a narrow circle that can understand
their works, and are utterly unknown to the great mass
of people: civilization is so much against them, that they
cannot move the people.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
CHRIST IN THE TEMPLE
HEINRICH HOFMANN
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. Th" University Publishing Company
HEINRICH HOFMANN
Very little is known of the life of this artist who was
born in Darmstadt, Germany, in 1824. His masters
were Theodore Hildebrandt and Schadow at Dusseldorf.
He also studied at the Antwerp Academy. At the age
of thirty he visited in Italy and was much influenced by
the beauty of Italian art. A little later he practiced his
art in different German cities and finally, in 1862, settled
in Dresden, where he became a professor of art at the
Dresden Academy. He died in 1902. His subjects are
drawn entirely from his knowledge of literature and
mythology. He has produced some pictures which are
renowned the world over for their beauty and truth.
Others of his most noted pictures are: Christ's Sermon
on Lake Gennesaret; Christ and the Rich Young Ruler;
Christ's Sermon on the Lake; The Nativity; and the
Flight into Egypt.
CHRIST IN THE TEMPLE
Every year the Feast of the Passover was celebrated
in Jerusalem and all the Jews went thither. When Jesus
was twelve years old he went for the first time with Mary
and Joseph. He witnessed the ceremony of the feast
and went to the services in the Temple.
When the time came to depart, all was confusion.
The people left the city in great masses. As each family
group came to its own crossing they would drop out and
leave the others. As Mary and Joseph progressed toward
Bethlehem, they noticed that their boy was not with them.
Perchance he was coming with some of his kinfolk and
would join them when darkness began to fall. But night
came on and the boy did not appear. Becoming frightened
they turned and hurried back to the city of Jerusalem.
Mary weeping and Joseph reproving himself severely.
"Am I not the man," he cried, "whom God trusted to
care for the Child? Unfaithful! Unfaithful!" For three
days they went from door to door asking the same ques-
tion: "Have you seen our Jesus"? and always receiving
the same reply. At the end of the third day when they
were nearly exhausted they finally found the boy Jesus
in conference with the learned doctors.
Mary beckoned to her son and when he came, she
said, "My son, why have you done this? For three days
we have searched for you, sorrowing." The Child put-
ting his hand on his mother's said, "But why did you
search for me? Did you not know that I should be in
my Father's House"?
Hofmann's interpretation of this beautiful story, seems
filled with divine inspiration. The central figure is,
of course, the young boy whose purity shines out from the
face and from the snow white garment which he wears.
His large trustful eyes are filled with the wonder of what
he is learning and with the knowledge which he is impart-
ing. One hand rests lightly on a desk at his side, while
the other points to the book which is held by one of
the doctors.
Around Jesus stand the learned men. One face
expresses grave, attentive interest; another shows eager-
ness to protest; another is full of marvel at the young
boy's learning; a fourth has a stern look, while the last
bears an expression of curiosity and perhaps contempt.
But why do they listen to a youth like this — these
learned sages to whom nothing can be new?
EXERCISES
1. When and where was Hofmann born?
2. Tell briefly the story of his life.
3. From what are his subjects taken?
4. What are some of his most noted paintings?
5. Tell the story of "Christ in the Temple."
6. Describe the face of the child. Do you like his face? Why'i
7. Describe his position.
8. Describe the look on the face of each of the doctors.
9. Why do they listen to Jesus?
Now nature is not at variance with art, nor art with
nature; they being both the servants of his providence.
Art is the perfection of nature. Were the world now as
it was the sixth day, there were yet a chaos. Nature
hath made one world, and art another. In brief, all
things are artificial; for nature is the art of God.
— Sir Thomas Browne
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
CHRIST AT TWELVE
HEINRICH HOFMANN
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
HEINRICH HOFMANN
Very little is known of the life of this artist who was
born in Darmstadt, Germany, in 1824. His masters
were Theodore Hildebrandt and Schadow at Dusseldorf.
He also studied at the Antwerp Academy. At the age
of thirty he visited in Italy and was much influenced by
the beauty of Italian art. A little later he practiced his
art in different German cities and finally, in 1862, settled
in Dresden, where he became a professor of art at the
Dresden Academy. He died in 1902. His subjects are
drawn entirely from his knowledge of literature and myth-
ology. He has produced some pictures which are re-
nowned the world over for their beauty and truth.
Others of his most noted pictures are: Christ's Sermon
on Lake Gennesaret; Christ and the Rich Young Ruler;
Christ's Sermon on the Lake; The Nativity; and the
Flight into Egypt.
CHRIST AT TWELVE
This picture, "Christ at Twelve, " is a detail taken from
perhaps Hofmann's most popular picture, "Christ in the
Temple." By detail we mean that the "Christ Head"
was taken from this picture and reproduced in this
marvelous way.
The picture portrays great strength of character.
The face is strong, noble, true, just, and kind but firm.
It is a face we love to study, and we love to think of what
ideals and principles this boy of twelve had. Even now
he inspires, gives strength and confidence, and as the
years come he will grow in strength and influence. Notice
the radiance shining from the face of this wonderful boy.
He has a mission in life and a message for humanity. His
dark eyes glow with the light of love, and with the revela-
tion of the truth that shall endure forever.
The influence of this picture is tremendous and far-
reaching. We can all catch its wonderful spirit.
EXERCISES
1. Who painted "Christ at Twelve"?
2. From what famous picture is this head a detail? .
3. What do we mean by a detail?
4. Why should this head be singled out from all others in the
picture?
5. Whatis therethatyou especially likeaboutthis picture, "Christ
at Twelve"?
6. What must be the ideals of a boy with such a strong face?
7. What other pictures did Hofmann paint?
8. Where are most of this great artist's paintings?
9. Tell what else you know of the life of the artist.
The conscious utterance of thought, by speech or
action, to any end, is art. — Emerson
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE CLOSE OF DAY
EMILE LOUIS ADAN
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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EMILE LOUIS ADAN
This artist was born in Paris, March 26, 1839, and
belongs to the French School of Art, having studied under
Picot and Cabanel. He lived during the most productive
period of French art and came under the spell which
seemed to hold all who lived and worked in the charmed
forest, Fontainebleau. He received two medals, one of
the third class in 1875 and one of the second class in 1882.
He was a favorite portrait painter with particular Amer-
can visitors in Bans, many of whom gladly engaged his
services. He exhibited his paintings at the Salon during
the three years, 1875-7. The most important paintings
exhibited were: Last Day of Sale; The Arrival at the
Chateau; The Dancing Lesson; Room at Fontainebleau;
Autumn Evening; End of the Journey; The Close of Day.
THE CLOSE OF DAY
Adan, who was born twenty-five years later than
Millet, might yet be called his contemporary, for they
were painting at about the same time. In another way,
also, they might be compared, for they both painted
pictures of peasants, altho Millet devoted his whole time
to this work, and Adan chose other subjects also.
Down a rough, lonely country road we see a weary
peasant plodding homeward. We are struck by the
strong lines of his body clad in the coarsest of home-made
clothing. The broad-brimmed hat, the loose, sagging
vest, the coarse, serviceable trousers, the protecting
apron, and the clumsy, ill-formed shoes are the typical
dress of the toiling peasant. His tools, which are borne
over one shoulder, have also the appearance of being
home made.
Unlike Millet's pictures, Adan has introduced into this
one, some beautiful scenery. On the left we see a broad
expanse of lovely green fields with a heavy line of low-
lying trees in the distance. On the right, the central
figure is the immense trunk of a gnarled old tree, which
seems to have broken off at some earlier stage of its
existence and which is now sending out slender green
shoots from its top and sides. The tree stands by a
quietly flowing stream, and other trees, as well, are
casting delicate shadows over the water.
In the foreground we see what appears to be a stone
bridge with a small village beyond.
EXERCISES
1. Sketch briefly the life of Adan.
2. Name some of his paintings which were exhibited in the Salon.
3. Why is this picture called "The Close of Day"?
4. Describe the peasant and his tools.
5. Describe the old tree.
6. What time of year do you think it is?
7. What in the picture shows the time of day?
8. What do you like best about the picture?
Dead he is not, but departed, — for the artist never dies.
— Longfellow
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
CLOSE OF A LONG DAY
J. M. ORTNER
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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CLOSE OF A LONG DAY
The "Close of a Long Day," by Ortner, is a favorite
scene in a Dutch homestead. The artist has here
represented a plain, sweet, patient mother with her tired
child in her arms.
A really good picture is always well named as is illus-
trated here. The artist suggests the close of day by the
sleeping child, evidently tired of play; by the absence of
a bright fire in the fireplace; by the wraps across the back
of the chair; by the cat at his meal; by the waning light;
and by the indistinct shadows. Again there is about
the house a general suggestion of restfulness and quiet
that comes with nightfall.
We notice the simple interior of the humble home, but
there is a strong suggestion of cleanliness, cheerfulness,
neatness and order. The furniture is plain and the
decorations are simple. Two small pictures and one or
two pieces of family silver may be seen, as well as the
weights of the old Dutch clock. A great tankard is on
the shelf to the right. Notice also the kettle in the fire
place. Altho the floor is mainly of wood, there are
square tiles immediately in front of the fireplace. At-
tention is sure to be attracted to the white cat at its
evening meal. A Dutch footstool also claims attention.
As in all good pictures, the object of greatest interest
in this picture, namely, the mother, does not occupy the
center of the picture. But the picture exists primarily
for the mother and the child. The mother as shown by
her dress and head adornment is not of the lower peasant
class. She and her child are simply but most comfort-
ably clad. Nothing in this picture speaks of poverty.
We should call the mother's face, with its kindness and
sweetness, beautiful. The clinging affection of the sleep-
ing child is well shown.
EXERCISES
1. What in the picture tells that this is the close of day?
2. What are the most striking articles in the room?
3. What things make us think of a Dutch interior?
4. What is the most pleasing thing in the portrayal of the mother?
5. What tells whether or not this is a home of poverty?
6. What does the attitude of the sleeping child tell you?
7. What is the best thought you get from this picture?
From the mingled strength of shade and light
A new creation rises to my sight.
Such heav'nly figures from his pencil flow
So warm with light his blended colors glow
The glowing portraits, fresh from life, they bring
Home to our hearts the truth from which they spring.
— Byron
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
A COVE IN THE WOODLAND
EUGENE LOUES CHARPENTIER
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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EUGENE LOUES CHARPENTIER
Eugene Loues Charpentier (1811-1894) was born in
Paris. He was a pupil of Gerard and Cogniet. He was
made professor of designing at Versailles in 1876 and
held this position six years. He won many medals for
his original ideas and the personal touch which seemed
to be evident in all of his pictures. In 1831 he exhibited
his first picture "Bivouac of Cuirassiers" in the Salon.
He was a painter of battle pictures in panoramic style
and paid attention to the minutest detail. For this
reason he was known as a military and genre painter.
Among his best productions are: The Bivouac of
Cuirassiers; The Hunter's Asking the Way; Break of a
Dutch Dyke; Halt of the French Army on Great St.
Bernard; Duke of Orleans in the Trenches. These
originals are all found in the gallery at Versailles. The
Siege of Toulon; A Soldier's Alms; The Ford Sharp-
shooters; Washington's Tent; French Cavalry in 1870;
Wellington in Spain.
A COVE IN THE WOODLAND
What could be more fascinating than the woodland
scene which Charpentier has depicted here? One can
almost feel the quiet of the scene and the soft, hazy
atmosphere. It is a place where one might take a book
and read for hours undisturbed except by the flutter of
wings of birds or the quiet, soothing rippling of the water.
No wonder the artist has given us such a beautiful
picture. One with his love of nature could sit here and
visit with a joy that knows no bounds. One like him
who could transfer the beauties of nature to canvas must
have taken delight in portraying this particular exhibit
of nature.
We see the brilliant and varied red and brown colorings
of the leaves on the trees and the beautiful tints in the
sky, so true to an autumn day. The boat is evidently
there for the pleasure of those who enjoy this little turn
in the stream which the artist has so appropriately
named, "A Cove in the Woodland."
EXERCISES
1. Give a brief sketch of the life of Charpentier.
2. What "stood out" in all of Charpentier's pictures?
3. Have you ever lived in a wooded country? Have you ever
traveled in a wooded country?
4. What in this scene is similar to beauty spots you have seen?
5. What tells the time of year?
6. Describe this picture as it appeals to you, telling as far as
possible, just what you see in it.
7. What do you like best about the picture?
Art is consummate when it seems to be nature.
— Longinus
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
DANCE OF THE NYMPHS
COROT
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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JEAN BAPTISTE CAMILLE COROT
Corot was born in Paris on July 29, 1796. His father
was a poor shop-keeper of peasant descent, who sold
ribbons and laces.
At the age of ten, Corot was sent to a boarding school
at Rouen. After he returned to Paris, his father bought
a country house on the outskirts of the city. Here the
boy would sit half the night, gazing out thru his window
at the sky, the water, and the fantastic shadows cast
by the great trees. He himself states that these early
impressions gave a bent to his whole career.
At an early age he was made apprentice in a cloth-shop,
where he worked for eight years. Finally, however, he
gained courage enough to state his ambition to his father.
He was met with no particular remonstrance but was
warned that he would receive only enough money to keep
him from starving. Corot gladly agreed. to these terms
and began his new work immediately.
After the death of his first master, Michallon, Corot
entered the Paris studio of Victor Bertin. In 1827, he
made his first exhibition at the Salon, but it was not until
nineteen years later that his reward came. At the close
of the Salon exhibition in 1846, at which he exhibited his
painting entitled, "The Forest of Fontainebleau," he
received, in his fiftieth year, the Cross of the Legion of
Honor, the highest honor that can be bestowed upon an
artist.
He was unselfish to the utmost degree and was always
ready with his purse to help the needy. When asked
concerning his lifetime generosity he said, "It is my tem-
perament and my pleasure. I can earn money again so
quickly — just by painting a little branch. Charity always
brings me in more than it costs for I can work better
with a heart at ease."
It is interesting to know that Corot spent his summers
at Barbizon and in the Forest of Fontainebleau which he
dearly loved. This is the place where at the same time,
Millet, his contemporary, in poverty studied the life of
the toiling peasants and painted his famous pictures.
On February 23, 1875, Corot passed away murmuring
of beautiful landscapes and of the happy hours he had
spent with nature.
DANCE OF THE NYMPHS
What could be more cheery and full of the gay, joyous
spirit of a beautiful morning in spring than the scene
Corot has given us in the "Dance of the Nymphs"?
One can almost hear the birds sing, the leaves rustle,
and the brook ripple. One can almost see the sparkling
dewdrops each of which glitters like a diamond; the
woods exquisitely beautiful in their foliage; and the
flowers blooming by the wayside. The Nymphs seem
to be gayly dancing, ushering in the beautiful dawn.
Notice the lights and shades dancing hither and thither,
giving a touch of light here and there among the trees,
and varying the colorings in the sky.
Have you lived in the country? Then you have had
the experience which Corot has portrayed in this picture.
A gloriously beautiful morning in the country, nothing
less, nothing more. Do you see this beauty all about
you? It is there as truly as it was when Corot wandered
thru the woods by the roadside.
EXERCISES
1. How did the impressions of early life affect Corot's work?
2. What traits of Corot's character are brought out in his
paintings?
3. What season of the year is represented in " Dance of the
Nymphs"?
4. What signs of this season do you find?
5. What signs of the time of day do you find?
6. What meaning do you find in the picture?
That thing which I understand by real art is the expres-
sion by man of his pleasure in labour. I do not believe he
can be happy in his labour without expressing that
happiness; and especially is this so when he is at work at
anything in which he specially excels. A most kind gift
is this of nature, since all men, nay, it seems all things, too,
must labour; so that not only does the dog take pleasure
in hunting, and the horse in running, and the bird in
flying, but so natural does the idea seem to us, that we
imagine to ourselves that the earth and the very elements
rejoice in doing their appointed work; and the poets have
told us of the spring meadows smiling, of the exultation
of the fire, of the countless laughter of the sea.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
H53 97
DAY'S DECLINE
ANTON MAUVE
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ANTON MAUVE
Anton Mauve was born in Zaandam, Holland, in 1838,
and died in 1888. Almost all of the great artists have
been strongly opposed by their parents in youth. Mauve
was one of these. In his youth, he longed to go forth
to sketch the woods, the flowers, the fields, the animals,
and all nature. Before he was fifteen years of age, he
would steal away to sketch pictures of nature. He
celebrated his fifteenth birthday by making a sketch of
the cows in the pasture. Later his parents reluctantly
gave their consent for him to study with Van Os, the
great teacher at Amsterdam. He became a very suc-
cessful painter and his talent was recognized early in his
career. America and other countries recognized his ability
as an artist long before his own countrymen in Holland
realized it. Because Mauve loved the peasant life, he found
an abundance of material in his own country. He loved
the old mills, the dikes, the toilers in the field. In fact, he
loved all the rustic scenes of his country and he gave us
delightfully fascinating illustrations of them. Some of his
best pictures are: Pastures in Holland; Landscape with
Sheep; Landscape with Cows; Seaweed Gatherers; The
Wood Cutters; Forester's Team.
DAY'S DECLINE
Influenced as he was by those two great nature painters,
Maris, the painter of landscapes, and Millet, of humanity,
we cannot but expect a picture of this kind from Mauve.
All day the flock, guided by the faithful old shepherd
and his dog, has been out on sunny slopes and in wooded
glens obtaining food for the day. Now, as the dusk is
beginning to fall, the sheep are glad to go trudging home-
ward to their night's rest. The plodding shepherd, too,
and his ever present friend, the old sheep dog, are bend-
ing willing footsteps toward home and rest. Day after
day these same events take place — the morning walk
when, rested and eager, the sheep turn their heads
toward the pasture. Then the noonday rest when all,
shepherd, dog and flock find a cool shady spot in some
secluded nook off some sunny hillside; and lastly, "Home-
ward Bound. " Why should the old shepherd be unhappy
or weary? It is the life he has always known, and he is
contented.
One lamb must be exhausted or it may be injured in
some way for we notice the shepherd carries it under his
arm. If we look far off in the distance we can see the sea.
It must be the autumn season, for the leaves are falling.
We can imagine the leaves that are left are red and yellow
and brown and that the grass is getting short. The
picture brings a thought of peace and rest; for it is at the
close of day and the journey is almost over.
EXERCISES
1. How did Mauve celebrate his fifteenth birthday?
2. Who first recognized Mauve's talent?
3. Sketch briefly the life of Mauve.
4. Name some of his best paintings.
5. What shows where this scene is laid? What shows the season?
6. What time of day is it?
7. Why do you think the shepherd carries one of the sheep?
8. What do you like best about this picture?
Thus then the Man the voice of Nature spake
"Go from the creatures thy instructions take;
Learn from the birds what food the thickets yield;
Learn from the beasts the physic of the field ;
Thy art of building from the bee receive;
Learn of the mole to plow, the worm to weave;
Learn of the little nautilus to sail,
Spread the thin oar, and catch the driving gale.
—Pope
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
A DISTINGUISHED MEMBER OF THE
HUMANE SOCIETY
SIR EDWIN HENRY LANDSEER
This series of Picture Studies includes a hundred
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THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company
SIR EDWIN HENRY LANDSEER
Sir Edwin Henry Landseer was born in the outskirts
of London, on March 7, 1802. His father, an artist, took
a deep interest in his son's artistic tendencies, which be-
gan to show at a very early age. Some of the lad's youth-
ful studies are preserved at South Kensington Museum,
London, and, from the notes they bear, indicate that they
were made when the artist was only five or six years old.
While living in the place of his birth, Landseer spent
many days in the open fields, sketching the sheep, the
cows and the horses. When he had finished a sketch,
his father would criticise this work, and if he thought
his young son had not done his best, he would send him
back to better it.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at the
age of fourteen. The Landseer family was in such cir-
cumstances that no thought need be given to time or
expense of his study. At a very early age he had begun
to show a preference for the dog above all other animals,
so at the academy he was known as "the little dog-boy."
For a time, it became the fashion among people of wealth
to have Landseer paint pictures of their favorite dogs.
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this. It
was related that he was somewhat of a trial to the Scotch
attendants who accompanied him on his annual deer hunt
in Scotland. It sometimes happened that just as he would
have a magnificent chance to take the life of a deer, he
would thrust his gun into the hands of one of his attend-
ants, take out his sketch book and pencil and proceed to
make a study of the animal instead of destroying its life.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of Land-
seer's skill, and one of his chief patrons. He became the
Court Artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred the
honor of knighthood on the artist, and from that time on
he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate of the Academy in 1825. In
1831, he was elected to full membership, and in 1865 he
was offered the presidency of the Academy, but refused
on account of his failing health. He died October 1, 1873.
A DISTINGUISHED MEMBER OF THE HUMANE
SOCIETY
The form, coloring and pose, and the fidelity to nature
displayed in all the wonderful pictures of animals, espe-
cially of dogs, painted by the artist, Sir Edwin Henry Land-
seer, are perfect. He possessed, in a remarkable degree,
the faculty of making his animals express in feature the
subject of the pictures. The dog in the painting, a
superb Newfoundland, displays the dignity, docility, and
intelligence for which the breed is famous, combined
with noble strength. He is represented as crouched by
the water, in which some of his life-saving efforts may have
been made.
EXERCISES
1. How did Landseer's father's occupation affect the son's career?
2. What was the beginning of his career as an artist?
3. To what was Landseer's success due?
4. Why does the artist call the picture "A Distinguished Member
of the Humane Society"?
5. What are the chief characteristics of the dog as he appears
here?
6. What in this painting especially appeals to you?
7. Why do you think this picture is such a favorite?
You whose hands make those things that should be
works of art, you must be all artists, and good artists,
too, before the public at large can take real interest in such
things; and when you have become so, I promise you that
you shall lead the fashion; fashion shall follow your
hands obediently enough.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE DOCTOR
SIR LUKE FILDES
This series of Picture Studies includes a hundred
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SIRjLUKE FILDES
Sir Luke Fildes was born in Liverpool in 1844 and is still
living. His education as an artist was obtained in the
South Kensington Schools and in the Royal Academy.
He not only painted portraits, but illustrated for maga-
zines as well. His first oil painting was exhibited at the
Royal Academy in 1872. It is called "Fair, Quiet, and
Sweet Rest."
This artist won success mostly thru painting the
life of London's poor, which he did by actually studying
conditions in the slums of that great city. Strangely in
contrast with these pictures are his gay Venetian street
scenes, so highly colored, expressing the happy, care free
life of Venice.
Fildes' later work has consisted mostly of portraits,
including several of the nobility, such as those of King
Edward VII, Queen Alexandria, and King George.
In 1887 he was elected to the Royal Academy and was
knighted by the King in 1906, whence his title "Sir."
He is one of the active leaders among the artists of
London.
THE DOCTOR
The rude interior of an humble cottage is the scene of
this picture. A little child, the pride and delight of the
home, is ill. The old family doctor has been called for
counsel. How many similar scenes has he witnessed?
Yet his face is grave and full of care. This is probably
the turning point for better or for worse and the doctor
is waiting quietly and watching intently over the little
life that is battling for existence.
Our hearts go out in sympathy to the grief-stricken
mother, who is trying to quiet her sobs as she sits at the
table with her head pillowed on her arm. The stalwart
husband, tho probably just as deeply grief-stricken,
tries to comfort her as he stands calmly waiting.
Yes, it is an humble home, but we find just as much
devotion as in a palace. Here the hearts, which once
were gladdened by the sound of the childish voice and
the patter of little feet, are now bowed down by weight of
woe.
EXERCISES
1. Give a brief summary of Fildes' life.
2. Thru painting what kind of pictures did Fildes' success
come to him?
3. What has his later work consisted of?
4. Describe the attitude of the doctor; of the mother; of the
father.
5. What tells you that this is a critical moment?
6. Describe the interior of the room.
7. Why do you think this picture is called "The Doctor" instead
of the "Sick Child"?
8. What do you like best about this picture?
We can live without pictures, but not so well.
— John Ruskin
PICTURE STUDIES
ORLIN H. VEMNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
RALPH WALDO EMERSON
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
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RALPH WALDO EMERSON
Ralph Waldo Emerson, the "Sage of Concord," was'
born in Boston, May 25, 1803. He came from a line of
scholars and clergymen, distinguished for integrity and
strength of character. Emerson was graduated from
Harvard University in 1821. He joined the ranks of the
clergy. In 1832, after the death of his wife and the failure
of his health, Emerson went to Europe, where the great
event of his life came in his meeting with Carlyle. He
returned to America in 1834, and settled in Concord in
the "Old Manse," where he spent the rest of his life.
Like that of most scholars, Emerson's life was serene
and uneventful. He was a prominent citizen, a kind
neighbor, and a loyal friend. He held several public offices
in his home town, but he was a modest, unassuming man,
who loved the quiet of his study and the comfort of his
home. He was accordingly surprised when distinguished
people from all over the world, attracted by his writings,
began to visit him. It has been said that there is no
scholar in any civilized land who is not at least partially
acquainted with Emerson. His writings, and a few of his
poems, are known to every American school boy. In 1867
Emerson gave to the world his last message in "Ter-
minus." He died in 1882 and was laid to rest in Sleepy
Hollow Cemetery, Concord.
The "Sage of Concord" has been described as highly
intellectual, living in the realm of noble thought, gifted
with a sweet and gentle spirit, possessed of pure and lofty
motives, and unsurpassed frankness, sanity, and kindness.
He looked as if he had schooled himself so that he might
exhibit to the world all the graces of true manhood.
Every aspiration was one of growth, and all his struggle
was toward the attainment of divine truth for uplifting
humanity.
The picture of Emerson is the favorite representation
of the "Sage of Concord" as the exponent of "sweetness
and light." There is an expression of gentleness in the
countenance, and of intellectuality combined with tender-
ness, firm-set purpose and though tfulness and meditation.
One writer has said that it is impossible for young people
to live in the presence of such a picture day by day with-
out a feeling of intellectual and moral exaltation.
EXERCISES
1. What things in the early environment of Emerson were most
favorable toward the development of the scholar?
2. After his return from Europe in 1834, where did he live?
3. Describe Emerson as a citizen.
4. Why was he surprised at his recognition by world thinkers?
5. What does this tell of him?
6. What gave him the name, "Sage of Concord"?
7. Name Emerson's most pronounced traits as indicated in the
picture.
The one thing that marks the true artist is a clear
perception, and a firm, bold hand, in distinction from that
imperfect mental vision and uncertain touch which gives
us the feeble pictures and the lumpy statues of the mere
artisans on canvas or in stone.
-Oliver Wendell Holmes
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
FAMILY CARES
E. C. BARNES
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
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E. C. BARNES
E. C. Barnes is a nineteenth century English artist
who has painted many groups of persons and animals.
He has exhibited his paintings at the Royal Academy and
in other London galleries. His "Family Cares" is his
most popular painting.
FAMILY CARES
All the world pays homage to a little child because of
its frankness, purity, and innocence. When the Great
Teacher wished to settle a dispute among his contentious
disciples, He brought into their midst a little child and
told them that he who would be greatest must first
become as a little child.
It is morning, as may be seen by the bit of blue sky
visible thru the hall window to the right. The little girl
descending the broad hall stairs enters upon her activities
for the new day. We can imagine that she is going toward
the family living room. She carries her kitten in one hand,
and, with the other hand, she grasps her sleeping robe which
contains in its folds a toy ark. A pup is climbing up the
stairs to greet his little mistress. On the carpet of the
stairs is seen the little girl's shoes and her stockings. Per-
haps the pup has carried these articles away from the
nursery. All of these constitute the "family cares" of
the dear little girl.
There is a suggestion of comfort, but not of luxury,
about the scene as indicated by the great stairway,
tastefully carpeted; the toys of the child, and her pets;
and, above all, about the happy, joyful appearance of
the blue-eyed girl with tangled, yellow locks. The face
and form of the little child gradually absorb all of our
attention. She is the complete embodiment of a sweet
sympathetic, appreciative, and sunny nature. She is also
the embodiment of perfect health and physical comfort.
While the term "family cares" in connection with the
small interests of the child is likely to provoke a smile, still
there is a deeper meaning in the picture, for the life of the
little child has infinite possibilities for good and evil.
The development of the mind and heart of the child be-
comes the real "family care."
EXERCISES
1. What in the picture tells you the time of day?
2. Tell how many cares this little child has?
3. Why are her cares called "family cares?"
4. What tells you something of the kind of child she is?
5. What kind of person do you think she will be when grown?
That thing which I understand by real art is the expres-
sion by man of his pleasure in labour. I do not believe he
can be happy in his labour without expressing that
happiness; and especially is this so when he is at work at
anything in which he specially excels. A most kind gift
is this of nature, since all men, nay, it seems all things, too,
must labour; so that not only does the dog take pleasure
in hunting, and the horse in running, and the bird in
flying, but so natural does the idea seem to us, that we
imagine to ourselves that the earth and the very elements
rejoice in doing their appointed work; and the poets have
told us of the spring meadows smiling, of the exultation
of the fire, of the countless laughter of the sea.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
FEEDING HER BIRDS
JEAN FRANCOIS MILLET
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JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the "peasant painter of France." As a boy, he
lived a rugged out-of-door life, helping his father in
the fields. When he could no longer repress his desire
to become an artist he went away to study. When he
returned, he was a great painter, but still remained a true
peasant at heart. He set up his home and studio in the
village of Barbizon, not far from Paris. Here lived the
peasants who plowed, sowed, cultivated, and reaped, and
Millet delighted to wander out and sketch them at their
labor or converse with the woodcutters, the charcoal
burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon, he
was at least able to get food for his little ones from his
garden, and he could have near him his brother artists
Dupre, Rousseau, Corot and Barye, who appreciated his
efforts and to whom his artistic message was not spoken
in vain.
