The Inter Ocean from Chicago, Illinois • Page 35

TOE" Aet 'k 11 1 1 .11 -v 11 rv: 1 i V. ir tf of Art. Cnlvtrsity of ChicaRO.) HAVING already a somewhat long aiiiualntar.ee nh the muzle and the of the-Scandinavians- it is WfH lhat we novr coim? fafe to face with a representative showing cf their paiatirg. Whether w- ilkc Ills c-xhibitiou row at the Art lusti'iite cr not, it ii houn to stimulate diccustloa and to crliliten is as 10 what lhr other tiatioiis are doing with pigment and caiivas. As long ago as juce, iSt't-.

Cafclila Vsern, ft Swede by birth, writing In ScTlbDtr's ilagazine on "The Morlcm Group of Scenii-raTi3n -Painters." salJ; latest Ideas are fermenting arnotK the youtgest Swedes acd Norwegians as elsewliere. But, as far a I hare been able to the fruits are isot yet ripe for International approvnl." can now Judge for ourselves aa to the Tipecess or this fruit. The p.rtists of all three nations have Tteen to school In the ateliers of FarLs. Slatich acd Italy, and all have returned tome to be etrongly national in their an. There is a distinctly marked racial feature In each group of fifty pictures.

The Danes, a home-keeping, home-loving have loved the everyday motive In their art. The Norwegians, young as a nation and with an extremely rutrged country, are "full of unsperit vigor and have a strong eense reality." Sweden, with its more tranquil ecenery and Its generations of culture, produces a mare elegant and cosmopolitan art. Everybody knows the work of Anders Torn in. portraits euch as that of Richard T. Crane and Daniel Burnham: fn raet, he las been to us almost the sols symbol of that unknown quantity Swedish paintius.

His life is somewhat like a fairy story. He is the son of a Bavarian brewer and a peasant. He be-pan as a very email boy to carve animal figures and ta eolor them with wild berry Juices. Fortunately he hag encouraged to follow hia ratural bent and at 15 he was sent to the Academy of Arts at Stockholm- He was trained to be sculptor but he developed Jnto a water eolorist, an3 now, when he rhoones to be, he Is a great artist In oils. For larse sums he paints portraits of well-known people, and- for love he paints th3 peasants of his native Dalecarlla.

"Mon," ki mother painted In Is a good exam ple of his dextrous brashwork and bis pontenetty qf feeling. Bruno IJIJi fors is an independent Swedish painter who lives bis life In the country cd knows bis country and Its animals rarely well. Christian Brlnton says that Uljefors paints animals "aa they are when no one fteea them." "It is In his power, and his alone, to show us the ducks as tbey quack mysteriously In tba light cummer night or the foxes slinking farther and farther Into the forest." i Carl Larssoa has teen called the popular artist of hlj present Cay In his wo country and equally popular as a mn. 'He has insisted upoji expressing hl individuality at whatever cost of conventional technic, and has at tha aama tima repre- eeoted the frankest, moat wholesome and on the whole most -characteristic aide of Ewedlsh character." Waern said of i fcim that "there are at least four Carl Laresons in one: all Important, all full of exuberant vttallty-JLnrsson the Illustrator, the brilliant water colorlst, the painter of delightful portraits and tha fresco painter." Ills family la unusually w-11 known throiieu. Sweden from his frequent vst of them a models la Ms numerous pictures of family m.

e8 In "Shc-lllnff I'eas," one of his teu pictures in the present exLIbitiin. 4 These three tb cnlr.ter of Liljefors. of the for-vt. 8rj(i Larson, of the tome are I to he th trtiats best leloved by their own eople. Fjactad.

also a Swedish arilst. Is not only a champion oi-g tWnter lut a treat smow s-enes. Jinr.over he direrts Mi to' deori-tlvr- rt-f jrnitui-i, rnrpifM oimI tit pcsti-ir-a. Of 'he latter ther arc fcur. "Running WhUr," -Tbsw" ar.I 1 V---- paiotlngs in the exhibition.

P. WillumBen Las been for. a decade the storm center of contemporary Danlsit art. He is a many sided artUt, in being architect, sculptor, decorative designer, as well as painter. Mr.

Brintoa calls him: "Like i Munch: in Norway, one of the young Titans i of contemporary Scandinavian art, a triflo battle-scarred-, perhaf.3, yet the victory end the vladlcation have fortunately not Iconic too late." He Is represented by eight pictures in the collection. Piscuasion of the Scandinavian exhibi- I lion centers, about the Norwegian, section in general and about Edward Stuncb, la particular. The following ncte3 on Munch, kindly furnished The Inter Ocean by Miss Haxna' Astru? Lars en, acting secretary of the society, cannot fail to be of interest: "It was Edvard Munch who Erst set free In painting, as Ibsen had in literature, the spirit that had elept underneath the work of his predecessors, the Norwegian genius of eternal seeking. Ibsen has described it again and again. Like Ibsen, Munch shunned no eubject that seemed to carry bis mensage.

He painted the unnatural and the morbid as well aa the terror that lurks behind the great things of nature. In technique be brushed aside the accepted forms when they seemed to him meaningless and used whatever methods best expressed what he bad to say. "There is a touch of the exaggerated and the picturesque in the story of Muncb's life from the time be was born, a puny Infant, no small, gossip says, that he was cradled In a cigar box. He grew up ft morbid child with a passion for painting. His productions were much derided for their crude reds and greens, but he persisted In bis own way and forced even tha scoffers to pose for him.

His first exhibition waa held in Christianla in 1SS3 when be was 20 years old. It was met with such a chorus of vituperation that even the denunciations of Ibsen seem feeble by comparison, and the storm has been repeated periodically for thirty years. It culminated in Germany In a gathering of artists, where: the Munch carried him on a throne of uplifted bands, while his Opponents followed the triumphal procession with boots and hisses and stamping of feet This ludicrous made history. Vriendly critics hailed Munch as tho prophet of a now art. Tho other faction as wildly denounced him and denied him the right to be called an artist at all.

Even the Kaiser fc-lt that this revolution in art circles demanded his personal attention and the waving of an imperial finger closed the gallery that had opened Its doors to Munch. Tbe unfortunate director of tbe gallery had previously been graced with the title of i "Hofrat." but received notice that be was a Hofrat no longer. Out of this struggle grew the German secessionist movement, by many critics considered the most important tendency la modern painting. "Since then Munch has repeatedly held large individual exhibitions in tbe chief cities of Europe, and they are considered events of the first Importance In the art world. His pictures sell for sums written In five figure.

He live now at Hvltsten abborbed in his own work. His inspiration conies from wandering through the twenty-four rooms' of bis bouse. In each of which bangs one of hfi paintings. His pastime is feeding the ftnlmals of bis farm, and these are. In fact, his only living companions.

"In temperament Munch resembles Striudberg, with whom ft warm friendship eiicted. Like Btrlu-iberg, he Is intensely subjective, and his work shows the tame cuntrasts of brutal strength aa4 poetic tetiderne-sa. Like Strindberg. too, he suffers from a nervously high-strung nature, which sometimes shows Itself In distrust of t-ven his best friends. "The great Norwegian secessionist iao founded no school painting, but he'hag undoubtedly helped to liberate the personality of the younger men, so that Norway has a comparatively large number of strong artlits.

each seeking expression in hlf own individual way. Tfuy are loyul r-. rters of the man who hai Mazed their i trail, and many