Millet was so full of sympathy with human life, that
in his first pictures very little attention was given to the
landscape; but later he was educated to the fact that there
is a good bond between man and nature, and that a picture
to be a true interpretation must harmonize the one with the
other. In all of his later pictures, therefore, the landscape
and the figures seem to be in perfect harmony.
The figures in his pictures are neither artistic nor grace-
ful, but they show great expression and goodness of
character and look as if they were really a part of their
surroundings. This was the life of which, in the fullness
of his heart, he said: "The peasant subjects suit my
temperament best, for I must confess that the human
side of life is what touches me most."
He died without having been appreciated. Three
nations are now striving in friendly rivalry to secure his
masterpieces.
FEEDING HER BIRDS
In this painting, Millet has given us the picture of the
door-yard of a French village home. The children have
been playing with their toys which you can see are crudely
made. The doll seems to have been made of wood and
is wrapped in a hood and blanket while the cart is a board
set on clumsy wheels. You will notice that the children
are dressed very plainly in long aprons and wooden shoes.
Now the mother has called to them from the doorway
where she was standing with a bowl in her hand and the
children drop their playthings and seat themselves on the
doorstep. The girls have allowed their little brother to
sit between them and the mother is giving the first taste
to him. Over in the garden you can see their father
working.
Notice closely the attitude of the mother, the attitude
of the smallest child, and the expectant expressions on
the faces of the other children. The whole scene reminds
one of the picture presented when the mother bird feeds
her expectant young ones in the nest.
EXERCISES
1. Sketch briefly the life of Millet.
2. What kind of scenes did he love best to paint?
3. What is the scene of this picture?
4. Describe the toys you see in the picture?
5. What kind of shoes do the children wear?
6. What have they on their heads?
7. What is the .mother doing? The children?
8. Why do you think the artist named this picture, "Feeding Her
Birds"?
9. What do you like best about the picture?
Popular art will make our streets as beautiful as the
woods, as elevating as the mountain-sides; it will be a
pleasure and a rest, and not a weight upon the spirits to
come from the open country into a town; every man's
house will be fair and decent, soothing to his mind and
helpful to his work; all the works of man that we live
amongst and handle will be in harmony with nature, will
be reasonable and beautiful; yet all will be simple and
inspiriting, not childish nor enervating; for as nothing
of beauty and splendour that man's mind and hand may
compass shall be wanting from our public buildings, so
in no private dwelling will there be any signs of waste,
pomp, or insolence, and every man will have his share of
the best. — William Morris
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
FIELDS AT MIDDAY
HEINRICH SCHMIDT
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HEINRICH SCHMIDT
Heinrich Schmidt was born in Saarbriick, Prussia,
about the year 1740 and died in the year 1821. He
painted for the most part scenes interpreting historical
facts or pictures based largely upon historical narrative.
He studied in Italy and spent most of his time at Naples.
FIELDS AT MIDDAY
"Fields at Midday," by Schmidt, affords a most strik-
ing illustration of the power of the artist to portray a
certain aspect of nature. An artist may express move-
ment, silence, struggle, repose, dignity, grandeur, or what-
ever he may choose. Schmidt has represented the extreme
calm of a sultry summer day.
In order to convey this impression of the calm of a
summer noonday, the artist has represented the filmy
birch or buttonwood and foliage in the foreground as
unmoved by any breath of air. The idea of noon is also
conveyed thru the short shadows, falling almost beneath
the trees. Again, the lights on the tree trunks are very
distinct, due to the intense light of midday. The
clouds have few heavy shadows, and the bright, even
blue of the sky behind the clouds further emphasizes the
fact of noonday. Also, there is no traffic on the otherwise
well-traveled road, nor do we see animals or people in
the fields.
This example of the cultivated landscape reminds one
of Hobbema's "The Avenue of Trees." The human
touch, so greatly enjoyed by the artist, Schmidt, is
afforded by the traveled road, the carefully kept trees,
and the stone shed to the left.
The arrangement of the parts of the picture is unusually
simple, but most effective, the entire picture being taken
in by the eye at first glance. The number of curved
lines is remarkable, there being few, if any, straight lines
in the picture. The artist has suggested much, but he
has not confused the beholder, with a mass of details.
Another remarkable fact about the picture is that it has
a distinct center, details becoming fewer toward the edge
of the canvas, and all the lines pointing toward a center.
This artist rarely, if ever, "crowds" his canvas.
EXERCISES
1. What in the picture tells you it is midday?
2. What shows that the day is calm?
3. Compare this picture with Hobbema's "The Avenue of Trees.
4. What human touch is shown in this picture?
5. What shows the simplicity of the picture?
6. What do you like best about the picture?
Modern landscape painters have looked at nature with
totally different eyes, seeking not for what is easiest to
imitate, but for what is most important to tell. Reject-
ing at once all ideal of bona fide imitation, they think only
of conveying the impression of nature into the mind of the
spectator. — John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska'
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE FIRST STEP
JEAN BAPTISTE CAMILLE COROT
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
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JEAN BAPTISTE CAMILLE COROT
Corot was born in Paris on July 26, 1796. His father
was a poor shop-keeper of peasant descent, who sold
ribbons and laces. At the age of ten, Corot was sent
to a boarding school at Rouen. After he returned to
Paris, his father bought a country house on the out-
skirts of the city. Here the boy would sit half the night,
gazing out thru his window at the sky, the water,
and the fantastic shadows cast by the great trees.
At an early age he was made apprentice in a cloth-shop,
where he worked for eight years. Finally, however, he
gained courage enough to state his ambition to his father.
He was met with no particular remonstrance but was
warned that he would receive only enough money to keep
him from starving. Corot gladly agreed to these terms
and began his new work immediately.
After the death of his first master, Michallon, Corot
entered the Paris studio of Victor Bertin. In 1827, he
made his first exhibition at the Salon, but it was not
until nineteen years later that his reward came. At the
close of the Salon exhibition in 1846, at which he exhibited
his painting entitled, "The Forest of Fontainebleau, "
he received, in his fiftieth year, the Cross of the Legion of
Honor, the highest honor that can be bestowed on an
artist.
He was unselfish to the utmost degree and was always
ready with his purse to help the needy. When asked
concerning his lifetime generosity he said, "It is my
temperament and pleasure. I can earn money again so
quickly, just by painting a little branch. Charity always
brings to me more than it costs me for I can work better
with a heart at ease."
It is interesting to know that Corot spent his summers
at Barbizon and in the Forest of Fontainebleau which
he dearly loved. On February 23, 1875, Corot passed
away murmuring of beautiful landscapes and of happy
hours he had spent with nature.
THE FIRST STEP
"The First Step" is a good example of Corot's interest
in scenes portraying spring. The canvas is completely
rilled with the great waving masses of green except for a
vista thru the center, revealing a great patch of blue sky,
the purple hills, and a small lake reflecting the pure blue
of the sky. A large tree trunk sweeps thru the center of
the vista, and a "cropped" willow with long whip-like
branches almost fills the left half of the picture. Here
and there are shrubs, and flowers in blossom. Underneath
the willow is a mother teaching her child to take its first
steps upon the greensward. The mother and child attract
attention, altho they constitute but a very small part of
the scene. The helpless babe, the tender mother love, and
the need of guidance, all are suggested by the two figures
Corot did not care for scenes devoid of human interest.
For this reason, he painted people, animals or nymphs
as a part of his pictures. He did not paint grief, but
the joy of the springtime, suggesting life and love. Corot
once said that he painted shimmering leaves, blossoming
flowers, and happy people because he wished to express
the joy of living.
Corot knew how to suggest much while sacrificing de-
tails. In this respect, he is a great master, for he succeeds
in conveying to the beholder something of the impression
that he had, which after all, is the test of great painting.
Corot does not paint leaves, he paints masses of foliage;
he does not paint twigs, he suggests them; he does not
paint grass; he gives an impression of the soft, cool green-
sward. Corot's pictures have been called the "best
friends to live with." They are cheerful, wholesome,
and human.
EXERCISES
1. Sketch briefly the story of Corot's life.
2. What are some of the secrets of his greatness as a painter of
landscapes?
3. Show how "The First Step" reveals the spirit of Springtime.
4. How does the picture get its name?
5. Describe the picture.
6. What forms the center of interest of the picture?
7. Why have his pictures been called "the best friends to live
with"?
8. What in this picture do you like best?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
' University Place, Nebraska
THE GATHERING STORM
HERMANN RUDISUHLI
This series of Picture Studies includes a hundred studies
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THE GATHERING STORM
"The Gathering Storm," by Rudisuhli, is a fine example
of the picture that is intended to convey an idea of
motion. This distinguished modern painter enjoys por-
traying the effects of wind and the movements of the
storm clouds.
The main idea of the approach of a storm is perfectly
realized by the artist. The swaying evergreens to the
right, the darkness of certain clouds, and the sagging
fold of the distant clouds to the left suggest storm and
rain. The unusual light on the grassy fields where the
sun shines from between the darkening clouds is an un-
usual feature. The calm of the water, reflecting the
shadows of the swaying evergreens, is in striking con-
trast to the movement in the sky and among the trees.
The approach of the storm is further indicated by the
absence of men or animals in the picture.
To many the real beauty of the picture will be found
in the group of mighty oak trees in the foreground, stand-
ing out like giant sentinels, apparently unmoved by the
approaching storm. There is a suggestion of grandeur
and strength in the trees that would be difficult of rep-
resentation by most other modern artists. The great
group of oaks forms the center with everything else sub-
ordinate. The picture would be spoiled if we had but the
one large tree directly in the middle of the canvas, so the
artist has painted other trees extending outward from the
main tree.
In "The Gathering Storm," the canvas is not crowded.
The central object of attention occupies the most im-
portant place, while most of the important lines lead
from the outside to the middle of the canvas.
EXERCISES
1. What has the painter here portrayed?
2. How does the artist give an impression of the force of wind?
3. What forms the center of the picture?
4. What is admirable about the trees in the foreground?
5. How has the artist centered the attention of the beholder?
6. What do you like best about this picture?
Those devoted men who have upheld the standard of
truth and beauty amongst us, and whose pictures, painted
amidst difficulties that none but a painter can know,
show qualities of mind unsurpassed in any age — these
great men have but a narrow circle that can understand
their works, and are utterly unknown to the great mass
of people: civilization is so much against them, that they
cannot move the people.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE GIRL WITH THE APPLE
JEAN BAPTISTE GREUZE
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JEAN BAPTISTE GREUZE
Jean Baptiste Greuze was born August 21, 1725, in
the little town of Tournus, in Burgundy, France. His
father was a tiler, who desired that his son should become
an architect. In spite of threats and punishments on
the part of his father, the lad persisted in sketching. One
day he presented his father with a pen sketch of the head
of St. John; the victory was won. The father sent him
to Lyons to the studio of Gromdon.
At the age of twenty, Greuze returned to Paris. Like
many, many other artists, he was here to have his full
measure of discouragements. His work was too crude,
too mechanical to find favor at the Academy. For ten
years he labored incessantly for the smallest recognition.
At last, at the age of thirty, thru the friendship of
two well known artists, he was enabled to make an
exhibit of one picture in the Academy in 1755.
At about that time, Greuze was induced to make a
trip to Italy to further broaden his knowledge. After a
stay of two years in Italy, which country after all had
little influence on his art, he returned to Paris. In 1755,
just before his departure for Rome, Greuze was elected
to membership in the Royal Academy. It was not, how-
ever, until after the French Revolution in 1804 that
Greuze rose to the zenith of his popularity. For a time
he was supremely happy, but his happiness was marred
by an unappreciative wife who had no respect for her
husband's ability and who squandered his income. At
last he died in poverty and distress on March 21, 1805.
His wealth was gone, his friends were gone. Only two
persons followed the casket to a lonely grave.
His best paintings are: Innocence Holding Two
Pigeons; The Father's Curse; The Dead Bird; The
Girl with the Apple; The Two Sisters; The Broken
Pitcher; The Milkmaid.
THE GIRL WITH THE APPLE
Greuze's pictures of maidens have often been criticized
as being too precise — too ideal, as not being real enough.
But what could more nearly approach the true repre-
sentation of real childhood than this lovely picture of
"The Girl with the Apple."
A dreamy little maiden, she is. Her eyes, whose depths
are so full of childish wonder and innocence, are gazing
absently into space. Her lips, so tender and delicate, are
slightly parted. The soft locks curl lingeringly about
the sweet, bewitching child-face.
Is she thinking with childish pleasure, about her posses-
sion, the apple? No, her little mind is far away from that.
Her thoughts are dream-thoughts. We cannot know what
they are, but we have visions of heavenly hosts not far
away, fluttering about, bringing pure innocent dreams
to a little child.
EXERCISES
1. Sketch briefly the life of Greuze.
2. What did the father wish his son to become?
3. Tell how the lad finally came to study art.
4. What difficulties did he have to gain recognition?
5. What marred his happiness and increased his distress?
6. Describe the picture, "The Girl with the Apple."
7. What tells you whether or not the girl is thinking of the apple?
8. What do you think are her thoughts?
9. What do you like best about this picture?
10. Tell of any pictures you have seen in real life which remind
you of this.
To feel beauty is a better thing than to understand
how we come to feel it. To have imagination and taste,
to love the best, to be carried by the contemplation of
nature to a vivid faith in the ideal, all this is more, a
great deal more, than any science can hope to be. The
poets and philosophers who express this aesthetic experi-
ence and stimulate the same function in us by their
example do a greater service to mankind and deserve
higher honor that the discoverers of historical truth.
— George Santayana
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE GLEANERS
JEAN FRANCOIS MILLET
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the "peasant painter of France." As a boy, he
lived a rugged out-of-door life, helping his father in the
fields. When he could no longer repress his desire to
become an artist, he went away to study. When he
returned, he was a great painter, but still remained a true
peasant at heart. He set up his home and studio in the
village of Barbizon, not far from Paris. Here lived the
peasants who plowed, sowed, cultivated, and reaped, and
Millet delighted to wander out and sketch them at their
labor or converse with the woodcutters, the charcoal
burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon, he
was at least able to get food for his little ones from his
garden, and he could have near him his brother artists
Dupre, Rousseau, Corot and Barye, who appreciated his
efforts and to whom his artistic message was not spoken in
vain.
Millet was so full of sympathy with human life, that
in his first pictures very little attention was given to the
landscape; but later he was educated to the fact that there
is a good bond between man and nature, and that a picture
to be a true interpretation must harmonize the one with
the other. In all of his later pictures, therefore, the
landscape and the figures seem to be in perfect harmony.
The figures in his pictures are neither artistic nor grace-
ful, but they show great expression and goodness of char-
acter and look as if they were really a part of their sur-
roundings. This was the life of which, in the fullness of
his heart, he said: "The peasant subjects suit my tem-
perament best, for I must confess that the human side of
life is what touches me most."
He died without having been appreciated. Three
nations are now striving in friendly rivalry to secure his
masterpieces.
THE GLEANERS
The burning noon-day sun of a busy harvest day is
pouring down on the laborers. The field has been shorn
of its golden grain and now the men and women, many,
many of them, are busy piling it up in huge stacks.
How joyously they must work as they view the results
of their labor, for they now have a plentiful harvest.
What a contrast to the three women in the foreground
who seem to have just appeared on the scene! They
are the gleaners, and are taking advantage of the privilege
which always belongs to the poor, of entering the field
after the reapers have finished their work, to gather any
stray spear of grain that may have escaped the notice of
those who have gone before.
Study each of the three figures in the foreground.
Their positions, and the toilsome reaching after each
separate straw, tell of the nature of their work.
EXERCISES
1. Who painted "The Gleaners"?
2. Tell all you can about Millet's life.
3. How did his early life affect his art?
4. What characteristic is peculiar to all of Millet's pictures?
5. Why was he called "the peasant painter of France"?
6. What time of day is pictured in "The Gleaners"?
7. Who are the gleaners?
8. Describe the picture.
9. Describe the dress of the peasant women.
10. What here shows us the nature of the work of these gleaners?
11. What do you like best about the picture?
To study one good master till you understand him will
teach you more than a superficial acquaintance with a
thousand; power of criticism does not consist in knowing
the names or the manner of many painters, but in dis-
cerning the excellence of a few.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE GOOD SHEPHERD
BERNARD PLOCKHORST
This series of Picture Studies includes a hundred
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use in the schools and for schoolroom decoration.
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BERNARD PLOCKHORST
Bernard Piockhorst was born in Brunswick, March 2,
1825. He first studied under Piloty in Munich and later
under Couture in Paris. He traveled widely studying
the works of the best artists and searching for subjects
for his art. He visited the art galleries in Holland,
Belgium, France, and Italy. He was especially charmed
with the scenes in and around Venice. On his return,
he lived for a time in Leipsic, then in Berlin. For three
years, 1866 to 1869, he was a professor in the Weimar
Art School.
Piockhorst excelled in portrait painting, but left many
excellent historical and religious works among which are:
The Exposure of Moses; The Finding of Moses; Mater
Dolorosa; Resurrection; Christ's Walk to Emmaus;
Gift from Heaven; Guardian Angel.
THE GOOD SHEPHERD
"I am the good shepherd; the good shepherd giveth
his life for his sheep.
"But he that is an hireling, and not the shepherd, whose
own the sheep are not, seeth the wolf coming, and leaveth
the sheep, and fleeth; and the wolf catcheth them, and
scattereth them, and scattereth the sheep.
"The hireling fleeth, because he is an hireling, and
careth not for the sheep.
"I am the good shepherd, and know my sheep, and am
known of mine.
"As the father knoweth me, even so I know the Father;
and I lay down my life for the sheep. * * * * My sheep
hear my voice, and I know them, and they follow me;
and I give unto them eternal life; and they shall never
perish, neither shall any man pluck them out of my hand."
—John 10, 11-15; 27-28.
How beautifully Piockhorst has portrayed for us the
character of Jesus, who is represented here as a shepherd,
bearing the usual crook and followed closely by his flock.
Well the sheep know who will care for them, who will
see that all are in the fold at nightfall, and whose voice
they know and obey.
The kindly gaze of the Shepherd is bent upon a lamb,
weary from the wandering, which is nestling within the
tender and secure embrace of his master.
An older sheep, perhaps the mother of the lamb in her
master's arms, is walking close by his side, bearing an
almost human expression of understanding and devotion
in her upward gaze. Other sheep are pressing closely
behind the master knowing that he will guide them aright.
But if one should go astray, the master will search until
it is found and brought safely back to the fold; for he
has said, "What man of you having a hundred sheep, if
he lose one of them doth not leave the ninety and nine in
the wilderness and go after that which was lost until he
find it? And when he has found it, he layeth it on his
shoulders rejoicing. And when he cometh home he calleth
together his friends and neighbors saying unto them,
'Rejoice with me for I have found my sheep which was
lost'."— Luke 15, 4-6.
EXERCISES
1. From what book was the quotation in the first part of this
story taken? What part?
2. Who painted this picture?
3. What character is represented in this picture?
4 . What is a shepherd's crook?
5. Why does the Master carry one sheep?
6. Does the mother of the weak lamb show her appreciation to
her Master for his kindness?
7. Why do the sheep know they are being guided right?
8. What do you think is the central thought of this picture?
The most important part of painting is to know what
is most beautiful in nature, and most proper for that art;
that which is the most beautiful is the most noble subject.
— Dryden
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
1
THE GOOD SHEPHERD
BARTOLOME ESTEBAN MURILLO
This series of Picture Studies includes a hundred
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use in the schools and for schoolroom decoration.
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BARTOLOME ESTEBAN MURILLO
Bartolome Esteban Murillo was born in Seville,
Spain, in 1618. His father, a merchant by trade, was so
poor that he was allowed to occupy his house free from
rent. Almost the first we know of the boy's early child-
hood is that his parents had both died before he was
eleven years old. Murillo then went to live with an
aunt and uncle, who, seeing his artistic ability, made him
an apprentice to another uncle, Juan del Castillo, who was
an artist of ordinary ability. It is thought that Murillo
learned little here beside the mixing of paints and the
blending of colors. In 1640, Castillo moved to Cadiz,
leaving young Murillo to fight his own artistic battles.
Without money, without even a very ordinary reputa-
tion as an artist, where should he turn? There was only
one place where he could satisfy his desire to paint and
that was at that studio which was free to all and where
so many struggling young artists spent the greater part of
their time, the public market place, where he painted
pictures of artistically grouped fruits and vegetables,
and even of the little beggar boys who crowded around
him while he painted.
At this time, Murillo's pictures were merely showy
sketches, full of gorgeous colors. His only patrons were
the frequenters of the market place to whom these gay
tones especially appealed.
After a time he went on foot to Madrid where he worked
under his former fellow-townsman Velazquez, who was
then court painter to Philip IV, and at the height of
his success. Murillo was welcomed by the great painter
and was introduced to a number of influential artists of
the time. He spent his time in studying the art collections
of the Royal Court and in copying many pictures in
Madrid. He made such rapid progress that Velazquez
urged him to go to Rome for further study. However,
Murillo longed to return to his own beautiful Seville and
did not desire further foreign travel. When he reached
Seville the commission to decorate the inside of the Fran-
ciscan convent was given him. After he had completed
his work in the Franciscan convent, Murillo's position
in the world of art was established. As the years went
on, he was much in demand as a decorator of churches
and convents.
Murillo was commissioned to such important work as
decorating the All Saints' Chapel and the church and
hospital of the Holy Charity. When he was sixty-two
years old, he went to Cadiz to decorate the interior of
the Capuchin convent. While working here he fell from
a high scaffolding injuring himself so seriously that he
was forced to discontinue. He died quietly in the year
1682, at his birthplace in Seville.
THE GOOD SHEPHERD
The Good Shepherd is here represented by the Christ
Child seated on a rock with His left hand resting on the
back of a sheep, and His right hand holding the shepherd's
crook. He is clad in a tunic and a sheepskin garment
after the fashion of shepherds of that day.
In the face of the Child we see a look of divine tender-
ness as He gazes afar off into infinity. His is a large
responsibility, a shepherd guiding his flock. The eyes
so full of thoughtfulness and the grave expression of the
face lead us to believe that He sees a vision of the future.
He is no longer, then, to guard and direct His little flock
of sheep. He must soon be prepared to do a great work
in the world, that of guiding His human flock, of being
the perfect example before men.
EXERCISES
1. Sketch briefly the life of Murillo.
2. To what school of art does he belong?
3. Tell of the important tasks he was given to do.
4. In what kind of painting did he excel?
5. Describe this picture?
6. Who is "The Good Shepherd"?
7. Why do you think he is here spoken of as a shepherd?
8. What about him seems to you to be especially attractive?
9. What do you like best about this picture?
10. Why do you think the picture is so greatly loved by children
everywhere?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
BBSS-
Hi
A HALT AT THE OASIS
ADOLPH SCHREYER
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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ADOLPH SCHREYER
Adolph Schreyer was born in Germany. His parents
were so wealthy that he could study, travel and see sights
that helped him to make beautiful pictures without
having to suffer from poverty as so many artists have had
to do.
He was one of the very ablest painters of Arabian
horses. He loved horses so much that he put them into
nearly every picture he painted. In the riding school of
his own city, and while he was in the army, he studied
the form, color and every action of the horse carefully, so
that when we look at one of his pictures and then close our
eyes, we seem to have seen real life.
Schreyer traveled in all the principal countries of Europe
and visited Algeria and Egypt. Loving horses as he did,
he could not fail to be captivated by the noble, far-famed
Arabian breed which is so beautiful.
He won medals at Paris, Vienna and Brussels; in
1864 he became a member of the Rotterdam and Antwerp
Academies. His work is extremely popular in the United
States and many of his works are owned in this country.
A HALT AT THE OASIS
In this picture we have a typical Arabian scene. These
Arabs have been traveling across the dangerous desert —
dangerous because of the lack of water and because it is
infested with hostile tribes — and have now stopped to rest
awhile by the oasis.
What a delightful place this must be after traveling
in the hot sun and burning sands of the vast desert!
See the dark masses of trees in the background, the cling-
ing vines, the soft green grass beside the clean, sparkling
stream, and the well itself, full to the brim of life-giving
water, out of which one of the horses is just ready to
take a drink.
These people could not have traveled on the desert if
it were not for these oases that are found here and there,
where they can stop for water and rest in the cool shade.
The horses in this picture are splendid examples of the
typical Arabian horse, especially the noble white charger.
See how his head is thrown back, his nostrils dilated —
as thohe were scenting danger afar off.
The men are enjoying their rest after traveling in the
hot sun. How strong their dark faces look. Notice the
long pipe in the hand of the one nearest the front of the
picture, and the peculiar weapons lying on the ground
beside him.
They will probably rest awhile, and after filling their
canteens, will continue their wearisome journey across
the hot, shining sand.
EXERCISES
1. Where was Adolph Schreyer born?
2. What did he paint best of all? What helped him in this?
3. Where did Schreyer travel?
4. Name some honors that were bestowed upon him.
5. Describe this picture.
6. From what country are these people? How do the people
dress in that country?
7. What kind of horses are these? Which one do you like best?
Why?
8. What do you think the white horse is looking for?
9. What do you like best about this picture?
In no circumstances whatever can man be comfortable
without art. The butterfly is independent of art, though
it is only in sunshine that it can be happy. The beasts
of the field can roam about by day, and couch by night
on the cold earth, without danger to health or sense of
misfortune. But man is miserable and speedily lost so
soon as he is removed from the precincts of human art,
without his shoes, without his clothes, without his dog
and his gun, without an inn or a cottage to shelter him
by night. Nature is worse to him than a stepmother, —
he can not love her; she is a desolate and howling wilder-
ness. He is not a child of nature like a hare. She does
not provide him a banquet and a bed upon every little
knoll, every green spot of earth. She persecutes him to
death if he does not return to that sphere of art to which
he belongs, and out of which she will show him no mercy..
— Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
A HELPING HAND
EMILE RENOUF
This series of Picture Studies includes a hundred
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THE UNIVERSITY PUBLISHING COMPANY
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EMILE RENOUF
Emile Renouf was born in Paris, June 23, 1845. He
spent most of his life painting French scenes of landscapes,
marine views and scenes from every-day life. He was
a worthy pupil of the leading Parisian artists of his day
among whom were Boulanger, Jules Le Leovre, and Car-
olus-Duran. In 1880, he won the second class Medal in
an exhibit at Paris. The first class Medal was awarded
to him in Munich in 1883. In 1886 he visited America
where he found subjects for some of his most beautiful
paintings. The Helping Hand is the one picture by which
he is generally remembered.
A HELPING HAND
In this picture we see a little French peasant girl,
very much interested in helping her grandfather to row
the boat. Her home is in one of the fishing settlements
off the coast of France. In reality the heavy oar is
entirely too heavy for her tiny little hands but she feels
that she is helping and is, in her own little way. Her
proud and loving grandfather is evidently humoring her,
even assuring her that she is helping him. She feels that
the boat can never reach the shore if she does not assist
in rowing it. Her grandfather is a fisherman and spends
many hours on the water and Louis likes to go with him.
Among other pictures painted by this artist are: After
the Storm; The Brooklyn Bridge; Last Repaid; After
a Gust of Wind; The Pilot; Sunset; Adrift.
EXERCISES
1. Who is this little girl in the picture? Where does she live?
2. Who is the man you see in the boat?
3. How is the little girl helping the man?
4. How is the little grandaughter showing a helping hand?
5. Describe the picture as you see it.
6. What story does it tell you?
7. Why is this picture so well liked?
The temple of art is built of words. Painting and
sculpture and music are but the blazon of its windows,
borrowing all their significance from the light and sugges-
tion only of the temple's uses. -Holland
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
1ST
OLIVER WENDELL HOLMES
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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OLIVER WENDELL HOLMES
Successful American man of letters, poet, scientist,
humorist, college professor, and general friend was Oliver
Wendell Holmes. He was born at Cambridge, Mass.,
August 29, 1809. He was prepared for college in Andover
Academy, then went to Harvard from which he graduated
with the famous class of 1829. He immediately entered
the Harvard law school, but soon abandoned law for
medicine. It was in 1830 while he was a young law student
that he published his poem, " Old Ironsides, " in the Boston
Advertiser as a protest against the proposed destruction
of the old frigate Constitution. After three years in the
Harvard Medical School and three years in Europe, he
returned to Boston to practice medicine. The same
year, his first volume of poems appeared. Altho he
was Professor of Anatomy at Dartmouth for two years,
and for thirty-five years Parkman Professor of Anatomy
in Harvard Medical School, his fame rests chiefly upon
his literary output.
His writings in the Atlantic Monthly soon made his
fame nation wide, and attracted the attention of literary
men and women in Europe. His "Autocrat of the Break-
fast Table," "The Professor at the Breakfast Table," and
the "Poet at the Breakfast Table," were original, spiced
with sparkling wit, and yet true to the life of the day.
He also wrote many songs, poems and satirical essays.
His death occurred in Boston, October 7, 1894.
Holmes was small in stature, slight, and attractive in
personal appearance. He was genial and kind, ready to
talk with the humblest child, and always quick to answer
personally the letters his many children friends wrote him.
On one occasion, he even sawed a shell in two in order
to explain to a little child friend the meaning of "The
Chambered Nautilus." He was one of the best conver-
sationalists of his day, and his companionship was sought
alike by learned men and little children. This portrait
reveals him as he was, genial, friendly, keen, with a hint
of humor in his eye and with keen, balanced mind, a
thinker, philosopher, and friend who gave himself freely
to his fellowmen.
EXERCISES
1. Tell of the early training of Oliver Wendell Holmes.
2. What profession did he choose?
3. When and why did he write "Old Ironsides"?
4. Sketch briefly his professional life.
5. Tell of his literary career.
6. From a study of his portrait, what kind of man do you think
he was?
7. What to you is most interesting in what he wrote?
All nature is but art unknown to thee;
All chance, direction which thou can'st not see
All discord, harmony not understood ;
All partial evil, universal good;
And spirit of pride in erring Reasons spite
One truth is clear, whate'er is is right I admire.
— Pope
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE HORSE FAIR
ROSA BONHEUR
This series of Picture Studies includes a hundred
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use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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ROSA BONHEUR
In the quiet old town of Bordeaux, on the west coast of
France, was born, October 22, 1822, one of the world's
most famous artists, Rosa Bonheur. Her father was an
artist. Her mother was a musician. Rosa's waking
hours were spent in playing with the cats and dogs.
She loved every animal that came along, no matter how
wretched it might be.
When her father moved to Paris little Rosa became
very homesick for the familiar scenes in her quiet old
home in Bordeaux. There was a school for boys near-
by, and the master, seeing the loneliness of the little girl,
asked her father to send her with her brothers to his
school. The boys became very fond of her, for she
entered into their sports as readily and with as much
spirit as one of their own number.
In 1835, Rosa's mother died, leaving the father to care
for four small children. The family now had to be
separated. Juliette, Rosa's sister, was sent to a friend
of the mother in Bordeaux; the boys to one boarding
school; and Rosa to another. Rosa, at least, did not
feel happy with this change. She had always lived a
free, unrestrained life, and to thus be held within the
bonds of school life was too much for the child. She
made a dash for freedom, so transgressing on the rules
of the school that the authorities of the institution gave
her up in despair and she went joyously home to her father.
Rosa's father was so busy with the giving of his lessons
that he had no time to instruct his little daughter. She
was free to amuse herself as she wished, which she did
by drawing and painting. One day, upon returning
home to his studio, he was surprised to find that she had
sketched a very lovely bunch of cherries. After that he
took time to give her lessons, and she progressed so rapidly
that she was soon able to give lessons herself. She was
advancing so well that she took to copying famous master-
pieces in the Louvre, and these copies were so well done
that she received good prices for them in the market places.
In 1847 Rosa Bonheur received her first prize, a gold
medal of the third class, presented in the king's name.
One of her best works, "Oxen Plowing," was painted
for the Salon exhibit of 1849.
After her return to Paris, she withdrew to the village
of By, in the very heart of the grand old forest of Fontaine-
bleau. Here at By, Rosa purchased a rambling old house
where she kept a menagerie consisting of birds of all
kinds, and animals, both wild and domestic. Here she
lived the life of a peasant, rising early, and retiring at
the setting of the sun, eating the simplest of food and
painting to her heart's content.
In 1893 she had bestowed upon her the greatest honor
which can come to an artist, that of becoming an officer
in the "Legion of Honor." The Cross of the Legion of
Honor was pinned on her by Empress Eugenie, wife of
Napoleon III. She died on May 25, 1899.
THE HORSE FAIR
Rosa Bonheur was never content to let her last picture
remain the best. The great success of her "Oxen Plow-
ing" created in her the desire to do something better.
With this in mind she set to work planning her great
picture "The Horse Fair," which was destined to become
the most famous horse picture known.
Did she sit down before her canvas and proceed to
sketch horses in every conceivable attitude? No. She
spent just one and one-half years in preparation before
she felt ready to make her picture.
Her friends placed their finest horses at her disposal
to use as models, but this was not sufficient. She visited
the horse markets where she studied all sorts of beautiful
animals and sketched them in every imaginable position.
To avoid the rude remarks made about her for entering
the horse markets, she donned the attire of a man and
then went about her work quietly and persistently.
Her horses were to be two-thirds life size. For that
reason an immense canvas was required, and the artist
had to continually use a ladder as she worked. This
great piece of art was completed in 1853, and was then
ready for the Salon. The admiration which this paint-
ing received, was beyond that ever received by any other
modern picture.
After the picture had been exhibited, Rosa Bonheur
received the rare honor of exhibiting any pictures in the
future without previous examination — an honor which
rarely comes even to a great artist.
Later the painting was exhibited at Ghent. The
artist was offered 40,000 francs by Mr. Gambert, a picture
dealer, and the offer was accepted. Finally it was bought
by a wealthy man in New York who paid 300,000 francs
for it, and it now hangs in the Metropolitan Art Museum.
EXERCISES
1. Sketch briefly the life of Rosa Bonheur.
2. What honors were bestowed upon her?
3. Where did Rosa make her home in her later life?
4. How did Rosa Bonheur prepare for the painting of "The
Horse Fair"?
5. Tell about the size of the painting.
6. When was it completed? Where first exhibited? Where
next? How received?
7. To whom and for how much did Rosa sell this picture? To
whom and for how much was it next sold?
8. Where is this picture now?
9. Describe "The Horse Fair."
10. What do you like best about the picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE HORSE SHOER
SIR EDWIN HENRY LANDSEER
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use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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SIR EDWIN HENRY LANDSEER
Sir Edwin Henry Landseer was born in the outskirts
of London, on March 7, 1802. His feitiher, an artist,
took a deep interest in his son's artistic tendencies, which
began to show at a very early age.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at
the age of fourteen. At a very early age he had begun
to show a preference for the dog above all other animals,
so at the Academy he was known as "the little dog-boy."
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of Land-
seer's skill, and one of his chief patrons. He became
the Court Artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred
the honor of knighthood upon the artist, and from that
time on, he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate of the Academy in 1826. In
1831, he was elected to full membership, and in 1865 he
was offered the presidency of the Academy, but refused
on account of failing health. He died October 1, 1873.
THE HORSE SHOER
Longfellow's "The Village Blacksmith" brings to our
minds a true picture. Landseer's "The Horse Shoer"
is a poem on the canvas. The two men offer us the
same message, the one by means of the pen and the other
with the brush.
There is a pretty story connected with this picture
which illustrates the intelligence of animals and the
comradeship which may exist between man and his dumb
friends. Betty was a beautiful young mare belonging
to a wealthy friend of Mr. Landseer. She was spirited
and very independent. It early became her desire never
to be hitched to a post or in the barn. She thus acquired
the habit of wandering about at will. Perhaps the most
remarkable thing she did was to trot down to the country
blacksmith shop whenever she needed new shoes. Here
she would stand until the work was finished when she
would go back to her stall.
It was upon one of these occasions that Mr. Landseer
chose to portray the charming scene we have in "Shoe-
ing The Bay Mare."
The keynote of the picture is not found in the glossy
coat of the mare nor in the other animals, nor even in
"The Village Blacksmith," but it is found in the act of
labor, upon which all the figures in the pictures are con-
centrating their attention. Betty's noble head is turned
to watch the performance. The impudent little donkey,
which offers such a contrast to Betty's queenly appear-
ance, fixes its eyes intently upon the process of shoeing.
Laura, the bloodhound, is just as interested as anyone.
EXERCISES
1. Give a brief sketch of the life of Landseer.
2. Name some of his characteristics as a painter.
3. In what respects is Landseer's picture, "The Horse Shoer,"
like the poem, "The Village Blacksmith"?
4. Tell the story connected with the picture.
5. What is the center of interest in this picture?
6. How does the artist bring out the "keynote" or message of
the picture?
The highest problem of every art is, by means of appear-
ances, to produce the illusion of a loftier reality.
— Goethe
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
TTTW
X
HOSEA
JOHN SINGER SARGENT
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JOHN SINGER SARGENT
John Singer Sargent was born of American parents in
1856, in Florence, Italy. He was a student in the Acad-
emy of Fine Arts in Florence and studied under Duran
in Paris. His first exhibition at the Salon consisting of
three pictures, when he was twenty-one years of age,
created favorable comment.
After visiting in Spain, he went to London which has
since been his home. He has made many visits to the
United States. In 1890, he received a commission to
decorate a hall in the Boston Public Library. The theme
which he chose was the Pageant of Religions, repre-
senting the different periods in the development of the
religion of the Jews. These decorations are regarded as
rare masterpieces, and are the cause of thousands annually
visiting the Boston Library.
In 1897, Sargent attained the highest rank of an artist,
when he was made an officer of the Legion of Honor.
He belongs to many art societies. He received gold
medals at many of the international exhibitions, and
was awarded the grand prize at the St. Louis Exposition
in 1904.
Sargent's portraits interpret character truthfully. His
men are strong, and virile; his women are exquisitely
beautiful, yet not overdrawn; his children are tender and
charming. Among his noted paintings are: The Girl
with a Rose; Hall of the Four Children; Carnation Lily;
Hosea; many portraits, among them that of Washington.
HOSEA
The story of the prophets finds its beginning in the
story of Israel's deliverance from bondage. After years
of suffering from plague and disease, we find the perse-
cuted children of Israel at last on the other side of the
Red Sea, free from their hated masters, the Egyptians.
At last they reached the Promised Land beyond the
river Jordan. Under the leadership of Moses, they grew
in strength and number and were living in peace and
happiness. Soon the children of Israel turned their faces
from the Lord. Prophets were sent to them who, by
warnings and predictions, would deliver them. But
one after another the prophets were compelled to turn
away in anguish for the children of Israel would not hear
them.
One by one they passed; Isaiah, that mighty one;
Nahum, Habakkuk, Zephaniah, Jeremiah who saw the
city destroyed; Elijah, that stern old prophet whom
God endowed with the power to perform miracles — but all
to no avail; Ezekiel, who brought a message of hope;
Daniel, Joel, sent to furnish an arm of strength to the
people who found it so easy to fall before temptation.
When a certain hall in the Boston Library, the hall now
known as Sargent's Hall, was to be decorated, no more
appropriate design could be chosen than the figures of
these grand old prophets. In the great arched ceiling is
portrayed in a mighty procession, — the oppression, deliv-
erance and downfall of Israel.
The frieze of the prophets is arranged in panels. In
the central panel over the door are the chief prophets —
Moses, Joshua and Elijah. Moses stands in the center
holding his tablets of stone, upon which are written
God's ten commandments.
A peculiar and intensely interesting arrangement marks
the group of which Hosea is a figure. There are the
Prophets of Despair and the Prophets of Hope. There
are four figures in each group. Among the Prophets of
Despair are three bowed down by woe and grief. The
awfulness of their despair is hard to look upon and we
would soon turn away were it not for the fourth figure
in the group. He stands hopeful, courageous, tranquil.
What a contrast to his grief -stricken comrades! He is
so calm, so peaceful, so strong in his faith in his people, so
firmly hopeful that right will conquer wrong. He wears
a long, clinging white garment surrounding his whole
body and draping in about his strong face emphasizing
the purity of his character. He is, indeed, the Prophet
of Hope.
EXERCISES
1. Tell briefly of the life of Sargent.
2. How is he connected with American art?
3. Where does he now live and work?
4. What honors have been bestowed on him?
5. How is Sargent's Hall in the Boston Public Library decorated;
6. Describe this picture.
7. What does his white robe denote?
8. What in this picture impresses you most?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE INFANT SAMUEL
SIR JOSHUA REYNOLDS
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company.
SIR JOSHUA REYNOLDS
Sir Joshua Reynolds, (1723-1792) was born in the
beautiful county of Devonshire, England. His father
was a clergyman and his mother was the daughter of a
clergyman. When Sir Joshua was yet a child, his parents
decided that he should be educated for a druggist.
One Sunday, as he sat in church, he sketched a picture
of the minister on his thumb nail and afterwards trans-
ferred it in oil to canvas. This convinced his hitherto
reluctant father that he should give his consent to the
boy to enter his chosen field, and he reluctantly appren-
ticed the boy to Hudson, a great London painter. The
boy was apprenticed for four years, but at the end of two
years he returned to his native home, Plympton, England.
It is said that Hudson realized the ability of Reynolds
and, because of fear in having a rival in Reynolds, dis-
charged him.
Reynolds traveled abroad extensively but the place
where he found most joy and satsifaction was in Italy
with the great masters in art. In Venice he conceived
his ideal in coloring, but not his method. This great
arl ist was said to be one of the seven great colorists of all
time, yet he won this distinction only by hard work.
After three years of travel, observation, study and toil
in Italy he returned to London, determined to "survive
or perish" in his art. During his second year he had a
hundred twenty dukes, duchesses, members of parlia-
ment, and society beauties sit for him. In one year he
had a hundred fifty sit for him, among them the Prince
of Wales, afterwards George III.
THE INFANT SAMUEL
"The Infant Samuel," by Sir Joshua Reynolds, is
universally admired. The picture has its origin in the
familiar Bible story which represents the young Samuel
in a worshipful attitude answering the voice of God:
"Speak, for thy servant heareth." I Samuel 3:10. But
the picture has a meaning, even tho the beholder is
unfamiliar with the Bible story, and that meaning has to
do with the sweet and simple trust of a little child. The
picture also appeals to many a mother with reminiscences
of "Now I lay me."
The beautiful face of the child, filled with mingled
childish wonder and reverence is sure to appeal to all
The simple, white slip worn by the child, the clasped
hands, the beautiful eyes, the delicately modeled nose,
the wealth of hair, and the sweet lips, enhance the beauty
of the picture. No other artist ever painted the lips and
nose of a child quite so perfectly as did Sir Joshua Rey-
nolds.
EXERCISES
1. Tell something of the life of Sir Joshua Reynolds.
2. What position does Reynolds hold among English painters?
3. What shows that he was very popular in his own day?
4. Upon what Bible story is this picture based?
5. Describe the picture in detail.
6. What meaning has this picture to you?
7. What do you like best about the picture?
There is no limit to the good which is effected by plac-
ing good pictures before ourselves. — Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
JOAN OF ARC
BASTIEN LEPAGE
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
BASTIEN LEPAGE
Lepage was born in Damvillars, France, in 1848 and
died in 1884. When a boy, he lived near the home of
Joan of Arc. He was a pupil of Cabanel, with whom he
remained until 1870. Lepage earned his living for many
years by working for illustrated papers. His first success
was a picture of his grandfather. This he painted in
1874. From this time his reputation was established.
Lepage was probably never excelled by any one in his
perfectly passionate love of nature. To him, the woods,
the skies, the fields and flowers were a joy and a satisfac-
tion. Lepage ranks as one among the first of recent
painters.
JOAN OF ARC
During the Middle Ages there was almost constant
warfare because of conflicting claims to the-thrones of
France and England. In 1338, King Edward II of
England began a war known in history as "The Hundred
Years' War." Near the close of this war, when France
was ready to surrender, and when the English troops were
besieging the last stronghold of France, the city of Orleans,
the French became desperate. They were discouraged;
the soldiers were deserting; they longed for a man with
the ability to organize their troops to save Orleans.
Out in the country near Orleans there lived a peasant
maid, Joan of Arc, who herded her father's sheep. For
a long time she had been praying that her country might
be saved. On a beautiful day in summer as she sat at
her wheel spinning there appeared a strange, mysterious
light over the garden where she was working. A heavenly
glow seemed to be everywhere. Suddenly, she heard
voices and they bade her, "Go to the aid of the king and
restore his kingdom." "But," Joan replied, "I know
not how to ride or lead men to arms. " " Go, " they called
again, "Go and the Lord be with you."
After much hesitation the young king gave her permis-
sion to lead the armies of France. She was clad in pure
white and rode a coal black charger. Her presence
inspired more than 200,000 loyal soldiers of France. She
led them on to the very walls of the enemy with such
wild enthusiasm that the English fled and France was
saved.
Later she led the French to victory in a battle at
Patay and assisted in the coronation of Charles VII at
Rheims. Two years later she was captured by the
English and burned at the stake as a witch.
This picture is different from any other artist's picture
of Joan of Arc. Lepage lived near her home when he
was a boy and was thoroly in sympathy with the
lives of the people there. He has represented her as a
peasant girl. He made a visit to Domremy, where she
was born. He saw her house with all its surroundings
and with a vivid imagination of the peasant girl in the
midst of these surroundings he wove the story into this
picture. What an angelic expression her face gives forth
as she seems to listen! Her thoughts are wrought with
fear as she tries to answer the call. At first she hesitates,
then she seems to understand that her country needs
her, that she has indeed been called to lead her people
out of bondage to victory and freedom. Her eyes seem
to be gazing far out into space and her whole attitude is
one of trust and submission and obedience to her country's
call.
Notice the spinning wheel, the saintly faces, the beauti-
ful flowers. The artist painted this picture as he stood
in the garden whence she was called.
EXERCISES
1. Sketch briefly the life of Lepage.
2. What was the "Hundred Years' War"?
3. Who was Joan of Arc?
4. Tell the story of "Her Country's Call."
5. What moment in her life is represented in this picture?
6. What opportunity had this artist to make this picture true to
life?
7. What do you like best about the picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE KNITTING SHEPHERDESS
JEAN FRANCOIS MILLET
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the ''peasant painter of France." As a boy, he
lived a rugged out-of-door life, helping his father in the
fields. When he could no longer repress his desire to
become an artist, he went away to study. When he re-
turned, he was a great painter, but still remained a true
peasant at heart. He set up his home and studio in the
village of Barbizon, not far from Paris. Here lived the
peasants who plowed, sowed, cultivated, and reaped, and
Millet delighted to wander out and sketch them at their
labor or converse with the woodcutters, the charcoal
burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon, he
was at least able to get food for his little ones from his
garden, and he could have near him his brother artists
Dupre, Rousseau, Corot and Barye, who appreciated his
efforts and to whom his artistic message was not spoken
in vain.
Millet was so full of sympathy with human life, that in
his first pictures very little attention was given to the
landscape; but later he was educated to the fact that
there is a good bond between man and nature, and that
a picture to be a true interpretation must harmonize the
one with the other.
The figures in his pictures are neither artistic nor grace-
ful, but they show great expression and goodness of
character and look as if they were really a part of their
surroundings.
He died without having been appreciated. Three
nations are now striving in friendly rivalry to secure his
masterpieces.
THE KNITTING SHEPHERDESS
Here is a picture of the shepherdess knitting while
her flock is grazing in the meadow. Tho she is not
singing with her lips, her heart is singing softly as
she knits, and her hands keep time to the dream music.
She has been out with her flock since early morning and
all the while she has been busy with her knitting. She
can knit perfectly well now as she follows her sheep about.
The little shepherdess has an assistant, too, who shares
the responsibility of her tasks. He is the small black
dog, and if one of the sheep is tempted to stray from his
companions he quickly bounds after the runaway and
drives it back to the flock. Now nightfall comes and
it is time to lead the flock back to the sheep fold. The
shepherdess leads the way, and the dog remains at the
rear.
The shepherdess wears a hood and cape for the air is
growing cold. She knows all the sheep by name and
they follow her as she goes before them. They must
cross the plain where in the distance we can see the men
loading hay. The sheep keep nibbling as they go and
the shepherdess takes time to stop and rest now and then,
propping her staff in front of her while she picks up a
stitch dropped in her knitting. There is a sense of per-
fect stillness in the air, as the calm silence of the fields.
Notice how the earth seems to stretch far away until
at last it seems to meet the sky. Other pictures painted
by this artist are: The Sower; The Angelus; The Glean-
ers; Feeding Her Birds; The First Step.
Exercises
1. Who painted "The Knitting Shepherdess"?
2. Tell all you can of Millet's life.
3. What is the shepherdess doing?
4. Do you think it is difficult for her to watch her sheep and
knit at the same time?
5. What tells you how long she has had her sheep out?
6. What time of day do you think it is? Why?
7. How does her faithful dog help her?
8. What impressions do you get from the picture?
9. Why do you think so many persons like this picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ifc.4iii
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THE LAKE
JEAN BAPTISTE CAMILLE COROT
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company
JEAN BAPTISTE CAMILLE COROT
Corot was born in Paris on July 26, 1796. His father
was a poor shop-keeper of peasant descent, who sold
ribbons and laces. At the age of ten, Corot was sent to a
boarding school at Rouen. After he returned to Paris,
his father bought a country house on the outskirts of the
city. Here the boy would sit half the night, gazing out
thru his window at the sky, the water, and the fantastic
shadows cast by the great trees.
At an early age Corot was made apprentice in a cloth-
shop, where he worked for eight years. Finally, how-
ever, he gained courage enough to state his ambition to
his father. He was met with no particular remonstrance
but was warned that he would receive only enough money
to keep him from starving. Corot gladly agreed to these
terms and began his new work immediately.
After the death of his first master, Michallon, Corot
entered the Paris studio of Victor Bertin. In 1827, he
made his first exhibition at the Salon. At the close of
the Salon exhibition in 1846, at which he exhibited his
painting entitled, "The Forest of Fontainebleau," he
received, in his fiftieth year, the Cross of the Legion of
Honor, the highest honor that can be bestowed upon an
artist.
He was unselfish to the utmost degree and was always
ready with his purse to help the needy. When asked
concerning his lifetime generosity he said, "It is my tem-
perament and my pleasure. I can earn money again so
quickly, just by painting a little branch. Charity always
brings me in more than it costs me for I can work better
with a heart at ease."
It is interesting to know that Corot spent his summers
at Barbizon and in the Forest of Fontainebleau which he
dearly loved. This is the place where at the same time,
Millet, his contemporary in poverty studied the life of
the toiling peasants and painted his famous pictures.
On February 23, 1875, Corot passed away murmuring
of beautiful landscapes and of the happy hours he had
spent with nature.
THE LAKE
To Corot, the most perfect hour of the day was the one
just before sunrise. Then, using his own words, "At
three in the morning, one does not see much at first, every-
thing is scented, everything trembles, with the first
breeze of dawn. When the sun is clear it has not yet
torn away the mist, behind which are hidden the hills
of the horizon. At the first ray of the sun, the little
flowers seem to awake joyously and the leaves shiver in
the morning breeze. In the trees the invisible birds are
chirping. It seems to be the flowers offering up their
prayers. The sun has risen. Everything is brilliant,
everything is in full purple light. The flowers hold up
their heads and the birds fly hither and thither. The
mist rises and reveals the land plated with silver, and
nature in masses all fresh and fragrant."
But in this picture, Corot has not given us the dim
uncertainty of early dawn. The sun in all its glory is
high in the brilliant sky. It sends bright little rays
down thru the trees and casts a silvery sheen over
the shimmering lake which stretches far off into the
dim distance.
The trees, Corot's chief conception of beauty, are full
of dainty, trembling leaves. The long slender trunks
reach up their beckoning arms to the sky.
Two cows are silhouetted against the whiteness of the
lake.
The herder, resting on his staff, watches his contented
charges. This is the artist's idea of peace, of quiet, this
undisturbed little nook in an isolated spot of the forest.
We can now understand how Corot's spirit with such
tender regard for all nature remained true, pure, sweet
and joyful.
EXERCISES
1. Sketch briefly the life of Corot.
2. What evidence of the artist's power to portray nature is there
in "The Lake"?
3. What time of day is pictured?
4. What details bring out the time of day?
5. What traits of Corot's character are brought out in his
paintings?
6. What in this picture most appeals to you?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE LAST SUPPER
LEONARDO DA VINCI
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
LEONARDO DA VINCI
Leonardo was born in 1452 in the castle Vinci, in
Italy. He was called Leonardo Da Vinci because he
lived in this castle.
He was one of the most gifted of children. Altho
he showed in early life a tendency to paint, he was talented
in many other things. He was a writer; a musician; an
inventor; could model in clay; and could design roads,
bridges, canals and fortresses.
Leonardo's heart, however, was in his chosen art. He
loved to sketch and was often seen in the street sketch-
ing interesting faces. He frequently invited peasants
to his home. After telling them interesting stories until
he had them in a happy mood, he would sketch their
pictures.
When his father found that his son had such artistic
ability, he sent him to Florence to study with Verrocchio.
After the son had been with Verrocchio a number of
years, the story goes that Verrocchio was in a hurry to
finish a picture and asked Leonardo to paint in one of the
angel heads. When Verrocchio found that Leonardo had
done the best work in the picture he was so angry that he
burned his brushes and palette and declared he would
never paint again.
After a while the Duke of Milan made Leonardo a
member of his court. Leonardo established an art
academy in Milan and it was here, by order of the duke,
that he painted his masterpiece, "The Last Supper," on
the walls of the refectory of a Dominican convent.
Leonardo painted in all about two hundred fifty pictures.
THE LAST SUPPER
"Now when even was come, he was sitting at meat
with the twelve disciples; and as they were eating, he
said, 'Verily I say unto you, that one of you shall betray
me.' And they were exceedingly sorrowful, and began to
say unto him every one, 'Is it I, Lord?' And he answered
and said, 'He that dipped his hand with me in the dish,
the same shall betray me.' And Judas, who betrayed him,
answered and said, 'Is it I, Rabbi?' He saith unto him,
'Thou hast said.'"— Mat. 26: 20-23, 25.
On the night of the Passover, Jesus and his disciples
ate together in a small upper room in Jerusalem. In this
picture he is breaking the bread of the farewell feast with
his disciples. Why is this company so sad? Why do
they all start and seem so excited? He has just said,
"One of you shall betray me." Can you not fancy,
from the action of each that they are asking, "Master,
is it I?"
There is no doubt as to which one of the number Da
Vinci intended to represent the traitor. In this picture
Judas is feigning surprise by gesture and expression and
fear by the way in which he grasps the bag of money in
his right hand.
In this wonderful picture, Christ as the central figure
reigns supreme. Da Vinci was dissatisfied with the face
of Christ. He said, "Twice, thrice, and many more
times have I tried to express the face of my Saviour, but
at last I realize I shall not see His face this side of eter-
nity."
EXERCISES
1. Sketch briefly the life of Leonardo Da Vinci.
2. Where and for whom did he paint "The Last Supper"?
3. What scene does this picture portray?
4. Why is it not difficult to point out the traitor in this picture?
5. Who is the central figure in the picture?
6. What to you are the most charming features of this picture?
7. Why do you think this picture is regarded as one of the finest
of the world's paintings?
Cultivate an interest in pictures. It is a part of educa-
tion always within your reach.
— Sir Joshua Reynolds
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
LEAVING THE HILLS
JOSEPH FARQUHARSON
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
JOSEPH FARQUHARSON
Joseph Farquharson is the son of Francis Farquhar-
son and is one of the most industrious of present-day
English art exhibitors. In 1900, he was made an associate
of the Royal Academy, a recognition won thru his success
as a landscape painter, He married Violet Evelyn in
1914 and has since lived in England. He has had not-
able exhibits at the Royal Academy, The Royal Institute
of Painters in Oils, and The Art Gallery, Liverpool.
LEAVING THE HILLS
"Leaving the Hills," by Farquharson, is a popular
study of sheep in a pleasing landscape setting. In fact,
the landscape settings are beautiful studies in themselves,
regardless of the fact that Farquharson uses landscape
in the nature of an accessory.
This picture represents a shepherd driving a flock of
sheep. We are first attracted to the sheep, then to the
wonderful atmospheric effects with the blue hills, fading
in the distance. The landscape is made up entirely of
hills and slopes covered with grass and ferns, but there are
no trees. A wide roadway occupies the main part of the
foreground. The sheep occupy the middle ground as they
move directly toward the beholder. The figure of the
shepherd stands out quite distinctly thru the strange
mellow light. The entire scene is enveloped in a soft
haziness that is the main charm of the picture. The
sheep stand out against the long purplish shadows directly
in front of them.
Wonderful economy of attention is secured by the
grouping and arrangement. There is nothing to attract
interest from the line group that forms the center of the
canvas.
The sheep are painted with care in detail. The artist
has succeeded in giving one the impression of the brisk,
onward movement of the flock. Two or three of the
sheep lower their heads to crop the ferns and grass as they
move forward. The leader of the flock marches a few
feet in advance of his companions.
EXERCISES
1. What use has the artist here made of landscape?
2. What time of day do you think is here shown?
3. Describe fully the background of the picture.
4. What is unusual about the grouping?
5. What in this picture holds the center of attention?
6. What do you think is the most charming thing about this
picture?
7. Why are sheep favorite subjects with many painters?
To study one good master till you understand him will
teach you more than a superficial acquaintance with a
thousand; power of criticism does not consist in knowing
the names or the manner of many painters, but in dis-
cerning the excellence of a few.
—John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ABRAHAM LINCOLN
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ABRAHAM LINCOLN
Abraham Lincoln was born February 12, 1809. His
ancestors had lived in Kentucky when, and near the place
where, Daniel Boone was fighting the Indians. It was
from these pioneer people that Lincoln came. His life
was one of hardships. When he was seven years of age
his mother died. She had not only been his teacher but
she had impressed upon his mind, that love of truth and
justice, that perfect integrity and reverence for God for
which he was noted thruout his life.
Some one has said of his mother, "She was a woman
of deep religious feeling, of the most exemplary character,
and most tenderly and affectionately devoted to her
family. Her home indicated a love for beauty, excep-
tional in the wild settlement in which she lived. Hers
was a strong, self-reliant spirit, which commanded the
love and respect of the rugged people among whom she
dwelt."
Abraham was named for his grandfather, who was killed
by the Indians while he and his three sons, Josiah, Thomas,
and Mordecai were clearing some land which was to be
their home.
Lincoln had a thirst for learning which was not satisfied
by going a few weeks to school in the winter after all the
work had been done. Altogether he went to school less
than twelve months. He hungered for an education and
by real effort succeeded in getting a sufficient amount to
enable him later to conduct the affairs of the nation. He
read incessantly. He read every book within a radius of
fifty miles. He very rarely had paper or books to write
down his favorite passages but wrote them on boards and
kept them until he got paper. Whenever he heard of a
book he would walk miles to borrow it. Once he borrowed
"Weem's Life of Washington" from a Mr. Crawford.
He always read late into the night, then placed the book
between the logs of the cabin so it would be near when day-
light came. This time it rained and wet the book thru
and thru. Mr. Crawford required Lincoln to pull corn for
three days to pay for it, but mutilated as. it was it be-
longed to him and he loved it. He also read Aesop's
Fables, Pilgrim's Progress, and the lives of Benjamin
Franklin and Henry Clay. He knew the Bible very well
and often quoted from it.
When only a boy Lincoln heard that Breckinridge, a
noted lawyer, was to make a plea for the defense in a
murder trial at Booneville. He admired Breckinridge so
much that he. walked fifteen miles and back every day
during the trial to hear him, and he decided then to be a
lawyer.
Lincoln split rails, worked in a grocery store and on a
flat boat, grubbed trees, in fact, did every kind of manual
labor.
This picture shows Lincoln as he grew to be, the great
president, emancipator of the slaves, and big-hearted,
far-sighted leader and statesman.
EXERCISES
1. When and where was Lincoln born?
2. How old was he when his mother died?
3. How did his mother influence his life?
4. How did Lincoln get his education?
5. How long did he attend school?
6. What books especially did he read?
7. From a study of this picture what kind of man do you think
Lincoln was?
None more admires, the painters magic skill
Who shows me that which I shall never see.
— Cowper
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
5193
.
LITTLE CHILDREN OF THE SEA
JOSEPH ISRAELS
This series of Picture Studies includes a hundred
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JOSEPH ISRAELS
Joseph Israels (1824-1911) was born in Groningen in
northern Holland. He was a Hebrew of the "tribe of
Benjamin," a devout Jew, trained in the Talmud as a
Rabbi. He was master of the literature of the law and of
the prophets. His first attempt at oil painting was when
he was fourteen years of age. It represented a Calabrian
Brigand and was copied from a picture of Jan Kruseman
with whom he afterwards studied. His father was very
anxious for Joseph to enter the commercial world and
secured him a position as clerk but he soon saw that his
son was artistically inclined and sent him to Amsterdam.
Here, the son studied for two years. When he was nine-
teen years of age he went to Paris. Later he returned
to Amsterdam and painted historical pictures which were
not really satisfactory. He had not found his real call-
ing. He was so disappointed that he fell ill and while
he was recovering he went out near Haarlem. There
in the little primitive village of Zandvoort he found him-
self. He loved to paint scenes of the wonderful endurance
of the fishermen around this place. After this he de-
voted himself to the painting of Dutch peasants and their
children and became to Holland much what Millet was
to France.
Israels had the power to paint the heart of a little
child completely. He painted into his pictures the real-
istic idea of toil, hunger, old age, labor, desire, strength,
dignity of labor, and youth. In fact, he painted humanity
as it appealed to him and we, too, feel his every emotion
as we look at his pictures. His pictures are a part of his
own personality, his character.
Friends who watched Israels paint said he seemed to
ever be uttering the one prayer, "Open thou my eyes
and I will behold wondrous things out of the law." He
has left many paintings that show his loyalty to the
law, to love itself. Some of his pictures are: Returning
Home; The Shipwrecked Mariner; A Son of the People.
He died in 1911.
LITTLE CHILDREN OF THE SEA
Any one who knows Joseph Israels might know he
painted this picture. It is full of child-life and child-
inclination. One can almost see and feel the waters
glitter and ripple and splash. One can almost hear the
shouts of laughter and joy that burst forth as either
of them finds another pretty pebble or as their little boat
seems about to tip over.
What a fine experience these children are having!
We think it is a hot summer day and the mother has
given them permission to go out in the water and wade
and play, if they are very careful of the baby. Notice
how the baby clings closely for fear it may fall. The one
caring for and protecting the baby watches the other
children with most intense interest.
This scene is probably laid in Holland for that was
where Israels did his best work.
EXERCISES
1. Tell the story of the life of Israels.
2. With whom did he study in Amsterdam?
3. What pictures did he paint best? Why do you think he
painted these best?
4. Have you ever had the experience of wading in water like this?
5. Where is this scene probably laid?
6. Describe the picture.
7. What tells you whether or not these children are happy?
8. What do you like best about the picture?
By viewing nature, nature's handmaid, art,
Makes mighty things from small beginnings grow
This fishes first to shipping did impart
Their tails the rudder, and their heads the prow.
— Dryden
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
LITTLE FISHERS
BERNARDUS JOHANNES BLOMMERS
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BERNARDUS JOHANNES BLOMMERS
Bernardus Johannes Blommers was born in Scheven-
ingen, which is situated among the sand dunes bordering
the North Sea. During the lad's boyhood it was the
typical little Dutch fishing village, inhabited by the
humble fishermen and their families — a little spot away
from the rest of the world. Recently, however, it has
been changed into a health and pleasure resort.
His father was a lithographer and wished his son to
follow his trade. But this work did not appeal to the
boy whose fingers were tingling for a brush. Just at
this time, one of the noted artists of his period, Maris,
made it possible for the lad's wish to be fulfilled. He
was sent to the Academy at The Hague, and when his
studies here were completed, he took up his abode in
his old home. In this homely little fishing hamlet,
Blommers found beauty and charm in the people, pictur-
esqueness in the lowly cottages, and that which approaches
grandeur in the tossing waves.
After the successful introduction of his pictures into
America, Blommer's success seemed assured. He won
medals at The Hague, Amsterdam, Munich, Brussels
and Paris, and diplomas at Antwerp, Amsterdam, Chicago
and Brussels. On one occasion, his fellow-artists in
Holland gave a festival in his honor, covering several
days. They presented him with a portfolio containing
one painting from each of those present. Blommers is
still living and working at his chosen profession.
LITTLE FISHERS
The sea here pictured is far, wide, uninterrupted,
majestic and calm. It is the spacious home of the
"Little Fishers" who have lived by it all their lives and
to whom it is as playfellow and friend. To them it
speaks a comforting language when they are near, and
it keeps calling and calling to them when they are far
away. For some it may hold a sorrow and yet they love
its waters that come lapping over their feet.
These little figures we see here are representatives of
the humble peasants of Scheveningen. How happy they
seem as they pull a miniature fishing tug out into the
foaming waters. They laugh in roguish glee as the waves
splash up on their legs and clothing. All their young
lives they have been accustomed to seeing fathers and
brothers go out to sea — some of them perhaps, never to
return. Soon the time will come when they, too, must
set out in a real boat to battle with real waves as fishers
of the sea.
"Hence in a season of calm weather,
Though inland far we be,
Our souls have sight of that immortal sea
Which brought us hither;
Can in a moment travel thither
And see the children sport upon the shore
And hear the mighty waters rolling evermore."
— William Wordsworth
EXERCISES
1. Sketch the life of Blommers.
2. How did Blommers come to begin his study?
3. Why did he go back to his native home?
4. What, especially, did he like to paint?
5. To what is his success said to be due?
6. Where is the scene of "Little Fishers" laid?
7. What are these children doing?
8. What tells you whether or not they are happy;
9. Describe the picture.
10. What does this picture tell you?
There is no limit to the good which is effected by plac-
ing good pictures before ourselves. — Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
HENRY WADSWORTH LONGFELLOW
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studies of the world's famous pictures best adapted for
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HENRY WADSWORTH LONGFELLOW
Longfellow was born at Portland, Maine, February
27, 1807. His boyhood days were spent at his birth-
place. At the age of fifteen he entered Bowdoin College
at Brunswick, twenty -five miles from Portland. He
graduated with honors in 1825, at the age of 18. He
then entered the law office of his father, but he soon
left the profession to accept an offer as professor of
foreign languages, in Bowdoin College. To fit himself
for this work, he traveled three years and a half in Eng-
land, France, Germany, Italy, Spain and Holland. Upon
his return he remained in Bowdoin College for six years.
In 1831 he married Miss Mary Story Potter, who died
four years later while with her husband on his second
voyage to Europe. Upon his return from the second
voyage, he took up his residence at Cambridge, the home
of Harvard University, where he filled the chair of modern
languages.
In 1843, Longfellow married Miss Frances Elizabeth
Appleton, and they made their home in the old Craigie
house, a relic of Revolutionary days and a former resi-
dence of George Washington. This continued to be the
poet's residence the greater part of the remainder of his
life. It was in 1847 that he published his poem "Evange-
line, A Tale of Acadie" which is considered his greatest
work. In 1854 he resigned his professorship at Harvard.
Shortly afterward appeared the poem "Hiawatha."
Four years later he published "The Courtship of Miles
Standish." In 1863, he published "Tales of a Wayside
Inn" and in 1865 "Household Poems" which contain
some of his most charming verses, among them" The
Children's Hour." He continued to write almost till
the last — publishing poems in magazines from time to
time. In January, 1882, he wrote his last poem, his death
occurring March 24th of the same year.
A friend paid this tribute to the poet: "A man in
intellect and courage, yet without conceit or bravado;
a woman in sensibility and tenderness, yet without
shrinking or weakness; a saint in purity of life and
devotion of heart, yet without asceticism or religiosity;
a knight-errant in hatred of wrong and contempt of
baseness, yet without selfrighteousness; a prince in dignity
and courtesy, yet without formality or condescension;
a poet in thought and feeling, yet without jealousy or
affectation; a scholar in tastes and habits, yet without
aloofness or bookishness; a dutiful son, a loving husband,
a judicious father, a trusty friend, a useful citizen and
an enthusiastic patroit — he united in his strong, trans-
parent humanity almost every virtue under heaven.
A thoroly healthy, well balanced, harmonious nature,
accepting life as it came, with all its joys and sorrows
and living it beautifully and hopefully, without canker
and without uncharity. No man ever lived more com-
pletely in the light than did Henry Wadsworth Long-
fellow."
EXERCISES
1. Give a sketch of Longfellow's life.
2. Name three of his works.
3. What traits of character do you find revealed in the portrait
of Longfellow?
4. How are these traits brought out in his poems?
5. What are the chief characteristics of his works?
6. Why is Longfellow such a favorite with children?
7. What do you think was the best thing he wrote?
Cultivate an interest in pictures. It is a part of educa-
tion always within your reach.
— Sir Joshua Reynolds
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE LOST SHEEP
ALFRED U. SOORD
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THE LOST SHEEP
Jesus in a parable (Luke 15:4) asked, "What man of
you, having a hundred sheep, and having lost one of them,
doth not leave the ninety and nine in the wilderness, and
go after that which is lost, until he find it?"
Musicians and painters have been inspired by the
parable. Ira D. Sankey, sweet singer for the evangelist,
Moody, wrote:
There were ninety and nine that safely lay
In the shelter of the fold;
But one was out on the hills away,
Far off from the gates of gold.
"The Lost Sheep" by Soord, is likewise based upon
the familiar parable.
Two objects in this picture attract immediate attention,
the lost sheep and the Good Shepherd. The dreadful
peril of the lost sheep causes us to shudder. The sheep
has lost its way, has slipped down the steep side of the
ravine, and has lodged upon the jutting rocks. The
great depth to which the sheep might yet fall is indicated
by the purplish haze of the glen, while an even more
dreadful fate awaits the helpless creature as seen by the
soaring mountain eagles eager to pounce upon their prey.
The fate of the lost sheep is soon lost sight of in the
realization that its rescue is at hand thru the Good
Shepherd. No path has been found too steep, no pass too
difficult and no danger too great for the Rescuer. The
Shepherd carries the shepherd's crook, the symbol of
guidance for ignorant and erring ones, and he wears the
shepherd's outer coat of thick serviceable cloth. A halo
of golden light shines about his head. Thorn and bramble
cling to his garments. Nail-prints may be seen in his
hands, and a crown of thorns on his head.
That the rescue is timely is shown by the sunset and
the gathering clouds. The sheep looks up in its help-
lessness and suffering and seems to bleat in thankful-
ness to the Good Shepherd. The picture is one never to
be forgotten because of its powerful central thought por-
trayed with such telling simplicity.
EXERCISES
1. What is the source of the artist's inspiration?
2. What are the two objects in this picture that first attract
attention?
3. How is the danger to the helpless sheep shown?
4. Why is it particularly fitting that this is an evening and not
a morning scene?
5. What is here shown concerning the Good Shepherd?
6. What things make this picture rise above the ordinary work
of art?
7. What do you like best about this picture?
We're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times, nor cared to see;
And so they are better, painted — better to us,
Which is the same thing.
— Robert Browning
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
JAMES RUSSELL LOWELL
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studies of the world's famous pictures best adapted for
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JAMES RUSSELL LOWELL
James Russell Lowell was a poet, essayist and diplo-
matist. He was born at Cambridge, Massachusetts,
February 22, 1819. His early education was obtained
at home under the instruction of his mother who read to
him poems, romances and ballads. He also wandered
thru field and forest, becoming intimate with nature.
He entered Harvard at the age of sixteen, graduating
three years later. His chief honor in school was that
of being asked to write the class graduation poem.
Upon leaving college, Lowell was at a loss as to what
profession to follow. He considered business, medicine,
the ministry and law, but finally decided to follow the
last named vocation, altho caring little for it except as
a means of livelihood.
In 1840 he became engaged to Miss Maria White,
whose poetic nature and enthusiasm inspired him to
write more than ever before. In 1841 he published a
volume of poems called "A Year's Life," and tho still
maintaining his law office, he devoted most of his energies
to establishing a magazine called "The Pioneer." But its
life was very short, for at the end of the third issue it
proved a failure.
Upon his marriage in 1845, Lowell and his wife spent
the winter and spring in Philadelphia, where Lowell was
engaged as editorial writer on "The Pennsylvania Free-
man," a journal devoted to the cause of anti-slavery.
In spite of many sorrows and home troubles, Lowell
continued to write fervently in connection with anti-
slavery publications. He also, at this time, gave to the
world some of his best works, "Columbus," "The Vision
of Sir Launfal," "Bigelow Papers." The last named
brought more fame to Lowell than did any preceding work,
for it was a satirical discussion of the political situation
of that day.
In 1850, closely following the death of Lowell's mother
and on account of his wife's illness, the family went to
Italy, but returned in November, 1852. Upon his return
Lowell published some sketches concerning his journey,
called "Fireside Travels." His wife died in 1853.
Two years later, Lowell was induced to deliver some
lectures on English poets, before the Lowell Institute
in Boston. This gave him a new standing in the eyes of
the community, and for this reason he was elected to
the professorship of Modern Languages at Bowdoin, upon
the retirement of Longfellow. He spent one year abroad,
studying the German, Spanish, Italian and French
languages. In the summer of 1856 he entered upon his
duties, maintaining his position for twenty years. In that
same year he married Miss Frances Dunlap, who had
been caring for his one child, Mabel.
In the autumn of 1857 Lowell was appointed by
President Hayes to be minister to Spain. Three years
later he became American minister to England and
remained there for five years. At the end of that time
he retired, spending the remaining three years of his
life in arranging his poems and essays which were pub-
lished in ten volumes in 1890. He died at Elmwood on
August 12, 1891, after several months of illness.
Lowell was loved and admired for his brilliant humor,
his quick but accurate judgment, his literary refinement,
and his criticism of all that was evil and unjust.
EXERCISES
1. When and where was Lowell born?
2. Tell about his early education.
3. How old was he when he entered Harvard University?
4. What honor was bestowed upon him at graduation?
5. What professions did he consider and what profession did he
finally decide upon?
6. Tell of the various publications he was connected with. Name
some of his best productions.
7. Tell of his trips abroad. What appointment was given him by
President Hayes?
8. After studying the life and portrait of Lowell, give your im-
pression of him. Which of his poems do you like best? Why?
The appreciation of Art is a rich source of happiness.
— Pres. Chas. W. Eliot
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MADAM LEBRUN AND DAUGHTER
MADAME LEBRUN
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MADAM LEBRUN AND DAUGHTER
This picture was painted by Madam LeBrun and is
a picture of herself and her daughter.
Madam LeBrun's life is as interesting as her face is
charming. Her parents were poor but happy and their
home life was very beautiful. Her mother was a beautiful
woman and a good Christian. Elise, as they called her
at home, was in a convent from the time she was six
until she was eleven when she was brought home on account
of poor health. Her father died when she was thirteen.
After his death nothing seemed to comfort her but her
painting.
Her mother made a very unfortunate second marriage
with a man who was not ambitious and yet who desired
to appear well-to-do. He compelled Elise to give him
all her earnings. Later, at the age of twenty, Elise
married an artist, LeBrun, whom she did not love. Le-
Brun was a gambler. Again she was forced to give up
all her earnings. She even gave lessons to increase the
revenue with which her husband speculated. Her little
daughter was her one joy and consolation. This picture
hangs in the Louvre, Paris.
Madam LeBrun painted portraits for distinguished
people. She was made a member of Academies in ten
different countries. She was still painting at the age of
eighty. When she died she left six hundred sixty two
portraits, two hundred landscapes and fifteen historical
pictures.
EXERCISES
1. Tell all you can about the life of Madam LeBrun.
2. What does the attitude of this mother and child suggest to
you?
3. What does this picture tell of the mother? Of the child?
4. Why do you think this picture is regarded as a great work
of art?
5. What do you like best about the picture?
If it is by the love of that which your work represents,
if, being a landscape painter, it is love of trees and hills
that moves you, if being a figure painter, it is the love of
human beauty and human soul that moves you, if being
a flower or animal painter, it is love and wonder and
delight in petal and in limb that move you, then the
Spirit is upon you, and the earth is yours, and the fullness
thereof. — Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Supe
Lincoln, Nebraska
MADONNA
CUNO VON BODENHAUSEN
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CUNO VON BODENHAUSEN
Bodenhausen is a modern German artist. His brush
has been freely employed in setting forth scriptural and
allegorical scenes, many of which have become familiar
by means of popular reproductions. Born in Germany,
in 1852, and thoroly trained in the history of art, his
mind turned naturally to the old masters. Tho one of
the younger German artists, he has achieved real fame
in his field of work.
MOTHER AND CHILD
By far the best known of this artist's works is this
picture of "Mother and Child," or the Bodenhausen
Madonna. It is one of the most successful efforts of
modern artists.
We see a young mother and her little child, both
expressing purity and love. See how tenderly the
Madonna, with love written on every line of her sweet
young face, clasps her baby to her bosom, and with what
confidence he leans against her, sure of protection in her
arms. The motherly instinct of the Madonna and the
trust of the child are marked very plainly in this picture.
Madonna is an Italian word meaning My Lady, which
was used in olden times in addressing all women, but the
word Signora has been substituted, and is now used
instead of Madonna, which has gradually come to be
used in speaking of the Virgin Mary.
EXERCISES
1. Tell something of the life of Bodenhausen.
2. What does the word Madonna mean?
3. What do you see in the mother's face? In the child's face?
4. Describe the mother as she appears here.
5. What do you notice about the child?
6. What do you like best about the picture?
7. Why do you think it is such a favorite?
From the mingled strength of shade and light
A new creation rises to my sight.
Such heav'nly figures from his pencil flow
So warm with light his blended colors glow
The glowing portraits, fresh from life, they bring
Home to our hearts the truth from which they spring.
— Byron
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MADONNA AND CHILD
ANTONIO ALLEGRI DA CORREGGIO
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ANTONIO ALLEGRI DA CORREGGIO
Antonio Allegri was born in Correggio, Italy, about
the year 1494. According to the custom of the times
he is commonly called Correggio after the town of his
birth. His father was a spice merchant, well able to give
his son a good education. Correggio's first taste of real
art came when he went to dwell in the artistic courts of
Lord Correggio of his native city. Later he spent much
time in the studio of an uncle where he studied the
anatomy of the human body, as well. This study helped
him greatly when he began to paint physical forms.
Correggio's first picture of any importance is the
"Madonna of St. Francis, " completed when he was twenty
years old. His real work began at that time. He re-
ceived a commission to decorate a chamber of the St.
Paolo Convent at Parma. In 1520 he began another
important work, that of painting the dome of St. John's
Church at Parma. His success was now assured and six
years later he was selected to decorate the dome of the
Cathedral at Parma. Only when he began his oil paint-
ings, however, did he really come into his own. His
most notable pictures are: Madonna of St. Sebastian;
Madonna of the Cup; Holy Night; and Marriage
of St. Catherine. But Correggio did not spend all his
hours painting sacred subjects. He illustrated a great
many allegorical and mythical scenes.
Correggio died in 1534 just as he was about to begin
work on another fresco.
MADONNA AND CHILD
"There were in the same country shepherds abiding
in the fields, keeping watch over their flocks by night.
And lo, the angel of the Lord came upon them and the
glory of the Lord shown around them, and they were sore
afraid. And the angel said unto them, 'Unto you is born
this day in the City of David a Saviour which is Christ
the Lord. And this shall be a sign unto you. , You shall
find the babe wrapped in swaddling clothes and lying in a
manger.' And suddenly there was with the angel a
multitude of the heavenly host praising God and saying,
'Glory to God in the highest, and on earth, peace and good
will toward men'." Luke 2: 8-14.
Anxiously the shepherds debated about the vision
which they saw and the heaven-born songs they heard.
Then fearfully but joyfully, they left their flocks and
hurried across the hills to the place where the Christ
Child lay. Ushered in by the angel choir, they entered
silently and worshipfully into the presence of the King.
In that humblest of cradles, a lowly manger in a de-
serted stable, lies the little Child with the arms of his
fond mother about him. The mother and Child seem
fairly illumined by a brilliant, glowing, white light which
surrounds them with such a glory that it is with difficulty
that the shepherds can look upon the scene. One shep-
herdess finds it necessary to shade her eyes from the
glorious light. A second is entranced as she gazes up-
ward at the angel host. The old shepherd leans on his
crook as he looks with awe and adoration at the wonder-
ful beauty of the scene.
This picture was completed in 1530 and still hangs in
the Dresden Art Gallery. It is said that when the
darkness of night begins to fall all other pictures of the
Gallery become an indistinct blur, but "Holy Night"
remains distinctly illumined by the radiant light which
hovers over mother and Child.
EXERCISES
1. Tell in your own words the characteristics of Correggio as a
man.
2. What is the artist's real name? How did he receive the name
by which he is known to us?
3. Tell briefly the principal events of his life.
4. Tell the story of the first Christmas night.
5. What attracts us to the central figures in the picture?
6. When was this picture completed?
7. Where is it now?
8. What do you like most about this picture?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
MADONNA AND CHILD
ROBERT FERRUZZI
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company.
ROBERT FERRUZZI
Robert Ferruzzi was born in 1854, in Siberico, a province
of Austria. He spent much time in the study of the old
masters of Italy with the hope that he might gain in-
spiration from their great skill and devotion. His great
art consists in his wonderful ability to depict soul in the
face of a typical "child of the streets."
MADONNA AND CHILD
This "Madonna and Child" which is a favorite Ma-
donna picture, especially with men and boys, is very
unusual in that there is no visible suggestion of the "mother
divine." The old masters represented the Virgin and the
Young Christ with some visible outward token of the
divinity such as the halo, the sceptre, the crown, or
lilies.
This picture has been erroneously named "The Ragged
Madonna," from the supposition that the scarf over the
mother's head is torn, while in reality the "torn spots"
are but inwoven figures in the drapery.
The sweet young face of the mother first attracts
attention. It is a face of great beauty, and is endowed
with additional charm thru its trustfulness and confidence.
There is also a suggestion of motherly pride. Ferruzzi's
portrayal of an innocent, trusting child has never been
surpassed.
The mother stands against the plastered wall of some
dwelling. The great simplicity of the background leaves
the figure of mother and child to stand out in bold relief.
The consistency of the picture is further enhanced by
the simple dress of the mother and child, thus carrying
out the idea of the "Madonna of the Street."
EXERCISES
1. Who was Ferruzzi?
2. What constitutes the greatness of his art?
3. By whom is this picture best liked?
4. What is the mistake in calling this "The Ragged Madonna"?
5. What is most pleasing about the Madonna?
6. What is shown of the child?
7. What shows that the artist has been consistent in his portrayal
of the "Madonna of the Street"?
To feel beauty is a better thing than to understand
how we come to feel it. To have imagination and taste,
to love the best, to be carried by the contemplation of
nature to a vivid faith in the ideal, all this is more, a
great deal more, than any science can hope to be. The
poets and philosophers who express this aesthetic experi-
ence and stimulate the same function in us by their
example do a greater service to mankind and deserve
higher honor that the discoverers of historical truth.
— George Santayana
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MADONNA DI SAN SISTO
RAPHAEL SANZIO
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
RAPHAEL SANZIO
Raphael Sanzio (1483-1520) was born in Urbino, Italy,
a little city in the Apennine Mountains. His father,
Giovanni Sanzio, was a reputable painter and writer.
Little is known of Raphael's childhood. His mother died
when he was eight years old. His father died three years
later, leaving the young Raphael in charge of a stepmother
and an uncle, who utterly neglected him. Finally, an
uncle on the mother's side placed him under Pietro
Perugino of Perugia with whom he studied diligently for
nine years.
In 1504, when he was twenty-one years old, Raphael
returned to Urbino where he worked for a time, then went
to Florence, to study the art of Da Vinci and Michael
Angelo. He remained in Florence four years, producing
some of his finest works. In 1508, he was summoned to
Rome by Pope Julius II, to help decorate the Palace of
the Vatican. While this work was in progress, he was
appointed by the Pope to decorate the interior of St.
Peter's, and invested with the power to purchase any
ancient statuary which he thought the city should possess.
A year before his death he painted the "Sistine Ma-
donna," the most famous of his paintings. While work-
ing on "The Transfiguration" a year later he suddenly
became ill and died from the strain caused by overwork.
Altho he had lived but thirty-seven years, he lived an
exemplary life and preserved in his art the world's most
beautiful ideals of Christianity.
SISTINE MADONNA
Raphael has surpassed all efforts of either poet or
painter in the "Sistine Madonna." The mother, clothed
in a glorious blue, symbolic of heavenly love, truth, and
purity seems to come forward, floating on clouds, holding
the child in her arms. In her face and form and move-
ment we recognize the purity, the charm and the dignity
which we feel the Mother of Christ should possess.
She wears a robe and a mantle of white. The robe is
purple in color in the folds and becomes rose in the light.
It is trimmed with gold embroidery on the sleeve, girdled
below the breast and reveals the neck and top of the
shoulders. The mantle falls in artistic folds over the
lower part of the body, outlining the form and movement
of the lower limbs and disclosing the bare feet which seem
to complete the grace and charm of the beautiful Ma-
donna.
On the right of the Madonna is St. Sixtus. He is
gazing upward into the face of the child as he offers a
fervent prayer while his every movement, respectful and
dignified, is an act of love and confidence. He is point-
ing to the observer as if to include all as worshipers of
the Holy Child. St. Barbara, on the left of the Ma-
donna, young and beautiful, is looking down as if to
connect heaven and earth. Her attitude is one of trust
and humility while her face and figure represent beauty
and grace. The two little angel faces in the foreground
were probably the faces of two children who often came
to watch Raphael paint.
The Christ Child is really the central figure. In this
picture, Raphael has given us a different expression on the
face of the child from all others. His eyes seem to be
looking far into the future. The eyes of the mother are
also serious. No doubt, she, too, was permitted to
look into the future.
This is the last of Raphael's Madonnas. It was painted
in a moment of inspired genius, the reward of a life well
spent in the search of truth, for the ideal, for perfection
in art, especially, the Madonna in art. This picture
hangs in Dresden gallery in a room of its own where it
has been admired by thousands and where visitors never
speak above a whisper.
EXERCISES
1. Sketch briefly the life of the artist.
2. Describe the mother as she appears to you.
3. Who are the other figures in the picture?
4. Who are the angel faces?
5. What is really the central figure in the picture?
6. Where is'this picture today?
7. How does it affect the people who stand before it? Why?
8. What thought is brought out in the picture?
9. What do you like best about the picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MADONNA DELLA SEDIA
RAPHAEL SANZIO
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
RAPHAEL SANZIO
Raphael Sanzio (1483-1520) was born in Urbino, Italy,
a little city in the Apennine Mountains. His father,
Giovanni Sanzio, was a reputable painter and writer.
Little is known of Raphael's childhood. His mother
died when he was eight years old. His father died three
years later, leaving the young Raphael in charge of a
stepmother and an uncle, who utterly neglected him.
Finally, an uncle on the mother's side placed him under
Pietro Perugino of Perugia with whom he studied dili-
gently for nine years.
In 1504, when he was twenty one-years old, Raphael
returned to Urbino where he worked for a time, then
went to Florence, to study the art of Da Vinci and Michael
Angelo. He remained in Florence four years, producing
some of his finest works. In 1508, he was summoned to
Rome by Pope Julius II, to help decorate the Palace of
the Vatican. While this work was in progress, he was
appointed by the Pope to decorate the interior of St.
Peter's, and invested with the power to purchase any
ancient statuary which he thought the city should possess.
A year before his death he painted "The Sistine Ma-
donna, " the most famous of his paintings. While working
on "The Transfiguration" a year later, he suddenly be-
came ill and died from the strain caused by overwork.
Altho he had lived but thirty-seven years, he lived an
exemplary life and preserved in his art the world's most
beautiful ideals of Christianity.
THE MADONNA OF THE CHAIR
The word Madonna is an Italian name meaning "My
Lady." The word has gradually come to be applied to
the Virgin Mary.
In this picture, the Virgin is seated in a chair and holds
her child in her arms. Her head is laid tenderly against
the child's and she looks out of the picture with a tranquil,
happy sense of mother love. The child has the round,
chubby limbs of the normal, healthy infant, but he has
a sublime expression on his face, which Raphael and other
artists have sought to show in the child Jesus, to make the
difference between him and ordinary children.
The third figure of the picture is St. John, the Baptist.
In his face is an expression of dumb worship as he clasps
his hands and gazes ardently up at the child. He carries
a little reed cross which is always seen in the pictures of
St. John.
Around each of the heads is seen a very faint circle,
called a nimbus or halo. This is the way in which the
old painters distinguished the sacred persons. It is a
sign that such figures are the embodiment of something
beyond the artist's power to portray.
The artist has succeeded in making the picture pleasing
to the eye, by having made it perfectly round. If one
studies it attentively, he will see that all lines are curved
and flowing within the circle. Thus there are no sharp,
harsh lines, and everything tends to make a harmonious
whole.
There is a pretty story connected with this picture
which says that Raphael was out walking at the quiet
end of day, and came upon a little family group like the
one portrayed in "The Madonna of the Chair." It was
so beautiful, and appealed to Raphael's artistic sense so
strongly, that he rapidly sketched it on the head of a
cask. Thus the circular form of the picture is accounted
for.
Among many other pictures painted by Raphael are:
The Holy Family; The Liberation of Peter; St. Cecilia;
The Transfiguration; The Sistine Madonna.
EXERCISES
1. Who painted this picture? When and where was he born?
2. Under whom did he first study?
3. Where did he first make his home? Where did he go later?
4. What are the universal characteristics of Raphael's paintings?
5. To what have these pictures been compared? Why?
6. What besides painting pictures did Raphael do?
7. What is the meaning of the word Madonna?
8. Who are the figures in this picture?
9. What distinguishes the child Jesus from the other child?
10. Tell the story that is told about the painting of this picture.
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE MONARCH OF THE GLEN
SIR EDWIN HENRY LANDSEER
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studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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SIR EDWIN HENRY LANDSEER
Sir Edwin Henry Landseer was born in the outskirts
of London, on March 7, 1802. His father, an artist,
took a deep interest in his son's artistic tendencies, which
began to show at a very early age.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at the
age of fourteen. At a very early age he had begun to
show a preference for the dog above all other animals,
so at the academy he was known as "the little dog-boy."
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of
Landseer's skill, and one of his chief patrons. He became
the Court Artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred the
honor of knighthood on the artist, and from that time on
he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate of the Academy in 1825. In
1831, he was elected to full membership, and in 1865 he
was offered the presidency of the Academy, but refused
on account of his failing health. He died October 1, 1873.
THE MONARCH OF THE GLEN
This picture is one of Landseer's finest and most
popular works because it is so simple and so majestic.
As is usual in this artist's paintings, there is one central
figure. In this case, it is the noble Monarch of the Glen.
And that is indeed what he appears to be. The fearless
lift of the head, the straight gaze from the great eyes,
the very pose of the body, all make one feel that he has
rightfully earned the title. Possibly this animal, as he
stands here in tense expectancy, has no reason to believe
that his kingdom is not really his own and that he may
not always be wild and free and powerful.
There is only a mere suggestion of mountain scenery,
which, in proportion to the size of the stag, gives the
picture great distance and space.
The name of this picture was not given to it by Land-
seer. But below his painting he placed these lines taken
from the "Legends of Glenarchay."
"When first the daystar's clear, cool light,
Chasing night's shadows gray,
With silver touched each rocky height
That girdled wild Glen-Strae
Uprose the Monarch of the Glen,
Majestic from his lair,
Surveyed the scene with piercing ken,
And snuffed the fragrant air."
EXERCISES
1. Sketch briefly the life of Landseer.
2. What is meant by the word "Monarch"?
3. Why is it a good name for this picture?
4. Upon what occasion and where do you think this picture was
painted?
5. Compare the foreground with the background.
6. What kind of flowers do you think these are?
7i What do you like best about this picture?
Such is the strength of art, rough things to shape
And of rude commons rich enclosures make.
— James Howell
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MORNING
JULES DUPRE
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JULES DUPRE
Jules Dupre was born in Nantes, France, in 1812. He
is one of the famous little group who at one time or another
made their home at Barbizon on the edge of the Forest
of Fontainebleau.
Dupre's first art lessons were received in his father's
porcelain works where he started his career by painting
scenes on clock faces. Later he was sent to work in his
uncle's porcelain shop in the same town, Sevres, a small
village ten miles from Paris. The boy stayed here only
a short time, however. The next we know of him, he is
in Paris, where he met an old friend of the porcelain
factory, Nicholas-Louis Cabat, afterwards a somewhat
famous landscape painter.
In Paris, Dupre had a singularly hard struggle against
poverty. He lived in a garret and sold his pictures for
only a fraction of their worth. Just as matters were at
their worst, help came in the form of a strange gentleman,
who had admired and purchased one of Dupre's pictures,
which was displayed in a secondhand shop. The noble-
man, for such he was, called on Dupre and asked to see
more of his pictures. So astonished was Dupre at this
sudden interest in his artistic attempts, that he hurriedly
offered any of his pictures at twenty francs each. The
nobleman purchased the entire lot, and even obtained
new purchasers for Dupre's pictures.
At the age of nineteen, Dupre made his first exhibit
at the Salon. His pictures, meeting with the approval
of the critics, brought him several medals. At the age
of twenty-two, he met and became fast friends with
Rousseau. So attached did these artists become that
they eventually decided to live together.
Dupre was awarded the Cross of the Legion of Honor
at the Salon of 1849. Rousseau was given a medal of the
first class at the same time, and this fact was the cause
of the disruption of their friendship, Rousseau being
extremely jealous of his friend's success.
When the war between France and Germany broke out,
Dupre departed to the coast of Normandy where he spent
some time in painting marine scenes. Leaving Nor-
mandy, he went to the Oise, a river in Northern France,
where he painted river scenery. From there he departed
for Barbizon where he spent the remainder of his days,
dying October 7, 1889.
Dupre's most noted paintings are: Morning; Cattle
in a Pool; The Oak; Landscape; The Old Oak; Return
of the Flock; Return from the Field.
MORNING
A misty, gray sky, a gleam of quiet, blue water, the
thick, green foliage of trees and grass, and two deer
taking an early drink, make up the charming picture
which the artist has called "Morning." He has chosen
to make his picture in soft, dull greens, blues, and
browns, with a blending of delicate gray in the sky and
the distant mountain. The same touch of gray appears
again in the bare rocks which out-crop from the thick
grass in the foreground. Here and there we see a touch
of bright, vivid brown which leads us to believe that the
artist is portraying early autumn and indicates it by a few
leaves which have been touched by the first frost.
Notice that, while one deer is drinking,the other is hold-
ing his head up. It is thought to be a habit among most
wild animals not all to drink at the same time. One, at
least, is usually the guard, ready to give the signal in case
of danger.
EXERCISES
1. Sketch briefly the early life of Dupre.
2. How was his poverty eventually relieved?
3. With whom did he become good friends at an early age? Tell
of their friendship. Of their final separation.
4. What is there about this picture that makes you think it may
rightfully be called "Morning"?
5. Name the different things you see in the picture.
6. What in the picture tells you the time of year?
7. What tells you of the kind of spot here pictured?
8. What do you like best about this picture?
PICTiURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE MOUNTAIN PASTURE
BAHIEU
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schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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J. G. BAHIEU
J. G. Bahieu was a noted French landscape painter who
lived in the nineteenth century. He was a prominent
exhibitor of his art works at the Paris Salons. His art
works show an originality, and an independence not
usually shown in even the later landscape painters.
THE MOUNTAIN PASTURE
"The Mountain Pasture," by Bahieu, is a pleasing
picture of a shepherdess tending her flock among the
rocks upon a mountain slope. Such scenes picturing
quiet work have always been popular. Sheep as the
object of the shepherd's care have furnished much in-
spiration to painters.
The entire suggestion of the scene is that of early spring,
as indicated by the lightness of the foliage, the patches
of green grass, and the softness of the' sky enveloped in
haziness. The spot is sheltered from the chilling breeze
and warmed by the mild sunshine.
The sheep that form the central feature of the picture
claim most attention. The shepherdess leans against
the trunk of a tree. The attention of the sheep is attract-
ed to something at the right of the picture. The artist
has shown much care in detail. Notice particularly how
he has painted the coats of wool.
This picture is enjoyed because it carries with it a
suggestion of patient care, guidance and protection. The
animals stay near the shepherdess because they have
learned to look to her for protection.
EXERCISES
1. To what in the picture is your attention first drawn?
2. What in the picture tells the time of year?
3. What do the great rocks in the background tell you?
4. What seems to you to be the mood of the picture?
5. Why are scenes picturing quiet work popular?
Art is the child of Nature; yes,
Her darling child in whom we trace
The features of the mother's face,
Her aspect and her attitude.
— Longfellow
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
WOLFGANG MOZART
L. VOGEL
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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PORTRAIT OF MOZART
Wolfgang Mozart, (1756-1791), the great German
musical composer, was a child of remarkable promise.
At the age of two he was a student of the violin, at three
a performer on the harpsichord, at four a composer of small
pieces, at five a performer before the University of Salz-
burg, and at the age of six, he with his sister was taken
for a concert tour in which young Mozart played before
most of the kings and queens of Europe. Wherever he
went, his cheerful disposition and his wonderful talent
won friends for him among kings and princes, but young
Mozart was unaffected by the attentions of nobility.
At the age of fourteen, Mozart was an accomplished
musician and composer. In 1769, the Pope made him
a member of the order of the Golden Spur. In 1770,
Mozart gave to the world his first opera. Then followed
various musical successes. Altho doomed to financial
disappointment in almost every undertaking, the great
composer continued to produce one great composition after
another. In fact, his capacity for work, and his ability as
a composer seemed to have no limit. To write intelli-
gently of his works would tax the ability of the greatest
musical critics, for he attempted great things to match
his giant conceptions.
The child of rare promise was destined to become a
man who tasted freely of the cup of bitterness. He
entered the world in poverty, and he never had the means
to enable him to live in comfort as he deserved. He pro-
duced great works praised for their merit, but they yielded
him small financial returns. His first love affair ended
in sorrow. His most powerful and influential friend, the
Archbishop of Salzburg died, only to be succeeded by a man
who treated the great Mozart with unspeakable contempt.
To add to his sorrow, jealous rivals plotted Mozart's
ruin. He died December 5, 1791, of typhus fever, altho
the great musician was under the impression that he had
been poisoned. He was carried to a pauper's grave. As
the funeral took place in a severe rainstorm, Mozart's
three most intimate friends deserted his body and left him
to be buried by strangers.
Mozart's hopefulness in the midst of severe disappoint-
ment was pathetic. But his bravery was heroic. Un-
complaining of fate or fortune, he patiently wrought to
the end of his career. He once said that if it had not
been for his devotion to his work, he would have been
driven crazy. Strange to say, he never lost the spirit of
youth, nor the hope that some day his work would be
appreciated for its true worth.
No story of Mozart's life is complete without mention
of his beautiful spirit of devotion to his parents. His
love for his mother was such that he never fully recovered
from her sad death, while the attitude toward his father
may be expressed in his own words, "Next to God is my
father."
The portrait of Mozart is a successful attempt at
suggesting Mozart's sensitive nature, the keen intellect,
the hopefulness, the spirit of youth, and a certain sense of
the sorrow and disappointment of his life.
EXERCISES
1. What shows that Mozart was a precocious child?
2. How was he affected by royal favor?
3. What rank does he hold as a composer?
4. What were some of his greatest disappointments?
5. To what extent was he a hopeful man?
6. Tell of his devotion to his father and mother.
7. What of his character does this portrait seem to interpret?
We're made so that we love
First when we see them painted, things we have passed
Perhaps a hundred times, nor cared to see;
And so they are better, painted — better to us,
Which is the same thing.
— Robert Browning
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
A NOBLE CHARGER
ROSA BONHEUR
This series of Picture Studies includes a hundred
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THE UNIVERSITY PUBLISHING COMPANY
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ROSA BONHEUR
In the quiet old town of Bordeaux, on the west coast
of France, was born, October 22, 1822, one of the world's
most famous artists, Rosa Bonheur. Her father was
an artist. Her mother was a musician. Rosa's waking
hours were spent in playing with the cats and dogs. She
loved every animal that came along, no matter how
wretched it might be.
When her father moved to Paris, little Rosa became very
homesick for the familiar scenes in her quiet old home in
Bordeaux. There was a school for boys near by, and the
master, seeing the loneliness of the little girl, asked her
father to send her with her brothers to his school. The
boys became very fond of her, for she entered into their
sports as readily and with as much spirit as one of their
own number.
In 1835, Rosa's mother died, leaving the father to care
for four small children. The family now had to be
separated. Juliette, Rosa's sister, was sent to a friend
of the mother in Bordeaux; the boys to one boarding
school; and Rosa to another. Rosa, at least, did not
feel happy with this change. She had always lived a free,
unrestrained life, and to thus be held within the bonds of
school life was too much for the child. She made a dash
for freedom, so transgressing on the rules of the school
that the authorities of the institution gave her up in
despair and she went joyously home to her father.
Rosa's father was so busy with the giving of his lessons
that he had no time to instruct his little daughter. She
was free to amuse herself as she wished, which she did
by drawing and painting. One day, upon returning
home to his studio, he was surprised to find that she had
sketched a very lovely bunch of cherries. After that he
took time to give her lessons, and she progressed so rapidly
that she was soon able to give lessons herself. She was
advancing so well that she took to copying famous
masterpieces in the Louvre, and these copies were so well
done that she received good prices for them in the market
places.
When she was eighteen years old, Rosa went to
Auvergne, which, in the very heart of France, lacks
nothing of wild, rugged beauty. The wide range of form
and coloring so delighted the girl that she never grew
tired of gazing at the scenes before her. In 1848 she
presented paintings in the Salon which were taken from
her sketches at Auvergne. This year there was an
exhibition which attracted a great deal of attention con-
sisting, as it did, of paintings of Rosa Bonheur, her father,
two brothers and sister Juliette.
In 1847 Rosa Bonheur received her first prize, a gold
medal of the third class, presented in the King's name.
One of her best works, "Oxen Plowing," was painted
for the Salon exhibit of 1849.
After her return to Paris, she withdrew to the village
of By, in the very heart of the grand old forest of Fontaine-
bleau. Here at By, Rosa purchased a rambling old house
where she kept a menagerie consisting of birds of all kinds,
and animals, both wild and domestic. Here she lived the
life of a peasant, rising early, and retiring at the setting
of the sun, eating the simplest of food and painting to
her heart's content.
A NOBLE CHARGER
This picture is all that its name implies. The artist
here shows her familiarity with the details which go to
make the head of a noble horse. The arched neck, the
gentle, keen, intelligent eye, the fine forehead, and the
general determined expression, combine to make us feel
that this horse can be depended on in any emergency.
EXERCISES
1. A horse used in battle is called a charger. Have you seen
pictures of officers in battle on horseback?
2. Tell the story of the life of Rosa Bonheur, the artist who
painted this picture.
3. Tell the story of noble horses you have known. Tell what
you think might be a story of this horse.
4. Tell the story of "Black Beauty."
5. What impresses you most in this picture?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
PHARAOH'S HORSES
JOHN FREDERICK HERRING
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schools and for schoolroom decoration.
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JOHN FREDERICK HERRING
John Frederick Herring (1755-1865) was for several
years the driver of a stage-coach. When he became a
painter, he was known as the "artist coachman." He
made many studies of fine horses, sparing no pains to
learn to portray them truthfully. He is the greatest
master in portraying the movement of horses, next to
Rosa Bonheur. So popular did his work become that
George IV and Queen Victoria had him paint portraits
of their favorite animals.
PHARAOH'S HORSES
This picture is based upon an incident narrated in the
Bible. We are told in the Bible (Exodus XIV) that when
the children of Israel, under the guidance of Moses, were
fleeing from the Egyptians, the Lord was with the
Israelites. The Egyptians, led by Pharaoh, the king,
pursued them to return them into bondage. The
Israelites were overtaken at the Red Sea, and they cried
to Moses in their anguish. The Lord then commanded
Moses to raise his rod and stretch out his hand over the
sea so that the sea should be parted and the children of
Israel should pass over on dry ground. When the host
of Pharaoh tried to cross in pursuit in the same manner,
the sea closed over them and in the morning, the Israelites
beheld the shore strewn with the dead Egyptians, their
horses and their chariots.
Perhaps no other picture has been so popular or so
frequently reproduced, as this picture of the three fine
horses designated as "Pharaoh's Horses." The spirited
animals with flowing manes suggest thorobreds of fine
Arabian stock, and are the very embodiment of animal
intelligence and graceful movement.
The distended nostrils, the great veins, the look of fear,
the wild leaping and struggling are due to the fact that the
great wide sea is about to overcome the helpless animals.
The horse to the right is rilled with fear at some object
evidently floating in the water before him. The middle
horse of the group shows marked impatience at being
"crowded." Herring has suggested the overwhelming
strength of the sea by the oncoming waves in the distance.
The driver of these noble animals has been lost and they
have, perhaps, become disengaged from the royal chariot
for they are represented as the imperial favorites.
The prevailing impression of the beholder is one of
pity for these noble animals overwhelmed by the hungry
sea. The vast expanse of the sea, and the darkening sky
enhance this idea of helplessness. The picture has been
called one of the world's most exalted conceptions of
poetry combined with the portrayal of animal life.
A circular canvas is unusual among paintings. We
notice that the picture darkens about the edge so as to
throw the three heads into strong relief. The drawing
is good and the handling of light and shadow very effec-
tive. Every detail, such as the eyes and the flowing mane,
is rendered with the utmost fidelity. The suggested
movement of the horses against the rising storm is an
element of unusual strength.
EXERCISES
1. What place has this picture held among popular composition?
2. How did the artist acquire his great knowledge of horses?
3. What suggests that these horses are thorobreds?
4. Read and tell the story which inspired the painting.
5. Point out the details which reveal the true situation.
6. What is your feeling as you now know what the artist has
tried to picture?
7. What do you like best about this picture?
Popular art will make our streets as beautiful as the
woods, as elevating as the mountain-sides; it will be a
pleasure and a rest, and not a weight upon the spirits to
come from the open country into a town; every man's
house will be fair and decent, soothing to his mind and
helpful to his work; all the works of man that we live
amongst and handle will be in harmony with nature, will
be reasonable and beautiful; yet all will be simple and
inspiriting, not childish nor enervating; for as nothing
of beauty and splendour that man's mind and hand may
compass shall be wanting from our public buildings, so
in no private dwelling will there be any signs of waste,
pomp, or insolence, and every man will have his share of
the best. — William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
PILGRIM EXILES
GEORGE H. BOUGHTON
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GEORGE H. BOUGHTON
George H. Boughton was born in Norwich, England,
in 1834, but came to America with his parents when he
was only two years old. He began to draw almost as
soon as he was able to hold a pencil. He did not draw
any one line of subjects. To use his own words, "I
drew every mortal thing that came under my notice."
By this sketching in his early life, he was able to earn
enough money to take him to England where his talent
developed readily. On his return he painted, "Winter
Twilight, " and when this picture was accepted by the
New York National Academy of Design, his career as a
famous painter began.
Boughton, like many other artists, loved best of all
to picture humanity, and to this end he devoted himself
to the study of human life.
The artist's especial delight was in the portraying
of Puritan life. What can be more charming than his
"John Alden and Priscilla, " and what can arouse our
sympathy more than does "Landing of the Pilgrims"?
Altho Boughton studied art in England, his style
is decidedly American, and he has painted English sub-
jects in a manner that shows all the truth and grace of
American skill.
Boughton went to Paris in 1860 and finally in 1861
took up his residence in London. In 1896 he became a
member of the Royal Academy.
PILGRIM EXILES
This painting represents three figures, on a bluff above
the shore, as they watch the ship "Mayflower" sail from
sight. Yes, they are indeed Pilgrim exiles, wanderers
in the new country where danger and hardships lurk on
every side. Who can but sympathize with these people
in their loneliness. With the passing of the Mayflower
there is a dull ache in their' hearts at the separation from
the past, yet we see resignation and determination to
be brave to the last. We know that when the ship has
passed from sight and nothing but the endless expanse
of water remains, they will turn back bravely to their
new homes and new work with thoughts of the future.
EXERCISES
1. Sketch briefly the life of the artist.
2. How many figures do you see in this picture?
3. What are they watching?
4. Tell the story of the Mayflower.
5. In what country are these people?
6. Why did they come here?
7. What do you think their feelings are at this moment?
8. Since they suffered so much in England, why do you think
they should feel thus at the departure of the ship?
9. What lies before them?
10. Describe the dress of the women of this period. Of the men.
11. Who are these people? Where did they come from originally?
It is the glory and good of Art
That Art remains the one way possible
Of speaking truth, — to mouths like mine, at least
Immortal art! Where'er the rounded sky
Bends o'er the cradle where thy children lie,
Their home is earth, their herald every tongue.
— Holmes
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
PILGRIMS GOING TO CHURCH
GEORGE H. BOUGHTON
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GEORGE H. BOUGHTON
George H. Boughton was born in Norwich, England,
in 1834, but came to America with his parents when he
was only two years old. He began to draw almost as soon
as he was able to hold a pencil. He did not draw any
one line of subjects. To use his own words, "I drew
every mortal thing that came under my notice."
By this sketching in his early life, he was able to earn
enough money to take him to England where his
talent developed readily. On his return he painted
"Winter Twilight," and when this picture was accepted
by the New York National Academy of Design, his
career as a famous painter began.
Boughton, like many other artists, loved best of all
to picture humanity, and to this end he devoted himself
to the study of human life.
The artist's especial delight was in the portraying
of Puritan life. What can be more charming than his
"John Alden and Priscilla, " and what can arouse our
sympathy more than does "Landing of the Pilgrims."
Altho Boughton studied art in England, his style
is decidedly American, and he has painted English sub-
jects in a manner that shows all the truth and grace of
American skill.
Boughton went to Paris in 1860 and finally in 1861
took up his residence in London. In 1896 he became a
member of the Royal Academy.
PILGRIMS GOING TO CHURCH
History tells that while the Virginia settlers were pass-
ing their first year in the New World, a number of men
and women in England, who were beginning to worship
God in a manner not allowed by the laws of that time,
and had been harshly treated, fled to Holland where they
might worship as they pleased.
They were glad for this refuge; but if they and their
children were to stay there, they would forget their native
land and their native tongue. As they did not wish this
to happen they decided to find a place where they could
worship as they pleased, and retain the manners and
customs of their native land.
Consequently their faces turned toward the new country
of America. Soon one hundred strong men and women
set sail in the little ship, The Mayflower. After many
difficulties, they finally discovered a beautiful little harbor
where they founded the colony of Plymouth.
The hardships of that first bleak New England winter
were most severe. Before spring half of the colonists
died, but the brave strong men, such as we see in this
picture, guided by wisdom from above, protected the
women and children against the enemy who skulked in the
forest, cared for the sick, and made friends with the red
men.
This picture is typical of the early days when the
Pilgrim Fathers first came to the new country. It por-
trays the religious fervor and enthusiasm of these exiles —
they are going on an errand of peace, yet are prepared
for war. The guards — two in front and two behind —
seem a slight protection for the women and children whom
they are escorting thru the snows. Their strong
rugged faces show their determined characters, and we
are sure of the response any lurking enemy would meet
in case of attack.
EXERCISES
1. When and where was Bough ton born?
2. To which country did he move while still very young?
3. What did he say concerning his talent?
4. When and how did fame come to him?
5. What did this artist like to portray best of all?
6. Tell the story of the Pilgrims.
7. Point out and describe three different types of people in this
picture.
8. Where are these people going? How did they regard their
religion?
9. Why are the men in front and at the rear of the party carry-
ing guns?
10. Name two enemies that these brave Pilgrims had to contend
with?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
PRISCILLA AND JOHN ALDEN
ALFRED FREDERICKS
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schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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ALFRED FREDERICKS
Alfred Fredericks is an Englishman by birth, but he has
chosen to make America his home. In fact, he is often
classified as an "American painter." Originally he was
a scene painter. His scenes are almost all dramatic in
character, with an occasional historical scene.
PRISCILLA AND JOHN ALDEN
The picture of Priscilla and John Alden is of much
historical and literary interest, because both were among
the Mayflower Pilgrims, and because Longfellow has
told their story in his "Courtship of Miles Standish."
When the Mayflower stopped at Southampton, England,
John Alden, a strong, handsome, brave young man was
taken aboard as a cooper for the company. Priscilla
Mullins was left an orphan during the first winter in the
new land by the death of both parents. She was a beauti-
ful girl, gifted with all the graces of sweet and gentle
womanhood. John and bluff old Captain Miles Standish
began to look upon her with eyes of love. Soon the
Captain sent young Alden to court Priscilla for him.
His wooing for the Captain was unsuccessful. The artist
here represents the Puritan maiden in the act of saying
"Why don't you speak for yourself, John?" Young
Alden had never fully realized until this moment how
devotedly he loved the gentle maiden.
Priscilla in her Puritan dress is charming. Her beauti-
ful face shows that she has seen much sorrow. The
artist has added a distinctly feminine touch in the flower
held by Priscilla. John Alden is a handsome youth, his
semi-military dress suggesting the officer. Both Pris-
cilla and John are clad in the typical Puritan garb. At-
tention is attracted to the capes and the peculiar head-
dress of each.
The scene is laid on a typical New England seashore.
Sedges grow here and there in the sand, and the waves
roll in long swelling curves toward the beach. In the1*
distance are seen the white sails of the Mayflower.
Priscilla and John Alden stand upon the white sand of
the shore back of the sedges and grasses. The limitless
expanse of the ocean and the dreariness of the shore, sug-
gest the need of a greater degree of trust and confidence
on the part of the two brave young people.
The conception of the artist is one of rare charm. It
breathes the spirit of pure and exalted love and also carries
with it a suggestion of mutual strength and confidence.
In this land of loneliness, these brave young people need
each other. This is their thought as the Mayflower fades
from sight.
This picture cannot be appreciated fully by one who
does not understand the story of the Pilgrims. The
Colonization Period of American history should be freely
studied when such a picture is to be interpreted.
EXERCISES
1. What historical and literary interest attaches itself to this
picture?
2. Give the history of Priscilla and John Alden.
3. What particular moment in their lives is here shown?
4. What impresses one about the face and bearing of Priscilla?
5. What is the feeling of the beholder toward John Alden?
6. What forms the background of this scene?
7. What in the surroundings has probably drawn the young people
to each other?
8. What is the meaning of the picture to you?
9. Tell briefly the story of the Pilgrims.
Even when painting does appear to have been pursued
for pleasure only, if ever you find it rise to any noble
level, you will also find that a stern search after truth
has been at the root of its nobleness. You may fancy,
perhaps, that Titian, Veronese, and Tintoret were painters
for the sake of pleasure only ; but in reality they were the
only painters who ever sought entirely to master, and who
did entirely master, the truths of light and shade as
associated with colour, in the noblest of all physical
created things, the human form.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
QUEEN LOUISE
GUSTAV RICHTER
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THE UNIVERSITY PUBLISHING COMPANY
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GUSTAV RICHTER
Gustav Richter was born in Berlin, August 31, 1823,
where he died at the age of sixty-one. His work consisted
largely of historical paintings and portraits. He was
a pupil under Eduard Holbein at the Berlin Academy
where he later served as professor of art. He also studied
under Cogniet in Paris. He was a frequent visitor to
France and Italy. He also visited Egypt and the Crimea
where he found rich material for use in his historical
paintings. He was honored by membership in many
leading art societies and was given medals by the lead-
ing art academies of the world. Among his leading
paintings are: Baldur; Walkyries;Walhally; Building of
the Pyramids; Egyptian Girl; Egyptian Dancers; and
many portraits of noted persons.
QUEEN LOUISE
In order to appreciate the loveliness of this portrait,
we should know something of the life of "Fair Queen
Louise." She was the princess of Mecklenburg, Strelitz.
Her father was Duke Karl Ludwig of Hanover. Her
mother died when Louise was only seven years old, leav-
ing the children to the care of a grandmother.
Louise had the advantage of travel, accompanying her
grandmother on many journeys and meeting people of
rank and genius. She also visited the poor and lowly
making no distinction in rank but giving of her tender
sympathy and kindness wherever she went.
At the age of seventeen, she met the crown prince of
Prussia and married him on the 24th of April, 1793.
Five years later, with the death of Frederick William II,
King of Prussia, Louise became queen of Prussia. In a
short time political difficulties arose, forcing Prussia into
war with Napoleon. There were two battles, one at Jena
and another at Auerstadt, in both of which Napoleon
was victorious. Louise was near Jena at the time of the
battle and was forced to flee to Berlin where she had left
her two sons.
Hearing that Napoleon was entering Berlin in triumph,
she, with her children, again fled, this time to Konigsberg.
While here she became ill under the intense nervous
strain. Hearing again that the French were in pursuit,
she hurried, tho ill, to Memel. Recovering suffi-
ciently, she turned back to Tilsit; and there met her bitter
enemy, Napoleon. She tried to influence him in behalf
of her loved country but to no avail. In the latter part of
June, 1810, she went back to her old childhood home in
Strelitz, where surrounded by her father, grandmother,
husband and children, she passed her last days. In many
homes today may be found a picture of this lovely
example of true and simple womanhood.
EXERCISES
1. When and where was Richter born?
2. Tell briefly of his life and work.
3. Of what country was Louise queen?
4. Tell what she did for her country.
5. Looking at this picture, what kind of a woman would you
judge Queen Louise to be?
6. Why do you think this picture is kept in so many homes?
7. What do you like best about it?
Greatness in Art is not a teachable nor gainable thing,
but the expression of the mind of a God-made great man;
that teach, or preach, or labor as you will, everlasting
difference is set between one man's capacity and another's;
and that this God-given supremacy is the priceless thing,
always just as rare in the world at one time as another.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
READING FROM HOMER
LAURENZ ALMA-TADEMA
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LAURENZ ALMA-TADEMA
Laurenz Alma-Tad ema was born in Friesland, Holland,
on January 8, 1836. At the age of four he showed such
a talent for art that he was given drawing lessons. At
the age of five he pointed out errors in his master's work,
mistakes which the latter was forced to admit.
His first education was received in the Gymnasium of
Leuwarden, where he made a special study of Egyptian
and Roman antiquities. In 1852, he became a student
in the Academy of Fine Arts at Antwerp. Soon after this
he set up a studio in Antwerp. In order to help his
struggling young pupil, Leys, Tadema's master in Ant-
werp, purposely misdirected the cab-driver of Mr. Gam-
bert, most influential picture dealer in the city, and the
dealer was stopped at the door of the young artist. After
the dealer had discovered the deceit, he was too kind-
hearted to drive away, so entered the studio. To his
utter surprise, he found here just what he wanted, and
ordered two dozen pictures similar to "Coming out of
Church," which had recently been finished.
In 1870, Alma-Tadema took up his residence in London
which remained his home until his death, June, 1912.
During his career, the artist was honored by receiving a
great many medals. In 1864 he was given a medal from
the Paris Salon; three years later he won a second class
medal at The Universal Exposition, and in 1873 he be-
came an officer of the Legion of Honor in France. Three
years later he was elected Member of the Royal Academy.
READING FROM HOMER
In this painting we see plainly the influence of Alma-
Tadema's early devotion to the study of Roman art.
The "Reading from Homer" is considered his masterpiece.
The scene of this painting is laid on the Isle of Lesbos, an
island in the Aegean Sea. There are two central figures,
Sappho and her lover, Phaon. They are lounging in
a secluded nook of a great temple and are listening to an
eloquent rendition of lines from Homer's poems. The
reader is seated on a marble bench at the right of the
picture. The expression of intensity which his face wears,
indicates that he is striving to please and interest his
listeners.
Sappho was a poetess who lived in the early age of
Greek literature. She was born at Lesbos about 600
B. C. and was considered among the most beautiful and
talented of Greek women.
Phaon, so the legend goes, was a misshapen old boatman
at Mitylene. He is said to have borne Venus across the
sea without payment, and for this act was rewarded with
a box of ointment. This ointment made him youthful
and handsome. Sappho straightway fell in love with him.
But he disregarded her attentions. Becoming despondent
over this state of affairs, Sappho cast herself into the sea.
EXERCISES
1. Sketch briefly the life of Alma-Tadema.
2. Name the most important honors bestowed upon the artist
during his career.
3. Where is the setting of this scene?
4. Who are the central figures?
5. Where is this group seemingly located?
6. What is the reader doing?
7. Who are the other two figures?
8. Who was Sappho? Phaon?
9. What do you like best about .the picture?
Even when painting does appear to have been pursued
for pleasure only, if ever you find it rise to any noble
level, you will also find that a stern search after truth
has been at the root of its nobleness. You may fancy,
perhaps, that Titian, Veronese, and Tintoret were painters
for the sake of pleasure only; but in reality they were the
only painters who ever sought entirely to master, and who
did entirely master, the truths of light and shade as
associated with colour, in the noblest of all physical
created things, the human form.
— John Ruskin
PICTURE IISTUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
RETURN TO THE FARM
CONSTANT TROYON
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CONSTANT TROYON
Constant Troyon (1810-1865), was one of a group of
artists who spent much time in the old Forest of Fontaine-
bleau. He, like Dupre and Diaz, received his early
training in art in the porcelain factory at his birthplace,
Sevres, France. Possibly his first teacher was a man by
the name of Riocruz, who was skilled in painting repre-
sentations of flowers on porcelain. He, at least, instructed
the lad in the mixing and blending of paints.
At the age of twenty, Troyon started out for himself.
At this time he met a landscape artist, Roqueplan, from
whom he learned the principles of landscape painting.
This, together with the ideas he received from Dupre
and Diaz, was the extent of his education in art. At the
age of twenty-four, we find the young artist established
in a studio of his own in Paris. He made an exhibit of
landscapes at the next Salon where his pictures met with
favorable comment. It was during his sojourn in Paris
that he established his friendship with Millet, Corot,
Rousseau, and others of the Barbizon Group.
Up to the age of forty, Troyon had spent his entire time
on landscapes. At that time, influenced by Paul Potter,
he began to paint animal scenes. He met with remark-
able success at once. It is rather surprising to know that
all the honors which were bestowed upon him, were won,
not with his famous animal pictures, but with his land-
scapes.
It has been said of Troyon in comparison with other
animal painters, "Paul Potter could paint cow hide and
cow anatomy, but Troyon could and did paint cow life.
Albert Cuyp painted a cow's skeleton — the rack of bones,
but Troyon painted cow character."
RETURN TO THE FARM
As the background for this picture, we have a soft,
hazy, gray sky, against which the tall luxurious trees stand
out in rich, dark relief. Down the rough country road
come the cattle on their return to the farm. Perhaps
they have been in a pasture some distance away, and
are now returning in the late afternoon to be milked and
to receive their evening meal.
Some of the cows have become thirsty and have stopped
at a nearby pond before passing on. The two cows in the
road, however, are coming steadily on. Perhaps one of
them is the leader, or bell-cow.
To the right of the picture come the docile sheep, their
trustful innocent faces set steadily toward home. In
front of the herd leaps the joyful dog. His duties are
not as pressing as might appear, for he is rejoicing over
the performance of his daily duty, that of bringing home
the cattle and sheep.
In the rear is a donkey, the blackness of whose coat is
in sharp contrast with the whiteness of the cows and
sheep. So truly is this scene portrayed, that we feel in
a moment the herd will pass around the corner and we will
have nothing left but the gray empty road.
EXERCISES
1. Sketch briefly the life of Troy on.
2. Describe the trees; the sky; the road.
3. Name the kinds of animals found here.
4. What are the cattle to the left of the picture doing?
5. Describe the cows in the road.
6. Describe the sheep.
7. What do you like best about this picture?
Modern landscape painters have looked at nature with .
totally different eyes, seeking not for what is easiest to
imitate, but for what is most important to tell. Reject-
ing at once all ideal of bona fide imitation, they think only
of conveying the impression of nature into the mind of the
spectator. — John Ruskin
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
ROAD THRU THE WOODS
JOSEPH FARQUHARSON
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company.
JOSEPH FARQUHARSON
Joseph Farquharson is the son of Francis Farquhar-
son and is one of the most industrious of present-day
English art exhibitors. In 1900, he was made an as-
sociate of the Royal Academy, a recognition won thru
his success as a landscape painter. He married Violet
Evelyn in 1914 and has since lived in England. He has
had notable exhibits at the Royal Academy, The Royal
Institute of Painters in Oils, and The Art Gallery, Liver-
pool.
ROAD THRU THE WOODS
One cannot study such a picture as Farquharson's
"Road thru the Woods" without being impressed with
the restfulness of the scene. It is the story of the day's
work rewarded with the peacefulness of the eventide.
The story of the faithful shepherd has appealed alike to
poet and painter.
The central feature of the picture is a flock of sheep
driven along a broad roadway, which leads directly thru
the foreground. On either side of the road is seen the
forest. The shepherd and his dog appear in the back-
ground. From the left a pathway leads thru an opening
in a stone wall, the gate way of which is composed of old-
fashioned bars.
The scene suggests an evening in early autumn. Not
all the leaves have fallen and there are still a few patches
of tender, green grass which attracts several of the sheep.
There is a mellow golden light in the sky, suggesting a
sunset in the haze. of an early autumn evening. Here
and there are scattered the early fallen leaves.
The forest setting forms a pleasing picture in itself.
The trees with their gnarled trunks and tangled branches
suggest that they have been wind-swept, owing to their
position on a slight eminence, with the open plain back
of them toward the sunset. The trees cast long shadows,
which are in strong contrast to a few lines of bright light
from the sunset. To secure the great softness, suggesting
haziness, the artist has avoided stiffness or crispness of
outline, and great definiteness of shadow. There are no
clouds, there being different shades of color to represent
the sky. Objects in the distance are painted with faint,
indistinct touches. Detail has been sacrificed to secure
general effect.
EXERCISES
1. What is the first impression one gets of this picture?
2. What season of the year is suggested?
3. Describe the forest setting.
4. What things give the human touch to this picture?
5. Point out the different features that make the picture.
6. How has the artist secured the effect of softness, of haziness?
7. What do you like best about the picture?
There is no limit to the good which is effected by plac-
ing good pictures before ourselves. — Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ST. ANTHONY AND THE CHRIST CHILD
BARTOLOME ESTEBAN MURILLO
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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BARTOLOME ESTEBAN MURILLO
Bartolome Esteban Murillo was born in Seville,
Spain, in 1618. His father, a merchant by trade, was so
poor that he was allowed to occupy his house free from
rent. Almost the first we know of the boy's early child-
hood is that his parents had both died before he was eleven
years old. Murillo then went to live with an aunt and
uncle, who, seeing his artistic ability, made him an
apprentice to another uncle, Juan del Castillo,who was an
artist of ordinary ability. It is thought that Murillo learned
little here beside the mixing of paints and the blending of
colors. In 1640, Castillo moved to Cadiz, leaving young
Murillo to fight his own artistic battles.
Without money, without even a very ordinary reputa-
tion as an artist, where should he turn? There was only
one place where he could satisfy his desire to paint and
that was at that studio which was free to all and where
so many struggling young artists spent the greater part of
their time, the public market place, where he painted
pictures of artistically grouped fruits and vegetables,
and of little beggar boys who crowded around to watch
him paint.
After a time he went on foot to Madrid where he worked
under his former fellow-townsman Velazquez, who was
then court painter to Philip IV, and at the height of his
success. Murillo was welcomed by the great painter
and was introduced to a number of influential artists of
the time. When he returned to Seville the commission
to decorate the inside of the Franciscan convent was given
him. After he had completed his work in the Franciscan
convent, Murillo 's position in the world of art was estab-
lished. As the years went on, he was much in demand as
a decorator of churches and convents.
Murillo was commissioned to such important work as
decorating the All Saints' Chapel and the church and
hospital of the Holy Charity. When he was sixty-two
years old, he went to Cadiz to decorate the interior of
the Capuchin convent. While working here he fell from
a high scaffolding" injuring himself so seriously' that he
was forced to discontinue. He died quietly in the year
1682, at his birthplace in Seville.
ST. ANTHONY AND THE CHRIST CHILD
St. Anthony of Padua was the son of noble, Godfear-
ing parents, and was born at Lisbon in 1195. The
thirty-six years of his life were spent in self-sacrifice,
prayer and suffering for the sake of others. Tradition
has it that as a blessing upon his purity and goodness,
the Christ Child, attended by cherubs, appeared to St.
Anthony. It is this legend that Murillo has so beauti-
fully illustrated for us. Notice the look of divine love and
joy on the face of the good saint as he tenderly holds the
little child, Jesus, lovingly against his cheek.
The heavens seem full of angel faces, while on the
ground are two cherubs, one holding a book and the other
a bunch of lilies, attributes of St. Anthony. This is a
picture of Murillo's imagination, yet can we not get a
certain inspiration from it, a feeling that we have looked
upon a heavenly vision, the divine blessing which is the
reward of the pure in heart?
EXERCISES
1. Sketch briefly the life of Murillo.
2. In what kind of painting did he excel?
3. Tell the legend of St. Anthony.
4. What great reward came to him?
5. Describe this picture.
6. What is shown by the background of the picture?
7. What in the picture impresses you most?
S. Why do you think so many persons like this picture1]
Believe me, if we want art to begin at home, as it must,
we must clear our houses of troublesome superfluities that
are forever in our way; conventional comforts that are
no real comforts, and do but make work for servants and
doctors: if you want a golden rule that will fit everybody,
this is it:
Have nothing in your houses that you do not know to be
useful, or believe to be beautiful.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ST. CECILIA
NAUJOK
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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ST. CECILIA
St. Cecilia, by Naujok, has been designated as the
musicians' picture. In the legend of St. Cecilia the story
goes that she was a noble Roman girl whose parents were
Christians and who, tho it might cost her her life,
took a vow to devote her life to heavenly things. She
excelled in music, but she played and sang only sacred
selections. Even the angels came down to listen to her
sweet music and to join with her in song. No musical
instrument of the time seemed to satisfy her, so she in-
vented the pipe organ and consecrated it to the service
of God. So wonderfully did she play, that mysterious
flowers of rare beauty fell, as if from angel hands, upon
the keyboard of the organ.
At sixteen, she was married to a young non-christian
nobleman, who, thru her influence, became a Christian.
Together they went about doing good. Altho her
husband was put to death for his faith, and she herself
was cruelly tortured, she continued to convert many to
Christianity. Finally she died from cruel torture, sing-
ing the sweet hymns of her faith.
The painting by Naujok represents St. Cecilia as trans-
ported with holy rapture. One hand is lifted from the
keyboard of the organ as the flowers fall upon her musical
fingers. She does not see the cherubim, but she gazes
upon some wonderful vision never seen by other eyes.
St. Cecilia symbolizes the hidden power of music. Her
rich full nature endowed with the ability to appreciate
all that can appeal to the individual thru the avenues
of sight, feeling and hearing, is indicated by the concep-
tion of the artist. St. Cecilia is clothed in rich gar-
ments; she wears royal jewels, while her pure soul is
indicated by the sign of the cross worn on her bosom.
The visible evidence of sainthood is the aureole, or crown
of light, above her head. We note, also, how much the
beauty of the picture is enhanced by the simple back-
ground which allows the wonderful face of St. Cecilia
to stand out in all its beauty. The face of the maiden
bespeaks a pure soul, great refinement, and wealth of
intellect.
The picture may very justly be regarded as a triumph
of the artist's skill at combining the richest sentiment
of music, literature and art.
EXERCISES
1. How widely is this picture known?
2. Who was St. Cecilia?
3. Tell the legends you know concerning her.
4. Upon what story is this picture based?
5. Describe the picture by Naujok.
6. How has the artist shown the rich full nature of St. Cecilia?
7. Why is the picture called "the musicians' picture"?
8. What do you like best about the picture?
To give people pleasure in the things they must perforce
use, that is one great office of decoration; to give people
pleasure in the things they must perforce make, that is
the other use of it.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
SAVED
SIR EDWIN HENRY LANDSEER
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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SIR EDWIN HENRY LANDSEER
Sir Edwin Henry Landseer was born in the outskirts
of London, on March 7, 1802. His father, an artist, took
a deep interest in his son's artistic tendencies, which be-
gan to show at a very early age. Some of the lad's youth-
ful studies are preserved at South Kensington Museum,
London, and, from the notes they bear, indicate that they
were made when the artist was only five or six years old.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at the
age of fourteen. The Landseer family was in such cir-
cumstances that no thought need be given to time or
expense of his study. At a very early age he had begun
to show a preference for the dog above all other animals,
so at the Academy he was known as" the little dog-boy."
For a time, it became the fashion among people of wealth
to have Landseer paint pictures of their favorite dogs.
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of Land-
seer's skill, and one of his chief patrons. He became the
Court Artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred the
honor of knighthood upon the artist, and from that time
on, he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate of the Academy in 1826. In 1831,
he was elected to full membership, and in 1865 he was
offered the presidency of the Academy, but refused on
account of his failing health. He died October 1, 1873.
SAVED
Here the artist has portrayed for us more than just a
dog. He has shown the trustworthiness and almost
human understanding of animals. The center of attrac-
tion in this picture is the great noble dog, who has saved
the little girl from drowning. Possibly the most notice-
able feature is his eyes. See in them the look of devotion,
of determination, of patience. Can we doubt the intelli-
gence of dumb beasts? His mouth is open and his tongue
is lolling out as tho he were panting from extreme
exertion. His great body is resting on the stones, but
notice how carefully he holds the little child on his paws to
keep the rough surface from bruising her.
The dashing waves, which are so near, the little child
who lies so still with closed eyes, and the protecting
attitude of the dog tell us plainly what has just happened.
The dark sea, the weird positions of the flying sea gulls,
and the heavy rolling clouds add to the intensity of the
picture and give it fathomless space and distance.
The most noted pictures by Landseer are: Monarch
of the Glen; The Old Shepherd's Chief Mourner; A Dis-
tinguished Member of the Humane Society; Stag at
Bay; A Jack in Office; Shoeing the Bay Mare; Dignity and
Impudence; King Charles' Spaniels; The Two Dogs; The
Sick Monkey; A Highland Breakfast; Low Life — High
Life; Suspense; and a Portrait of Landseer by himself.
EXERCISES
1. Sketch briefly the life of Landseer.
2. Why is this picture so named?
3. Tell in your own words what you think has taken place.
4. Where do you think this scene is laid?
5. What is the dog waiting for?
6. What do you see in the far distance on both the left and the
right of the picture?
7. What kind of a dog is this?
8. What do you think is the best thing about this picture?
Simplicity of life, begetting simplicity of taste, that is,
a love for sweet and lofty things, is of all matters most
necessary for the birth of the new and better art we crave
for; simplicity everywhere, in the palace as well as in the
cottage. — William Morris
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
WILLIAM SHAKESPEARE
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
WILLIAM SHAKESPEARE
William Shakespeare (1564-1616) was born in Strat-
ford-on-Avon. His parents were highly respectable
people, but they were not distinguished for any unusual
attainments. Into the home of John and Mary Shakes-
peare was born the child who was destined as a man to
hold the highest place in the realm of the English drama,
for the world places William Shakespeare in the same
rank as the Greek Euripides, or Aeschylus, or the Roman
Seneca.
Shakespeare possessed a world mind of such breadth
and vision that he conceived of questions that are of
interest to all people of all ages. "Hamlet," his greatest
play, has been classed as one of the finest masterpieces
of the world. All of Shakespeare's plays treat of great
fundamental questions pertaining to human conduct.
He saw the serious side of life and portrayed it in his great
tragedies. "Hamlet" treats of the struggle between
conscience and duty; "Macbeth," of the sin of an un-
worthy ambition; "Julius Caesar," of the tragedy of
misplaced confidence; "King Lear," of the duty of
children to parents, and the duty of parents to children;
and "Romeo and Juliet," of the wastefulness of neighbor-
hood quarrels. These great tragedies touch the human
heart because they deal with questions that men and
nations must face.
Shakespeare not only saw the sorrow of life, but he
also recognized the value of laughter in the social scale
No other dramatist has written greater comedies. Much
Ado About Nothing; The Taming of the Shrew; The
Winter's Tale; Twelfth Night; As you Like It; The
Merchant of Venice or The Comedy of Errors instruct
as well as provoke laughter. They have been played for
several hundred years and they still please intelligent
people.
In his immortal "Sonnets," Shakespeare sang of love
in an elevated style that affords enjoyment to all cultured
people. He is universally considered the greatest writer
of the sonnet in English.
Shakespeare is the peculiar heritage of the English-
speaking race. His plays should be familiar to every
student, and his very name should call forth a feeling akin
to reverence. A man who could sing of love with such
tenderness, or depict the sorrows of life so sympathetically
and truthfully, or present laughter with such wholesome-
ness, must have had a great heart, and a feeling of kinship
with all sincere and honest people. He possessed a great
intellect, a warm human heart, and breadth of sympathy
that seems more than human.
Shakespeare was interested in so many different things,
and in such a variety of human types that his great genius
has been a subject of wonder. This picture of Shakes-
peare is a favorite because of the fact that it emphasizes
no one trait in particular, but suggests the highly in-
tellectual man, thoughtful, reserved, and kind. This is
undoubtedly the finest idea of the great Shakespeare.
EXERCISES
1. What is Shakespeare's rank among world dramatists?
2. What was the character of his mind?
3. Name some of his great dramas that treat of world problems?
4. What is his greatest play?
5. In what way did he picture the sorrows of life?
6. How did he show his interest in laughter?
7. Of what do the "Sonnets" treat?
8. Why should English-speaking people have a close acquaint-
ance with him?
9. From this portrait, what kind of man do you think he was?
Popular art will make our streets as beautiful as the
woods, as elevating as the mountain-sides; it will be a
pleasure and a rest, and not a weight upon the spirits to
come from the open country into a town; every man's
house will be fair and decent, soothing to his mind and
helpful to his work; all the works of man that we live
amongst and handle will be in harmony with nature, will
be reasonable and beautiful; yet all will be simple and
inspiriting, not childish nor enervating; for as nothing
of beauty and splendour that man's mind and hand may
compass shall be wanting from our public buildings, so
in no private dwelling will there be any signs of waste,
pomp, or insolence, and every man will have his share of
the best. — William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE SHEPHERD BOY
JEAN FRANCOIS MILLET
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the "peasant painter of France." As a boy, he
iived a rugged out-of-door life, helping his father in the
fields. When he could no longer repress his desire to
become an artist, he went away to study. When he
returned, he was a great painter, but still remained a true
peasant at heart. He set up his home and studio in the
village of Barbizon, not far from Paris. Here lived the
peasants who plowed, sowed, cultivated and reaped, and
Millet delighted to wander out and sketch them at their
labor or converse with the woodcutters, the charcoal
burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon,
he was at least able to get food for his little ones from his
garden, and he could have near him his brother artists
Dupre, Rousseau, Corot and Barye, who appreciated
his efforts and to whom his artistic message was not spoken
in vain.
Millet was so full of sympathy with human life, that
in his first pictures very little attention was given to the
landscape; but later he was educated to the fact that
there is a good bond between man and nature, and that
a picture to be a true interpretation must harmonize the
one with the other. In all of his later pictures, therefore,
the landscape and the figures seem to be in perfect har-
mony.
The figures in his pictures are neither artistic nor
graceful, but they show great expression and goodness of
character and look as if they were really a part of their
surroundings. This was the life of which, in the fullness
of his heart, he said: "The peasant subjects suit my
temperament best, for I must confess that the human side
of life is what touches me most."
He died without having been appreciated. Three
nations are now striving in friendly rivalry to secure his
masterpieces.
THE SHEPHERD BOY
"The Shepherd Boy" is one of Millet's best examples
of his simple method of presenting his message. Its
simple composition is characteristic of Millet, for he chose
to tell his story on an uncrowded canvas and with one
or two peasant characters. In "The Shepherd Boy,"
a stretch of meadow land, a flock of sheep, the blue sky,
and the shepherd boy leaning on his staff constitute all
the pictorial elements.
The shepherd boy is the object of chief interest. He
wears the comfortable shepherd's cloak, for it is a cool
spring morning, the large hat of the peasant, and wooden
shoes. His face appears in shadow, for Millet was not
interested in any phases of portrait painting. The shep-
herd boy is strong, independent looking and trustworthy.
He watches so unusually large a flock, hence his air of
proprietorship and confidence. He is evidently satisfied
with his work.
The sheep fill the entire background of the picture as
they graze contentedly about the meadow. The backs of
the sheep are touched with a bright golden light for it
is morning, and there are no clouds. The artist has
painted his sheep broadly, being satisfied merely to suggest
details.
EXERCISES
1. What was the central idea of all Millet's pictures?
2. Why was Millet so greatly interested in peasant life?
3. What tells us how much he was appreciated before his death?
4. What are the chief objects in this picture?
5. Describe the shepherd as here portrayed. The sheep.
6. What central idea do you get from the picture?
7. What do you like best about the picture?
The highest problem of every art is, by means of appear-
ances, to produce the illusion of a loftier reality.
— Goethe
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE SHEPHERD AND HIS FLOCK
ROSA BONHEUR
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
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ROSA BONHEUR
In the quiet old town of Bordeaux, on the west coast
of France, was born, October 22, 1822, one of the world's
most famous artists, Rosa Bonheur. Her father was an
artist. Her mother was a musician. Rosa's waking hours
were spent in playing with the cats and dogs. She
loved every animal that came along, no matter how
wretched it might be.
When the family moved to Paris, little Rosa became
very homesick for the familiar scenes in her quiet old
home in Bordeaux. There was a school for boys near-by,
and the master, seeing the loneliness of the little girl,
asked her father to send her with her brothers to his
school. The boys became very fond of her, for she
entered into their sports as readily and with as much
spirit as one of their own number.
In 1838, Rosa's mother died, leaving the father to
care for four small children. The family now had to
be separated. Juliette, Rosa's sister, was sent to a friend
of the mother in Bordeaux; the boys to one boarding
school ; and Rosa to another. Rosa, at least, did not feel
happy with this change. She had always lived a free,
unrestrained life, and to thus be held within the bonds
of school life was too much for the child. She made a dash
for freedom so transgressing on the rules of the school,
that the authorities of the institution gave her up in
despair and she went joyously home to her father.
Rosa's father was so busy with the giving of his lessons
that he had no time to instruct his little daughter. She
was free to amuse herself as she wished, which she did
by drawing and painting. One day, upon returning
home to his studio, he was surprised to find that she had
sketched a very lovely bunch of cherries. After that he
took time to give her lessons, and she progressed so rapidly
that she was soon able to give lessons herself. She was
advancing so well that she took to copying famous
masterpieces in the Louvre, and these copies were so well
done that she received good prices for them in the market
places.
In 1847, Rosa Bonheur received her first prize, a gold
medal of the third class, presented in the king's name.
One of her best works, "Oxen Plowing," was painted for
the Salon exhibit in 1849.
After her return to Paris, she withdrew to the village
of By, in the very heart of the grand old forest of Fontaine-
bleau. Here at By, Rosa purchased a rambling old house
where she kept a menagerie consisting of birds of all
kinds, and animals, both wild and domestic. Here she
lived the life of a peasant, rising early and retiring at
the setting of the sun, eating the simplest of food and
painting to her heart's content.
THE SHEPHERD AND HIS FLOCK
"The Shepherd and His Flock" by Rosa Bonheur is
one of rare beauty, meeting every standard of good com-
position, beauty of coloring, and charm of sentiment.
Almost in the center of the picture sits a shepherd, sur-
rounded by his flock. The land is a rough mountain slope
with fire-swept and wind-shaken snags of trees and great
barren rocks jutting from the patches of green soil.
Like a great frill across the background is seen a chain
of rugged mountains, enveloped in mists and snow. The
shepherd from his hand feeds the "bell-sheep" of the flock,
while the other sheep wistfully seek the same attention.
The shepherd is dressed in the shepherd's suit consisting
of cap, jacket, knee trousers, leggings and wooden shoes.
The most interesting object, the shepherd, forms the
chief center of interest, while the sheep surrounding the
shepherd are the objects of secondary interest. All
objects fade away from the center of the picture in a most
unusual manner. The drawing is perfect, and the effect
of a hazy distance most wonderfully wrought.
There is an element of loneliness and a suggestion of
want that becomes almost pathetic. The clinging atti-
tude of the dumb animals is characteristic of Rosa
Bonheur. Into the picture is painted the idea of patient
love, obedience, helplessness, and willingness to follow.
The extreme helplessness and dependence of the sheep is
emphasized by the cold mountains and by the lonely
and unsheltered spot. The awakening of the world at
the touch of springtime has never been more artistically
pictured.
EXERCISES
1. Tell something of the life of Rosa Bonheur.
2. What two things may be said to make this picture a good
picture?
3. What are the most interesting objects in the picture?
4. How is the picture made to appeal to us?
5. What story does the picture tell you?
6. What do you like best about. the picture?
7. Tell of any other pictures you know that were painted by
Rosa Bonheur.
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
SHEPHERDESS AND SHEEP
HENRI LEROLLE
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company
HENRI LEROLLE
Very little can be learned of the life of this painter who
is a modern French artist, born in Paris.
His works are mostly those of nature, arid all of his
works show the influence of other painters of his time.
He paints landscapes, interiors of buildings, and of late,
scenes from peasant life. His pictures, altho not
'considered extraordinary, are pleasing to the eye. Lerolle
has many admirers iri America. His figures in outdoor
scenes are placed in a clear, luminous atmosphere, filled
with reflected light.
Lerolle had a fortune of his own and was thus able to
pursue his studies without being hampered with poverty.
Lerolle's best known paintings are: By the River;
Nativity; Shepherdess and Sheep.
SHEPHERDESS AND SHEEP
One of the best of the compositions of Henri Lerolle
is "Shepherdess and Sheep." Here we have a peaceful, gen-
tle scene, full of light and rest. Stillness and repose are
suggested by the slowly-moving, graceful woman, the
lambs so intent on their cropping of the grass, the quiet
pools reflecting the tall, smooth trees. Nevertheless,
there is no idleness pictured here. The shepherdess has
probably worked all her life as she is working now; the
man in the distance is plowing with his oxen; the sheep
are busy getting their breakfast, and even the trees are
not idle as they struggle upward.
The central figure of this picture seems to be the
strong, healthy girl, the shepherdess of this flock. Lerolle
shows that she is poor by the coarse elothing, that she
is beautiful by the fine lines of her graceful figure, and
that she is loving by the way in which she extends her
hand in a gentle gesture toward one of her charges. We
are led to feel that she is the supreme figure in the picture,
everything else is subordinate.
EXERCISES
1. Sketch briefly the life of Lerolle.
2. What do you see in this picture?
•3. Describe the clothing, form and attitude of the central figure.
4. With what is the man in the distance plowing?
f5. What tells you the time of year? The time of day?
f6. What in the picture do you like best?
He only can be truly said to be educated in Art to whom
all his work is only a feeble sign of glories which he can-
not convey, and a feeble means of measuring, with ever-
enlarging admiration, the great and untraversable gulf
which God has set between the great and the common
intelligence of mankind: and all the triumphs of Art
which man can commonly achieve are only truly crowned
by pure delight in natural scenes themselves, and by the
sacred and self-forgetful veneration which can be nobly
abashed, and tremblingly exalted, in the presence of a
human spirit greater than his own.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
SIR GALAHAD *
GEORGE FREDERICK WATTS
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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Series Copyrighted, 1917. The University Publishing Company
GEORGE FREDERICK WATTS
George Frederick Watts was born in London in 1818
and died in 1904. Unlike many artists whose lives we
have studied, he met with the greatest encouragement
and sympathy from his father, in his chosen work. Also,
unlike most artists, he was almost entirely self-taught.
At the age of nineteen, he had exhibited many pictures at
Academy exhibitions, and from this time on, made great
headway with his art. In 1843 he went to Italy where
he studied Venetian Art for four years. Upon his return
he painted portraits of the most noted men of the time.
These portraits are regarded as masterpieces.
Most of his works are symbolical, illustrating some
legend or myth. His pictures are so pure and lovely that
we cannot seem to comprehend the depth of meaning that
is portrayed. We can gaze and gaze at them and seem
fascinated by their beauty, but words fail to express what
we see there.
SIR GALAHAD
Sir Galahad was one of the knights of King Arthur's
Round Table. He has just taken his vow and is about
to start on the search for the Holy Grail. The Holy
Grail was supposed by some to be the cup out of which
Christ drank at the Last Supper, by others to be the cup
in which the blood of Christ was caught as he suffered
on the cross. Legends tell us that the Grail had dis-
appeared and that no one but a Knight whose life was
pure could ever hope to find it. It was a favorite pas-
time of the Knights of old to go in search of the Holy
Grail. Read the story as told in Lowell's "The Vision
of Sir Launfal," and Mary Blackwell Sterling's "Story
of the Holy Grail."
Notice that this young man is in full armor. He has
thrown back his helmet, giving us a view of his innocent
face. He looks thoughtful and seems to be either medi-
tating or else in prayer. His face shows a beautiful
character. He seems to realize the magnitude of his
quest and that he must necessarily meet and overcome
Sin before he returns, or return empty handed. He must
overcome selfishness. He must forget himself in adminis-
tering loving service to others. His faithful horse seems
anxious to start on the journey, but he is in no hurry. He
is anxious fully to comprehend the importance of his
search and to have confidence that he is able to come into
contact with evil and battle with it successfully.
While the Grail, in search of which Sir Galahad started,
was symbolized by this cup, in reality, it was the search
for true wisdom and goodness of character. This can-
not be attained except by forgetting self and striving to
help others. Those who succeed are the strong in courage
and love and the pure in heart. Tennyson represented
Sir Galahad as being a type of this character. We know
that Sir Galahad succeeded in finding the Holy Grail
because of his noble character.
EXERCISES
1. Where was George Frederick Watts born?
2. How did he learn to paint?
3. With what do his pictures mostly deal?
4. Who was Sir Galahad?
5. What was the legend of the Holy Grail?
6. Describe this picture.
7. What in this picture tells you whether or not Sir Galahad is
likely to succeed in his search?
8. What do you like best about the picture?
Hard features every bungler can command :
To draw true beauty shows a master's hand.
— Dry den
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE SONG OF THE LARK
JULES BRETON
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
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JULES ADOLPHE BRETON
Jules Adolphe Breton (1827-1906) was born at Cour-
rieres, France. He was educated at St. Omer and Donai
and trained as a painter under Felix Devigne, at Ghent.
His earliest paintings were based upon stories from the
French Revolution, but he became dissatisfied with these
and took up painting of peasant life, which he treated
in a most poetic manner. He was a good technician
except in his later work, but as an original thinker, as a
pictorial poet, he does not show the intensity of some other
painters of peasant life.
He received many medals for his work, among
them, a medal of honor at the Salon of 1872. In 1896
he was made a member of the French Institute and was
appointed a Commander of the Legion of Honor in 1889.
Breton especially excels in his pictures of the laboring
people, such as: The Gleaners; The Song of the Lark;
The Recall of the Gleaners; The Weeders; and The
Gypsies.
THE SONG OF THE LARK
There is no artist whose pictures of fresh, vigorous out-
of-door life in the country have more charms than Jules
Breton's. What could be more eloquent than the little
scene shown here? It is called "The Song of the Lark"
and the joyous expression of the face of the peasant girl,
and her parted lips as she gazes up into the sky, tell us
that the bird must be pouring out his exquisite song of
praise to the morning sun and to the Maker of all this
glory. Behind the hamlet at the edge of the field you
see the rising sun and you know that a busy day is just
beginning for the girl who comes with her sickle to the
field. How strong and hearty she looks! Out-of-door
life has kept her strong and cheerful and appreciative of
the beautiful in nature. The general expression of the
picture is one of strength and joyousness. The look of
strength is very marked. It is shown in the girl's sturdy
figure, the very character of the rough ground with its
well defined shadows, and the bird soaring so high in
the air that we say it soars to the sun.
This picture is now in the Art Institute, Chicago.
EXERCISES
1. Sketch briefly the life of Breton.
2. Why is this picture called "The Song of the Lark"?
3. Where is the lark?
4. From the picture, what is told you of the girl?
5. In what country do you think this scene is laid?
6. To what class of people does this girl belong? Why?
7. What tells you what her work is?
8. Why do you think this girl loves her work?
9. What time of year is it? What time of day?
10. What do you see in the distance?
11. What other artist have you studied that paints pictures of
peasants?
12. What do you like best about "The Song of the Lark"?
One picture in the thousand, perhaps, ought to live in
the applause of mankind, from generation to generation
until the colors fade and blacken out of sight or the canvas
rot entirely away.
— Hawthorne
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE SOWER
JEAN FRANCOIS MILLET
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JEAN FRANCOIS MILLET
Jean Francois Millet (1814-1875) was born in Nor-
mandy, France, of hardy peasant stock, and is familiarly
known as the "peasant painter of France." As a boy, he
lived a rugged out-of-door life, helping his father in the
fields. When he could no longer repress his desire to
become an artist he went away to study. When he re-
turned, he was a great painter, but still remained a true
peasant at heart. He set up his home and studio in the
village of Barbizon, not far from Paris. Here lived the
peasants who plowed, sowed, cultivated, and reaped, and
Millet delighted to wander out and sketch them at their
labor or converse with the woodcutters, the charcoal
burners, or the fagot gatherers.
Millet's home in Paris had been one of poverty, dis-
couragement and sadness. Oftentimes he did not know
where his next meal was coming from. In Barbizon, he
was at least able to get food for his little ones from his
garden, and he could have near him his brother artists
Dupre, Rousseau, Corot and Barye, who appreciated his
efforts and to whom his artistic message was not spoken
in vain.
Millet was so full of sympathy with human life, that
in his first pictures very little attention was given to the
landscape; but later he was educated to the fact that there
is a good bond between man and nature, and that a picture
to be a true interpretation must harmonize the one with
the other. In all of his later pictures, therefore, the
landscape and the figures seem to be in perfect harmony.
The figures in his pictures are neither artistic nor grace-
ful, but they show great expression and goodness of
character and look as if they were really a part of their
surroundings. This was the life of which, in the fullness
of his heart, he said: "The peasant subjects suit my tem-
perament best, for I must confess that the human side
of life is what touches me most."
He died without having been appreciated. Three
nations are now striving in friendly rivalry to secure his
masterpieces.
THE SOWER
It is twilight, and because of the gathering shadows
which are gradually closing down over the scene, we can
scarcely distinguish the features of the figure in the picture.
Only the outline of the weary, trudging body is visible
against the higher background.
Every line of the figure, the position of the foot just
ready to take another stride, the wide swing of the arm
in the act of casting the grain, the grasp of the bag, the
firm-set lips, all show a stern determination; for the
sowing of the seed is an important matter of life and death
to the French peasant.
Often before beginning the sowing, the peasant throws
up a handful of grain in such a way as to form a cross,
offering a prayer for a blessing on the seed. On the har-
vest depend the lives of himself and his family. There-
fore he is under a grave responsibility. He must choose
the right kind of weather and the best of seed. He must
sow it neither too lavishly nor too sparingly. Is it small
wonder that he takes his task so seriously?
Some of the other pictures painted by Millet are:
The Sheep Shearers; The Gleaners; The Angelus; The
Shepherdess with Her Flock.
EXERCISES
1. Sketch briefly the life of Millet.
2. What did the great masters of that time think of Millet's work?
3. How do Millet's later pictures differ from those painted in
the early part of his life?
4. Where does the Sower live? To what class of people does he
belong?
5. What has he in his bag?
6. What is he doing?
7. What do you see in the distance? What kind of a plow is the
man using?
8. What time of year is it? How can you tell?
9. What do you like best about the picture?
Those devoted men who have upheld the standard of
truth and beauty amongst us, and whose pictures, painted
amidst difficulties that none but a painter can know,
show qualities of mind unsurpassed in any age — these
great men have but a narrow circle that can understand
their works, and are utterly unknown to the great mass
of people: civilization is so much against them, that they
cannot move the people.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
i<r ?Hg
SPIRIT OF 76
ARCHIBALD M. WILLARD
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THE UNIVERSITY PUBLISHING COMPANY
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Series Copyrighted, 1917. The University Publishing Company
ARCHIBALD M. WILLARD
Had it not been for a Fourth of July celebration in
Cleveland, Ohio, perhaps the subject of our sketch would
have been unknown to us. Mr. Willard was a carriage
painter in Cleveland, Ohio, in the early seventies. Be-
sides this he painted pictures and had them lithographed
and helped to support his family by selling them.
One day he met a friend on the street who asked him
to paint a Fourth of July picture. He consented gladly
and the picture attracted so much attention that it was
sent to the Centennial Exposition at Philadelphia in
1876. It appealed to the hearts of the great mass of
people who attended the exposition, and won for Willard
the recognition that he deserved. Willard ceased to be
a carriage painter and devoted his time to painting
pictures. This picture, however, was his masterpiece.
It seemed to inspire the people with patriotic pride in
their country and won the hearts of the people.
Artists have criticized this picture very severely from
the standpoint of technique, but it will always stir the
hearts of the American people. It belongs to the city
of Marblehead, Massachusetts, having been presented to
them by General Devereaux at the close of the Exposition
SPIRIT OF '76
The spirit of true patriotism lights up the faces we see
in this picture. The picture brings to us a comparison
of our own times with those experienced by our forefathers
of the Revolution.
We imagine the central figure, the old man, has left
the plow and, with that stern determination to serve his
country which marks the people of those days, marches
forth "to do or die." Notice his clear, firm eye, which
seems to be gazing ahead, defying danger; his animated
face; and his whole body, which seems to be thrilled with
suppressed emotion.
The fifer, inspired by his desire to answer his country's
call, defies danger; and, forgetful of himself, sends forth
the strains of music which give zeal and inspiration and
which urge on the shattered file of colonial troops drawn
up in the rear to strike for freedom. One can easily
imagine that these three are father, son, and grandson.
The boy watches the old man who is their leader. He,
too, has caught the spirit of the times and fears no danger.
"Music hath charms" and in times of war, patriotic
music "stirs the hearts of men." This boy beats his drum
and keeps time for the company, thinking only of his duty,
while the soldier carrying the stars and stripes waves
his hat and cheers for his country. A dying soldier
exhibits his love for his country by cheering his company
as they pass by. Determination and. defiance character-
ized the spirit of our forefathers when they entered the
war of the revolution. This is the kind of people who
gave to us a free country and who died that their country
might be free.
EXERCISES
1. Tell something of the life of Willard.
2. What was his occupation?
3. How did he come to paint "Spirit of '76"?
4. What important event was taking place in 1776?
5. Describe this picture as it appeals to you.
6. What do we owe these people who left their plows and entered
the Revolution?
7. Tell something of the spirit of those times, as shown by this
picture.
8. Point out the most striking things about the picture.
Painting with all its technicalities, difficulties, and
peculiar ends, is nothing but a noble and expressive
language, invaluable as the vehicle of thought, but by
itself nothing. — Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
SPRING
JEAN BAPTISTE CAMILLE COROT
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JEAN BAPTISTE CAMILLE COROT
Corot was born in Paris on July 26, 1796. His father
was a poor shop-keeper of peasant descent, who sold
ribbons and laces. At the age of ten, Corot was sent to
a boarding school at Rouen. After he returned to Paris,
his father bought a country house on the outskirts of the
city. Here the boy would sit half the night, gazing out
thru his window at the sky, the water, and the fantastic
shadows cast by the great trees.
At an early age he was made apprentice in a cloth-shop,
where he worked for eight years. Finally, however, he
gained courage enough to state his ambition to his father.
He was met with no particular remonstrance but was
warned that he would receive only enough money to
keep him from starving. Corot gladly agreed to these
terms and began his new work immediately.
After the death of his first master, Michallon, Corot
entered the Paris studio of Victor Bertin. In 1827, he
made his first exhibition at the Salon, but it was not un-
until nineteen years later that his reward came. At the
close of the Salon exhibition in 1846, at which he exhibited
his painting entitled, "The Forest of Fontainebleau,"
he received, in his fiftieth year, the Cross of the Legion
of Honor, the highest honor that can be bestowed upon
an artist.
He was unselfish to the utmost degree and was always
ready with his purse to help the needy. When asked
concerning his lifetime generosity he said, "It is my tem-
perament and my pleasure. I can earn money again so
quickly, just by painting a little branch. Charity always
brings me in more than it costs me for I can work better
with a heart at easq."
It is interesting to know that Corot spent his summers
at Barbizon and in the Forest of Fontainebleau, which he
dearly loved. This is the place where at the same time,
Millet, his contemporary in poverty studied the life
of the toiling peasants and painted his famous pictures.
On February 23, 1875, Corot passed away murmuring
of beautiful landscapes and of the happy hours he had
spent with nature.
SPRING
Upon the first glance at this poet-artist's picture of
Spring, we are inclined to ask, "Can this be real, this
dreamy, misty vision of delicate leaves and gleaming
waters?" But we see a maiden reaching for some attrac-
tive leaves of a silvery birch, and two little children are
there, too, one gathering flowers at the foot of the tree,
the other reaching up her arms to the sky from sheer joy.
This is Spring in all her loveliness.
Here as never before, we realize the artist's power to
truly portray nature at her best. Corot was a master
painter, a singer, a poet. Can we not seem to feel all
three of these gifts as we gaze at the lovely scene before
us? Its shimmering delicacy seems to be a work of the
soul rather than of the hand. There is not one harsh
note in this whole artistic creation, for Corot, the happy
tender poet of the brush, saw only the good in nature
and man alike.
EXERCISES
1. Tell the story of Corot's early life.
2. What traits of Corot's character are brought out in his
paintings?
3. How does Corot show his power to portray nature in his
picture, "Spring"?
4. What signs of spring do you find in the picture?
5. What force are the figures in the picture?
6. In what way may this picture be compared with a poem?
7. What do you like best about the picture?
The enemy of art is the enemy of nature. Art is nothing
but the highest sagacity and exertion of human nature;
and what nature will he honor who honors not the human.
— Lavater
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
STRATFORD-ON-AVON
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
STRATFORD-ON-AVON
The beautiful scene before us presents a view of Strat-
ford-on-Avon. There is a general atmosphere of com-
munity pride and reverence for the memories of the im-
mortal Shakespeare. We notice the well paved streets,
the grassy lawns and green fields, the great elms, and
the carefully kept shrubbery on the banks of the Avon.
But the beautiful curving expanse of water is an object
of rare beauty. It is said that more than thirty thousand
pilgrims go to Stratford each year to visit the birthplace
of William Shakespeare who was born in the "Shakes-
peare House," April 23, 1564.
The great church spire, which is the central object of
architectural interest in the picture, is that of the Church
of the Holy Trinity, the burial place of the Bard of Avon.
Inside of this church is a marble bust of Shakespeare,
below which is a large flat stone bearing the well-known
inscription :
"Good Friend, for Jesus' sake forbear
To dig the dust enclosed here.
Blest be the man that spares these stones,
Curst be he that moves my bones."
For three centuries this epitaph has guarded the resting
place of the great dramatist.
Stratford is famous for its other historical landmarks.
Not far from Stratford is the famous Ann Hathaway's
cottage where the wife of Shakespeare lived in her youth.
But aside from the church, the object of greatest interest
is the house where Shakespeare was born. The house,
which has not become national property, has undergone
several changes since the days of Shakespeare, but the
framework, floors, and most of the interior walls remain
as they were in the poet's youth. Another house of great
interest is the half-timbered Harvard House, restored by
Marie Corelli and presented in 1909 to Harvard Uni-
versity by Edward Morris. It bears the date 1596.
This house is now used as a clubhouse for American
visitors to the Shakespeare home.
The charm of this picture grows with familiarity. The
soft, fleecy cloud that lingers like a halo above the scene,
the line of the hills in the soft haze of the distance, the
general suggestion of dignity, civic pride and prosperity,
make the picture one of lasting charm.
EXERCISES
1. What gives fame to Stratford?
2. What interest centers about the Church of the Holy Trinity?
3. How is one likely to be impressed by the fact that many people
annually visit Shakespeare's tomb?
4. Name some other objects of interest in Stratford.
5. What constitutes the unusual charm of this picture?
Art quickens nature; care will make a face;
Neglected beauty perisheth apace.
— Herrick
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
SUFFER LITTLE CHILDREN TO COME
UNTO ME
BERNHARD PLOCKHORST
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studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
BERNHARD PLOCKHORST
Bernhard Plockhorst was born in Brunswick, March
2, 1825. He first studied under Piloty in Munich and
later under Couture in Paris. He traveled widely study-
ing the works of the best artists and searching for sub-
jects for his art. He visited the art galleries in Holland,
Belgium, France, and Italy. He was especially charmed
with the scenes in and around Venice. On his return,
he lived for a time in Leipsic, then in Berlin. For three
years, 1866 to 1869, he was a professor in the Weimar
Art School.
Plockhorst excelled in portrait painting, but left many
excellent historical and religious works among which are:
The Exposure of Moses; The Finding of Moses; Mater
Dolorosa; Resurrection; Christ's Walk to Emmaus; Gift
from Heaven; Guardian Angel.
SUFFER LITTLE CHILDREN TO COME UNTO ME
One day as Jesus was about to enter the city, the women
of the place who had heard of His coming sent ahead of
Him, gathered together and brought out their children
for Him to bless.
Jesus was very weary from His journey and when
His disciples saw so many people waiting for Him they
rebuked them and asked them not to trouble the Master.
However, Jesus rebuked His disciples for wishing to send
the children away and said, "Suffer the little children
to come unto me, and forbid them not, for of such is the
Kingdom of Heaven. Verily I say unto you, whoso-
ever shall not receive the Kingdom of God as a little
child, shall in no wise enter therein." Then He took
the children up in His arms and blessed them.
This picture represents this particular entry of Jesus
into the city. In the center Christ sits on the stone
curbing of the fountain. He is dressed simply and His
pure white mantle falls in picturesque folds upon the
stones at His side. The little one in His arms clings to
Him lovingly, and the others nearby are eager for the
touch of His hand and the blessing of His sweet voice.
From far and near they come, sure of the welcome which
never fails.
In the foreground sits a dark-haired young mother,
who is listening with bent head and interested face to
the story of her little son, encircled by her arm. He is
pointing with his hand, filled with lilies of the valley,
toward the Saviour. He has evidently felt the pressure
of the heavenly hand and is filled with the happiness of
the blessing received. On the right, is a shepherd who
has guided his flock to the fountain.
OF SUCH IS THE KINGDOM OF HEAVEN
I think when I read that sweet story of old
When Jesus was here among men,
How He called little children as lambs to His fold,
I should like to have been with Him then.
I wish that His hands had been placed on my head,
That His arm had been thrown around me,
That I might have seen His kind look when He said
"Let the little ones come unto Me."
In that beautiful place He has gone to prepare
For all who are washed and forgiven,
Many dear children shall be with Him there,
For "Of such is the Kingdom of Heaven."
But thousands and thousands who wander and fall
Never heard of that heavenly home;
I wish they could know there is room for them all
And that Jesus has bid them to come.
I long for the joy of that glorious time
The sweetest, the brightest, the best,
When the dear children of every clime
Shall crowd to His arms and be blest.
— Jermima Thompson Luke.
EXERCISES
1. Tell something of the life of Plockhorst.
2. What kind of pictures did he love to paint?
3. Who forms the center of the picture?
4. How is Jesus dressed and what does He seem to be doing?
5. What does He say as He blesses the children?
6. Describe the mother and child in the foreground. What
does the child hold in his hand? What is he probably telling
his mother?
7. Who are the men in the background?
8. What do you suppose these men are doing there?
9. Why did Jesus' disciples not want the women to bring their
children to Him?
10. What do you like best about this picture?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
5413
SUNBEAMS
M. KURZWELLY
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
M. KURZWELLY
M. Kurzwelly is a noted landscape painter who now
lives in Berlin. His "Sunbeams" and "Brightness of the
Sea" have attracted very favorable comment. He now
spends his time painting in Berlin.
SUNBEAMS
"Sunbeams," by Kurzwelly, is a restful scene, portray-
ing a quiet village nestled at the foot of a slope toward the
sea, and shrouded in the mellow light of departing day.
There is a long stretch of sea, beyond which hangs a wide
cloud which veils the sun. The horizon line more than
one-half of the way across the picture is made up of a long
narrow stretch of land, suggesting an island. The village
calls to mind a fishing village, for several boats are seen
along the beach toward which the waves of the sea are
gently rolling. There are two "clumps" of trees, one
on the right, and one on the left. A line of blue smoke curls
from the chimney of the house in the foreground. Notice
about the chimney the protection for the thatched roof.
We seem to stand upon an eminence in the foreground
and gaze beyond the village and across the sea to the
bright spot of light above which hangs a long underlying
rift of clouds.
The picture takes its name from the corner of the
greatest light. In fact, the entire picture is lighted from
the reflection of the sunshine in the sea. In this respect
we are reminded of another picture by the same painter
entitled, "Brightness of the Sea." Simplicity is the key-
note of the picture. The artist has suggested much with
small attention to detail. The picture to the left of the
middle ground is made up almost exclusively of curved
lines, thus emphasizing the fact that we view the scene
from an eminence. The graceful curves of the masses of
foliage are also noticeable.
Altho no people are present, still the artist has con-
tinued to avoid the appearance of loneliness in the scene.
We can imagine the effect upon the beholder if the houses
and the boats were taken out of the scene. Few modern
artists have succeeded so well in painting light and its
effects, as has Kurzwelly. His pictures have individuality
almost as strong as some of the older masters of style such
as Corot or Turner. For those who like the quiet "human-
ized" landscapes, nothing better can be found than "Sun-
beams."
EXERCISES
1. What in the picture helps to make this a restful scene?
2. What keeps this from being a lonely place?
3. Why has the picture been named "Sunbeams"?
4. What makes the picture so simple?
5. How has the artist supplied the human element?
6. In what does Kurzwelly excel as an artist?
There's no way of getting good Art, I repeat, but one
— at once the simplest and most difficult — namely, to
enjoy it. Examine the history of nations, and you will
find this great fact clear and unmistakable on the front
of it — that good Art has only been produced by nations
who rejoiced in it; fed themselves with it, as if it were
bread; basked in it, as if it were sunshine; shouted at
the sight of it; danced with the delight of it; quarreled
for it; fought for it; starved for it; did, in fact, precisely
the opposite with it of what we want to do with it —
they made it to keep, and we to sell.
— John Ruskin
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
ALFRED TENNYSON
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
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ALFRED TENNYSON
Alfred Tennyson was born in Lincolnshire, in 1809.
He was the fourth of twelve children, eight sons and
four daughters. He came from a family of strong char-
acters but was of a moody disposition, a trait of the
father inherited by his children to some extent. His
father became so melancholy at times that it had a de-
pressing effect upon the children. He scoffed at the idea
of his children writing poetry. The two boys, however,
secretly wrote poems and persuaded their mother to walk
with them so they could read their poems to her. Tenny-
son often said "All that there is of good and kind in any
of us came from her tender heart."
Alfred was very dark and was frequently taken for a
foreigner. When he was seven years of age he went to
Louth School which he loathed. His father had taught
him some and when he went to school he learned enough
of the classics to appreciate them. Words charmed him
and he took particular delight in musical phrases.
WThen Alfred was seventeen years of age he and his
brother wrote a little volume called "Poems by Two
Brothers." They sold this for twenty francs and had
to take half pay in books.
In 1828 Alfred and his brother entered Trinity College,
Cambridge. Alfred was very much dissatisfied with his
school and wrote home that it consisted too much of
dry facts. He said, "None but dry-headed, calculating,
angular, little gentlemen can take delight in it." He
had such a striking personality, such handsome features,
that he made a very good impression in this school.
His associates were quite remarkable characters: Sped-
ding, who edited and re-edited the Life of Bacon; Milnes,
who afterwards became Lord Houghton; Alford, after-
wards Dean of Canterbury; Blakesley, afterwards Dean
of Lincoln; Merivale, afterwards Dean of Ely; and
Arthur Hallam, one of the great historians. Tennyson
did not give his Cambridge school credit for having given
him power but he did give credit to his associates. He
loved Hallam dearly. They had studied and walked and
talked and planned together. A great blow came to
Tennyson in 1833 when Hallam suddenly passed away.
Tennyson grieved deeply over the loss, and later produced
the memorable poem, "In Memoriam."
In 1842 he published two volumes containing a col-
lection of his earlier poems, of which Carlyle said, "That
to read it was to feel the pulse of a strong man's heart —
a right valiant, true, fighting, victorious heart."
In 1847 he published "The Princess." The year 1850
seemed to be a memorable one for Tennyson. He was
married to Emily Sarah S. Ellwood, who sustained and
encouraged and devoted the rest of her life to him. He
was also made poet-laureate this year. In 1853 he was
offered the Rectorship of the University of Edinburgh
which he refused. In 1855 he was offered the Oxford
D. C. L. suggested by the Archbishop of Canterbury
which he accepted. From this time on he and his wife
visited the poor and sick of the town, cared for their
farm by mowing weeds, gathering up leaves, collecting
flowers, studying the birds, took long walks alone or with
friends. He was a congenial companion for his boys,
walking and riding and discussing everything under the
sun with them. During this year Tennyson might be
found in a high backed chair in the upper story writing
poems. In 1855 he received a compliment which must
have been a great encouragement to one who loved his
work so intensely. The English soldiers at Crimea be-
came enthusiastic over "The Charge of the Light Bri-
gade." He immediately had a thousand copies printed
and sent to them. In 1855, he became an intimate
friend of the Brownings. They were very fond of him,
and Mrs. Browning and Mrs. Tennyson became very
intimate friends. About this time, his poem "Maud"
had been severely criticized, but with the proceeds of
this he bought Farringford, his country home, where
they and their friends were very happy.
In 1861 the Prince Consort died and Tennyson wrote
"Dedication to the Idylls" what has long been considered
the simplest and most complimentary poem ever written.
As a result of this, Tennyson had his first conference with
Queen Victoria which resulted in a very intimate friend-
ship between them.
He wrote "Enoch Arden" in 1864 and in 1869 he
wrote "Lucretius," which was published in Macmillan's
Magazine. These poems were later followed by "Idylls
of the King."
On his eightieth birthday he received many letters
expressing the admiration and love of his friends. After
reading one he said, " I don't know what I have done to
make people feel this way unless it is that I have always
kept my faith in immortality."
In October 1889, he wrote "Crossing the Bar," one
of the prettiest poems ever written. He composed this
poem one day as he was going from Aldworth to Farring-
ford. His greatest poems are : The Idylls, Maud,
and In Memoriam. In his last illness he called for a
copy of Shakespeare and they read some passages to him.
When the doctor came he said, "Death"?, and when the
doctor nodded "yes" he said, "That is well." He was
buried in Westminster Abbey being borne there by twelve
of the most distinguished men in England.
EXERCISES
1. When and where was Tennyson born?
2. Tell something of his early life.
3. What were his first published poems?
4. How do we know that his mother was kind and sympathetic?
5. Where did he first attend school? Where did he attend
college?
6. Who were his best friends?
7. Who was Carlyle? What did he say of some of Tennyson's
early poems?
8. Why was the year 1850 an eventful one? What was Farring-
ford?
9. Who were the Brownings?
10. Name some of Tennyson's best poems.
11. How did he happen to have his first conference with Queen
Victoria?
12. When and where did Tennyson die? What individual was a
life-long help to him and critic for him?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THOROUGHBREDS
HEYWOOD HARDY
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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HEYWOOD HARDY
Heywood Hardy was born in England, where he still
lives. He has painted a number of groups of persons
and animals. His pictures have been exhibited in the
Royal Academy and at the Grosvenor Art Gallery.
THOROUGHBREDS
"Thoroughbreds," by Hardy, is a picture loved by
children. It represents a charming English girl, offering
an apple to her favorite riding horse. Two pet dogs look
up into the face of their mistress and ask for attention.
The background of the picture is made up entirely of a
mass of green foliage with just a touch of soft summer sky.
The grace, refinement, and beauty of the girl; the rare
intelligence and gentleness of the horse, all carry out the
idea of exceptional worth, the thought that the artist
desired to convey in naming the picture "Thoroughbreds."
Of the three domestic animals, the horse, the sheep
and the dog, the horse has always appealed most strongly
to painters and writers. These dumb animals have been
the friends of man, accompanying him wherever he has
gone to take up his abode in unknown lands. In Oriental
countries, especially in Arabia, the horse has been con-
sidered more useful than either the dog or the sheep.
The service rendered man by this faithful companion, the
horse, makes him deserving of the greatest kindness.
In the picture the horse looks upon the girl with that
attachment born of kindness. The girl has put on her
riding suit and is prepared for a long ride into the country.
We note especially the unusual look of intelligence of this
horse. Aside from his intelligence, the sleek coat, and
his fine bearing make him a rival of the girl for attention
from the beholder.
The picture is in the nature of a portrait. The stone
steps to the left of the picture probably lead from the home
of the girl. We can imagine that the scene is laid on
some fine old English estate in the days when it was a
popular pastime for men and women to ride and drive
blooded horses.
EXERCISES
1. What do you see in this picture?
2. What thought does the artist convey in the word "thoro-
breds"?
3. What seems to you to make each of the leading characters a
"thorobred"?
4. Describe the setting.
5. Where is the probable scene of the picture?
6. Why has the horse been the favorite subject of painters?
7. Why is the Arab especially devoted to his horse?
8. What touches do you like best in the picture?
The most important part of painting is to know what
is most beautiful in nature, and most proper for that art;
that which is the most beautiful is the most noble subject.
— Dryden
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THREE MEMBERS OF A TEMPERANCE
SOCIETY
JOHN FREDERICK HERRING
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
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JOHN FREDERICK HERRING
John Frederick Herring was born in Surrey, England,
in 1795. His father was a London tradesman, born in
America. Herring's first ambition to paint horses came
from seeing them in action at the St. Leger races at
Doncaster, where he had gone in search of employment.
From this time he was alternately stage driver and painter
of the animals he loved so well. At last he achieved
such great success that he devoted his whole time to
painting, and gained a reputation in his special line second
to no other in England. Of his many pictures "Pharaoh's
Horses" is perhaps the most popularly known. He died
at Tunbridge, Kent, in England, in 1865.
THREE MEMBERS OF A TEMPERANCE SOCIETY
This is a picture of three horses quenching their thirst
in the clear, cool water of the fountain. Notice the
three different types, each having a beauty of intelligence
as it is seen in the faces of few animals. The one far-
thest from us seems intent on satisfying his thirst, but the
white horse and the one nearest the front of the picture
have just lifted their heads, with the water dripping from
their mouths, as if listening to something unseen and
unheard by us.
What gentle creatures they are with their great, in-
telligent eyes, and sleek, shining coats! No doubt they
are the favorites of a loved and loving master. Per-
haps some little boy or girl likes to rub their velvety
noses and feed them bits of bread and lumps of sugar
which every horse loves. Compare these horses with
those in Rosa Bonheur's "Horse Fair."
EXERCISES
1. Sketch briefly the life of Herring.
2. What was his father's occupation?
3. How did Herring first come to paint horses?
4. What is his best known picture?
5. Describe "Three Members of a Temperance Society."
6. What difference do you see in the expression on the face of
the white horse and that of the one nearest the front of the
picture?
7. What do you think these two horses see before them?
8. Why do you think this picture is called "Three Members of a
Temperance Society? "
9. What do you especially like about this picture?
A painter may make a better face than ever was, but
he must do it by a kind of felicity, as a musician that
maketh an excellent air in music, and not by rule.
— Bacon
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
THE VICTOR OF THE GLEN
SIR EDWIN HENRY LANDSEER
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company.
SIR EDWIN HENRY LANDSEER
Sir Edwin Landseer was born in the outskirts of London,
on March 7, 1802. His father, an artist, took a deep interest
in his son's artistic tendencies, which began to show at a
very early age. Some of the lad's youthful studies are
preserved at South Kensington Museum, London, and,
from the notes they bear, indicate that they were made
when the artist was only five or six years old.
This artist showed no fondness for books, so his father,
believing that his son's artistic ability should be developed
to the utmost, entered him at the Royal Academy at the
age of fourteen. At a very early age he had begun to
show a preference for the dog above all other animals,
so at the Academy he was known as "the little dog-boy."
In 1824, he paid his first visit to Sir Walter Scott at
Abbotsford, Scotland. So deeply impressed was he by
the beauty of the scenery and of the animals, that he
rarely failed to visit Scotland every year after this.
Queen Victoria, from the time of her accession to the
throne of England, had been an ardent admirer of Land-
seer's skill, and one of his chief patrons. He became
the court artist and was kept busily employed painting
pictures of pet animals and portraits of Queen Victoria
and Prince Albert. He also instructed the King and
Queen in etching. In 1850, Queen Victoria conferred the
honor of knighthood upon the artist, and from that time
on, he was known as Sir Edwin Henry Landseer.
It is interesting to know of Landseer's progress in the
Royal Academy. From being an ordinary student, he
was elected as Associate in the Academy in 1826. In
1831, he was elected to full membership, and in 1865 he
was offered the presidency of the Academy, but refused
on account of his failing health. He died October 1,
1873.
THE VICTOR OF THE GLEN
This picture, known as " The Victor of the Glen, "presents
Landseer in his most striking characteristic as a portrayer
of the dramatic side and of the tragedies of the animal
world.
The scene here represented is in the Scottish highlands.
Long stretches of mountain peaks appear in the distance,
with great clouds breaking away over them as the day
grows brighter. Three female deer, guarded by the
favorite male of the herd, are near a spring of mountain
water where a second male has come to drink, or perhaps
to offer himself as a rival leader of the herd. The two
stags have fought until the weaker has fallen mortally
wounded by the side of the spring. The victor, the chief
figure in the picture, stands boldly above his fallen rival,
sounding forth a challenge of victory, that echoes from
peak to peak. The three does in the background look
on in mute admiration. The gruesomeness of the tragedy
is suggested by the mountain eagles gathering in the dis-
tance for what they know will soon be a feast. The
wounds of the fallen deer, the broken horn lying on the
ground, his exhausted but defiant look, add to the dra-
matic quality of the scene. The struggle is intensified
by the suggestion of the new day, with the breaking away
of the clouds, and by the lovely spot, rich with mountain
grasses and dotted with highland flowers.
EXERCISES
1. What tells that Landseer was an unusually talented youth?
2. What honors did he win?
3. What is Landseer's manner of picturing animals?
4. Tell the story of this picture.
5. What in the picture tells of the nature of the struggle?
6. What in the picture suggests the time and place of the scene?
7. What do you like best about the picture?
To feel beauty is a better thing than to understand
how we come to feel it. To have imagination and taste,
to love the best, to be carried by the contemplation of
nature to a vivid faith in the ideal, all this is more, a
great deal more, than any science can hope to be. The
poets and philosophers who express this aesthetic experi-
ence and stimulate the same function in us by their
example do a greater service to mankind and deserve
higher honor that the discoverers of historical truth.
— George Santayana
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
4531
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". ^^
WASHINGTON CROSSING THE DELAWARE
EMANUEL LEUTZE
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EMANUEL LEUTZE
Emanuel Leutze was born in Wurtemberg in 1816.
On account of political discontent, his father, who was
a German mechanic, left his native land and settled in
Philadelphia. When he was twenty-five he had obtained
enough money from the sale of pictures to take him to
Europe. Leutze went to Dusseldorf, where he soon won
a reputation as a historical painter. His picture "Colum-
bus before the Council of Salamanca" was admired so
much that the Dusseldorf Art Union purchased it. His
pictures are full of action and dramatic inspiration.
From Dusseldorf, Leutze went to Italy, then to Ger-
many, where he married the daughter of a German
officer. He came to America, where he found great pros-
pects for an American historical painter. This was
shortly before the Civil War, and books and pictures
swayed the mass of people and were eagerly sought for.
Leutze's artist friends and others, when the time came
for him to leave for America, gave a banquet in his honor
as evidence of the high esteem in which he was held. This
banquet was held in the "Mahlkasten" which was the
painter's club room, and he was welcomed with the clang
of a brass band.
Altho Leutze became a naturalized American citizen,
he adhered closely to the ideas of his two masters in
Dusseldorf. Because he was a very busy man with a
Jarge family to support, his pictures were not as perfect
as he had the talent to make them. There is a general
boldness and freedom in his pictures, and had he spent
the time some artists have spent on their work, he could
have given his paintings more beauty and dignity.
In his study he would sit for a long time thinking, then
perhaps enter into a lively romp with his children and
dogs, after which he would return, seeming to have
caught the inspiration, and enter upon his task with a
"hearty good cheer."
Among his best pictures are: Landing of the North-
men; Columbus; John Knox and Mary Stuart; Crom-
well and his daughters.
WASHINGTON CROSSING THE DELAWARE
In this picture we have the true spirit of bravery, the
bravery that will face peril without flinching, that will
forfeit even life itself for one's country. Notice the
small boat packed with soldiers, the floating pieces of
ice, the men themselves who are putting forth every
effort to reach the other shore, and above all, the calm,
powerful figure at the front end of the boat, in whose face
and form is seen no sign of shrinking from duty, no nervous
anxiety, as he stands there among his men with danger
on every side. This is a typical picture of General Wash-
ington who crossed the Delaware on Christmas night,
1776, with a force of less than twenty-five hundred men,
and marched on Trenton in a furious snow storm. There
he surprised a body of Hessian soldiers and took a thou-
sand prisoners and a large quantity of arms and ammuni-
tion. All this he did with scarcely the loss of a man. It
was not a bold strike, but a great victory, because it had
great results. Thousands of patriots had begun to des-
pair. Now their hearts leaped with joy. It was a
Christmas long to be remembered. Thus runs the story
which has come down to us in history of one of the great-
est of patriots and noblest of men.
EXERCISES
1. Sketch briefly the life of Emanuel Leutze. '
2. Why did he decide to come to America?
3. How did his fellow artists honor him when he left Germany?
4. What general criticism was passed on his pictures?
5. What is the name of this picture?
6. What particular reason had Washington for crossing the river
at night?
7. What year was this? What time of year was it?
8. Describe the battle that followed the crossing of the Delaware.
9. What were the results of this battle?
10. What was the character of Washington? How is this shown
in the picture?
11. How many things in the picture help to tell the story?
12. What do you like best about the picture?
The object of Science is knowledge; the object of art
is works. In art, truth is the means to an end; in
science it is only an end. — Whewell
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
GEORGE WASHINGTON
GILBERT STUART
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
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GILBERT STUART
Gilbert Stuart, an American portrait painter, was born
at Narragansett, Rhode Island, December 3, 1755. At
the age of thirteen, he painted his first portraits entirely
without instruction. His first teacher was Cosmo Alex-
ander who took him to England, and dying, left him in
poverty and alone to return to America. At the age of
twenty, Stuart returned to England where he took in-
struction from Benjamin West. In 1792, he returned
to America, with the great desire to paint the portrait of
Washington. With this motive uppermost, he worked
and painted until his death in 1828. The portraits of
Washington are the most noted of all Stuart's portraits.
It was said that Stuart jealously kept his original, selling
only copies. When he died, the original was sold to the
Washington Association, and it now hangs beside Stuart's
Martha Washington in the Boston Museum of Fine Arts.
GEORGE WASHINGTON
The commanding figure in American history, George
Washington, towers high above all other statesmen, save
Lincoln. He is loved and revered by the whole world as
a champion of human liberty. When the contest be-
tween America and the mother-country came, Washington
was made the leader in America because he was the ablest
man of his day. It was said of him that, "He was the
soul of the Revolution. He was security in defeat;
cheer in despondency, light in darkness, hope in despair,
the one man in whom all could have confidence. He would
not stop to thwart the machinations of envy; before the
effortless might of his character they stole away and
withered and died."
We see him as a boy, playing soldier; as a youth making
journeys in the service of his state, and again as com-
mander-in-chief of the American forces during the Revolu-
tion. When the time came to frame the Constitution of
the United States, he towered above hosts of able, loyal
statesmen, as Chairman of the Convention. The people
were hesitating whether to adopt or reject the constitution
but when they saw the name of "George Washington"
signed to the document, they knew it was a precious
document of human liberty. Largely thru his in-
fluence, the constitution was adopted. When the people
of the newly established country needed a president, every-
one, consciously or unconsciously turned to Washington.
He was elected President of the United States in 1789
and served eight years. At the close of his administration
he voluntarily retired to private life.
In this picture, the most popular portrait of Washing-
ton, we see the firm, serene face, the tender, kind, in-
telligent expression, the broad high forehead, the large,
thoughtful eye. Character is written in every line.
Poise, leadership, superb intelligence, fine tolerance,
resistless energy, high conscience, and imperishable
devotion are all written indelibly in the face of the great
leader.
EXERCISES
1. Sketch briefly the life of Gilbert Stuart.
2. How does the character of Washington compare with that of
other statesmen of his day?
3. Name some of the offices held by him.
4. How long and when did he serve as president of the United
States?
5. Describe the portrait as Stuart has painted it. Why do you
think the artist kept the original painting himself?
6. Where is this picture today?
7. From your knowledge of Washington and from the study of
this picture, what are some of the characteristics which made
him great?
Art is the child of Nature; yes,
Her darling child in whom we trace
The features of the mother's face,
Her aspect and her attitude.
— Longfellow
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
MARTHA WASHINGTON
GILBERT STUART
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
GILBERT STUART
Gilbert Stuart, the most noted portrait painter of the
time, was born at Narragansett, Rhode Island, in 1755
His father was a snuff -grinder. At the age of fifteen, the
lad, entirely self-taught, began to paint portraits. His
skill and apparent ability attracted the attention of a
young Scotch artist, Alexander, with whom Stuart went
to Scotland at the age of seventeen. Two years later he
returned to America, painting portraits in Newport and
in Philadelphia.
In 1775 he went to London where his chief occupation
was that of organist in a church. In 1778 he entered the
studio of Benjamin West where he was assistant and
student. Later he established a studio of his own-
Returning to America in 1792, he settled down to paint-
ing portraits which are distributed among the largest
museums in the country. His reputation as an artist
comes chiefly from his many portraits of George Washing-
ton. Shortly after his death in 1828, a collection of two
hundred fifteen pictures was exhibited at the Boston
Athenaeum.
The following portraits are among his most noted ones:
Sir Joshua Reynolds, Martha Washington, George Wash-
ington, John Jacob Astor, John Adams, Thomas Jefferson*
John Jay, Edward Everett, and Mrs. Siddons.
MARTHA WASHINGTON
Martha Washington, as a young lady, has been described
as a rustic belle and rosy beauty who helped to grace the
halls of Governor Dinwiddie's mansion at Williamsburg,
Virginia, her childhood home. Her education was ob-
tained in her own home where she was under the super-
vision of a private governess.
She was married at a very early age to Colonel Custis-
For several years, her happiness knew no bounds, but her
joy was overcome by grief, first in the loss of a son, and
shortly after by the untimely death of her husband.
Mrs. Custis was twenty-six years old when she met
Colonel Washington. Upon their marriage they went to
Mt. Vernon to make their home. Her new found happi-
ness received its first blow when she received a letter
from her husband, written in Philadelphia, June 18, 1775,
informing her of his appointment by Congress as Com-
mander-in-chief of the American Army.
The true womanliness and loving-kindness of Martha
Washington came to the front at this time as never
before. During the long tedious years of war when there
was so much privation and suffering among the soldiers,
and so many lonely days, she felt it her duty and privilege
to give of her time and of her stores to the men who were
fighting for the life of the young country. She would
spend the winter in her husband's camp with no thought
of her own discomfort, always thinking of the cheer she
might bring to the lonely and suffering. Lady Washing-
ton, as she was universally known, was with her husband
at Cambridge, at Morristown, and at Valley Forge.
Washington was scarcely settled in his home at Mt-
Vernon when he again answered the call of his country
this time to become its first president.
Martha Washington as "The First Lady of the Land"
had a way all her own in conducting the social affairs of
her station. Her dress was simplicity itself. Placed as
she was in a position to make a display of worldly goods,
she chose rather to wear the simplest of gowns, many
of which were homespun, made by her own servants.
Yet, in accordance with the wishes of Congress and the
aristocratic tradition of her own rearing, she observed
strictly the forms, customs, and ceremonies of foreign
courts. For eight years she reigned supreme, happy to
be the wife of the President, but happier still was she at
the end of that time to go back to her old home near
the quiet Potomac.
In 1801, two years after the death of Washington,
Martha Washington passed away. The following thought
which she herself expressed is typical of the life she led,
and accounts, in a measure, for her worth of character:
"I have learned from experience that the greater part of
our happiness or misery depends upon our dispositions
and not upon our circumstances. We carry the seeds of
the one or the other about with us in our minds, wherever
we go."
EXERCISES
1 . Tell the story of Stuart's life.
2. How did he win his chief distinction?
3. Name some of his leading portraits.
4. Where was Martha Washington born?
5. Tell of her early life and education.
6. Sketch briefly the chief events of her earlier married life.
7. How old was she when she met Colonel Washington?
8. Tell of her early life at Mt. Vernon.
9. What happened again to cloud her happy life?
10. What did she do during the war?
11. What was the motto of her life?
12. From the picture, what kind of character do you think she
was?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
46,
DANIEL WEBSTER
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 191". The University Publishing Company.
DANIEL WEBSTER
Daniel Webster (1782-1852) was born in Salisbury, now
Franklin, New Hampshire. His father, Ebenezer Web-
ster, was a distinguished poineer, having built the first
cabin in Salisbury when there was no other habitation
between Salisbury and Canada. The elder Webster,
being especially anxious to school his boys, sent Daniel to
Phillips Academy and to Dartmouth College from which
Daniel was graduated in 1801. Young Webster had
been chosen Fourth of July orator in Hanover, his college
town, in 1801. On that occasion he set forth the very
political principles that made him famous later.
After graduation, Webster began the study of law,
but finding himself in need of funds, he accepted a position
as principal of the Fryeburg Academy, Maine. The
following year, however, he resumed the study of law.
In 1804, he went to Boston and completed his law studies
with Christopher Gore, who later became governor of
Massachusetts. Webster was admitted to the bar in
1805 after which he settled down in Portsmouth where
he rapidly rose to fame.
With the opening of the War of 1812 came Webster's
great opportunity to enter upon a political career. He
became a member of the House of Representatives, and
Henry Clay, the speaker, appointed him a member of the
Committee on Foreign Relations of which John C. Cal-
houn was chairman. For forty years these three men
dominated American politics.
Webster's physical endowments as an orator were extra-
ordinary. He had a wonderful voice, keen piercing
black eyes, a beetling brow, and great massive shoulders.
Carlyle after meeting Webster, said : "Not many days ago
I saw at breakfast the notablest of your notabilities,
Daniel Webster. He is a magificent specimen. As a
logician or parliamentary Hercules, one would be in-
clined to back him at first sight against all the extant
world. The tanned complexion, that amorphous crag-
like face; the dull, black eyes under the precipice of brows,
like dull anthracite furnaces, needing only to be blown;
the mastiff mouth accurately closed; I have not traced
so much of silent Berserker rage that I remember in any
man."
Webster was prominently connected with important
affairs and movements, some of which may be enumer-
ated: (1) In 1820 he was a member of the committee
called to revise the Constitution of Massachusetts; (2)
He was a great actor in the tariff agitation of 1828; (3)
He participated in the great Webster-Hayne debate in
1829, out of which came his famous utterance, "Liberty
and Union, now and forever, one and inseparable;"
(4) He was prominent in the Nullification Agitation in
1832; (5) His prominence in the Webster-Ashburton
treaty is known to every student of history; (6) He
appeared prominently in the Girard Will Case before the
Supreme Court of the United States; (7) He helped to
settle the slavery question for Texas; and (8) Thru his
instrumentality, Kossuth and other Hungarian refugees
were released from the Turks. He was twice Secretary
of State. His name was proposed for the Presidency
but he was never nominated. When he died October
24, 1852 at his home at Marshfield, Massachusetts, he
was the most universally mourned next to Washington.
First of all, this portrait shows intellect, the qualities
of leadership, and the power of the great orator. We
note the great forehead, the keen eyes, the beetling
brows, and the firm-set mouth. There is a suggestion of
ruggedness and strength. The great orator seems to be
pondering over some momentous question.
EXERCISES
1. Tell of the work of Webster's father as an active pioneer.
2. What was the extent of Webster's schooling?
3. Tell of his study of law.
4. With what other great statesmen was he associated for forty
years?
5. What was Carlyle's estimate of Webster?
6. How did Webster help to shape American ideals?
7. What kind of man does the picture reveal to you?
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
JOHN GREENLEAF WHITTIER
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JOHN GREENLEAF WHITTIER
John Greenleaf Whittier was born on a farm near Haver-
hill, Massachusetts, December 17, 1807. His forefathers
were Quakers and he was born into the faith, clinging
all his life to the quaint customs, dress and speech of that
sect.
His early education was received in the "district
school," of which he speaks in "In School Days." Up to
the time he was fifteen years old, Whittier had read little
except the Bible, "Pilgrim's Progress," and the weekly
newspaper. One day his teacher loaned him a copy of
Burns' poems, which is said to have inspired him to
attempt to write poetry. When he was nineteen years
old, his sister sent a specimen of his verse to the "Free
Press," edited by William Lloyd Garrison. Garrison
at once became interested in the farmer lad and, over-
coming the father's remonstrance, sent the boy to Haver-
hill Academy.
Whittier was able to attend the academy only until
he was of age. During his school life he had written
both prose and poetry for the newspapers. Upon his
leaving school, he edited the "Manufacturer," a political
paper, and wrote for the "Philanthropist." But in a
short time, his father's illness recalled him to his home
where he spent his time caring for the farm and family.
In 1866, with the appearance of "Snow-Bound,"
Whittier's reputation became nation wide. A year later
"The Tent on the Beach" appeared, and from then on he
devoted his time to writing both poetry and prose. When
he died in 1892, he had been an active writer for over
60 years, leaving works that will make his memory, as
"The Quaker Poet," imperishable.
Whittier's writings are so real that one sees the pictures
in the mind's eye as clearly as if the very scene was present.
The following poem, as part of "Snow-Bound," describes
the interior of his boyhood home as it always appeared
in the evening after the chores were done:
"We piled, with care, our nightly stack
Of wood against the chimney back,
The oaken log, green, huge, and thick,
And on its top the stout hack-stick;
The knotty fore-stick laid apart,
And filled between with curious art
The ragged brush ; then, hovering near,
We watched the first red blaze appear,
Heard the sharp crackle, caught the gleam
On whitewashed wall and sagging beam,
Until the old, rude-furnished room
Burst, flower-like, into rosy bloom."
This home was one of hospitality and good-will. Often
they entertained from ten to fifty when the Friends had
meetings. People came for miles and stayed for days.
At these times they sat around the fireplace telling ghost
and witch stories until the children were stiff with fright.
But Whittier did not confine himself to poetry. Prob-
ably he was one of the strongest influences against slavery
in America. In 1833 he was a delegate to the National
Anti-Slavery Convention in Philadelphia. There were
sixty members present and Whittier was one of the
secretaries, also one of three to draft their Declaration of
Independence.
Whittier's poetry reveals life in all its continuity, and
unity and the peace that "quiets troubled waters." His
hymns are sung in every Christian land and have given
comfort to scores of hungry hearts. He died in 1892 in
a New Hampshire village. Just forty years had elapsed
between his "Exiles Departure" and "Snow-Bound." He
was a contributor to the Altantic Monthly in such poems
as: The Gift of Tritemius; Skipper Ireson's Ride; Telling
the Bees; My Psalm; My Playmate; Mountain Pictures;
and The Eternal Goodness.
EXERCISES
1. When and where was Whittier born?
2. Discuss his description of the home on a winter evening.
3. Compare Longfellow's advantages with those of Whittier.
4. Where and when was Whittier's first poem published?
5. How did Whittier get an opportunity to attend school? .
6. How have Whittier's poems affected the mass of the people?
7. From this picture, what kind of man do you think Whittier
was?
PICTURE STUDIES
ORLIN H. VENNER
Professor of Literature, Nebraska Wesleyan University,
University Place, Nebraska
WOODROW WILSON
This series of Picture Studies includes a hundred studies
of the world's famous pictures best adapted for use in the
schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Seri.s Copyrighted, 1917. The University Publishing Company.
WOODROW WILSON
Woodrow Wilson affords a splendid illustration of the
possibilities in the life of the young American who properly
fits himself for a worthy career. Woodrow Wilson was
born December 28, 1856, at Staunton, Virginia. He is the
son of Scotch- Irish parents. His father was a minister in
the Presbyterian Church. His great career is not the result
of chance, or the successful outcome of what Americans
have called a "pull." Young Wilson entered upon the
life of an earnest and careful student in the public schools
and finally entered Princeton University. Next he entered
the University of Virginia. Finally he completed a course
of study at Johns Hopkins University. Wherever he went,
Woodrow Wilson attracted attention for his studious
habits, and for the excellent results of his study.
Woodrow Wilson was trained to be a lawyer. After
entering upon the practice of law at Atlanta, Georgia,
he decided that he was better fitted for an academic
career. He became Professor of History and Political
Science at Bryn Mawr College from 1885 to 1888, and
held the same position at Wesleyan University from 1888
to 1890. He then became Professor of Jurisprudence
and Politics at Princeton University from 1890 to 1902.
He became President of Princeton University in 1902 and
held that position until 1910, during which time Prince-
ton's enjoyed great growth and rich endowment.
Woodrow Wilson was elected Governor of New Jersey
in 1911 and held that position until 1913. In 1913 the
highest honor within the reach of any American came
to him when he was elected President of the United
States.
We must not forget that President Wilson takes high
rank as a writer, his chief contributions to literature
being: (1) Congressional Government; A Study in
American Politics, 1905; (2) The State; Elements of
Historical and Practical Politics, 1899; (3) An American
History, 1902; and (4) Various Essays in Literature and
Government.
No other President of the United States except Lincoln
ever stood as head of the American people during such
a crisis as that faced by President Wilson. Lincoln's
name is immediately associated with the great Civil War,
and Wilson's name is inseparably linked with "The
World War" which began in 1914.
President Wilson is known as one who never makes
wild or rash statements. He has shown great balance and
poise, and the gift of a supreme intellect. It has been
said that he comes nearer meeting Emerson's ideal of
"man thinking" than has any other President that the
United States has produced. The conservatism, and
poise, the superb intellect — "man thinking" is the idea of
the picture.
EXERCISES
1. Describe President Wilson as an illustration of the possibilities
of the capable young American.
2. Trace his career as a student.
3. Why did he give up the practice of law?
4. Describe President Wilson's work as a teacher.
5. Of what great University was he the head?
6. What great government position did President Wilson hold
prior to the presidency?
7. Name some of his important writings.
8. In what respect do the times of Wilson compare with the times
of Lincoln?
9. What do you think is shown of Wilson in this picture?
So I will say that I believe there are two virtues much
needed in modern life, if it is ever to become sweet; and
I am quite sure that they are absolutely necessary in the
sowing the seed of an art which is to be made by the people
and for the people, as a happiness to the maker and the user.
These virtues are honesty, and simplicity of life.
— William Morris
PICTURE STUDIES
ALICE FLORER
Assistant State Superintendent, Lincoln, Nebraska
THE WINDMILL
JACOB VAN RUYSDAEL
This series of Picture Studies includes a hundred
studies of the world's famous pictures best adapted for
use in the schools and for schoolroom decoration.
THE UNIVERSITY PUBLISHING COMPANY
Chicago and Lincoln
Series Copyrighted, 1917. The University Publishing Company
JACOB VAN RUYSDAEL
This great Dutch landscape painter was born in
Haarlem, Netherlands, about the year 1628. His father
was a maker of picture-frames. The lad learned his first
lesson in art from Salomon van Ruysdael, his uncle. At
the age of twenty years, the boy was enrolled in the
Haarlem Guild of St. Luke where he studied art. Several
years later he took up his permanent residence at Amster-
dam. While here he was a master and among his pupils
was Minderhout Hobbema, the painter of "The Avenue
of Middelharnis."
His first pictures represent that inborn gift of por-
traying nature as she is. He lived very close to nature.
In his boyhood days he loved to roam thru the wooded
hills and the open country and wander along the sea-
shore. His inspiration began there and we see in his
first attempts a minuteness of detail. Later, his works
improved greatly. He paid less attention to detail work
and more to the general effect. The sky, at times clear
and mild, at others, gray and lowering, full of tumbling
clouds, occupies in some of his pictures the greater portion
of the canvas.
This was the time of Ruysdael's life when he should
have come into his own in the world of art, but the people
of his native land failed to grasp and to appreciate the
great artistic message which this nature artist was
offering them. His tender spirit was hurt; he must find
some way in which to please. Perhaps if he were to
follow the lead of another artist he would be met with
the approval he so longed for. He was induced to imitate
the manner of Everdingen, the Swedish landscape painter.
How superior Ruysdael was to Everdingen has since
been recognized and it has been truthfully said, "In his
scenes of wild solitude with their plunging cataracts,
there is a suggestion of great organ music, while Ever-
dingen's art has only a tinkle of picturesqueness."
At the age of fifty-two, Ruysdael returned to his native
city, Haarlem, broken in health and spirit. He was
finally given refuge in the almshouse of Haarlem where
he lived only a few months, passing away in 1681, a
pathetic example of one who, thru his art, had given his
life for others.
Among his most noted pictures are: Landscape with
Waterfall; View on the Rhine near Wyk-By; Ben them
Castle; A Fresh Breeze; The Swamp; The Beach; A
Hilly Landscape; View of Haarlem from the Dunes of
Overveen; A Wooded Landscape with Waterfall; The
Tempest.
THE WINDMILL
Ruysdael's best conception of true art in nature is
clearly portrayed in his famous masterpiece, "The
Windmill." The grandeur of this picture is probably
most emphasized by the wide stretch of massive gray
clouds which serve as a fine background for the picture.
There is a certain dignity and grandeur about the old
mill that towers above everything else and stands, a
striking silhouette, against the leaden, heavily-shadowed
sky. A little patch of light-flecked water is seen in the
foreground. The light gleams give us just a suggestion
of the sun, which is peeping out for a moment thru
rolling clouds.
As is customary in Holland, where the land is so low
that the country is in danger of being flooded, a break-
water in the form of a rude, closely built stockade is
resisting the lapping of the gently flowing river. A tall
castle with many spires, and a low, rudely thatched
cottage to the extreme right, lend a note of contrast to
the scene. The heavy sky, trees tossed by the wind,
and the deep shadows he loved so well, are typical of
Ruysdael's melancholy nature, inclined to sadness.
EXERCISES
1. Tell briefly of the life of Ruysdael.
2. What kind of pictures did Ruysdael paint?
3. Why was this artist "broken in spirit?"
4. Where is this scene laid?
5. What does the glinting light on the water tell you?
6. Where are the deepest shadows in the picture?
7. What do you see back of the old mill?
8. What do you see to the right of it?
9. Describe this picture.
10. What are one's first impressions as he looks at the picture!
11. What in this picture do you like best?
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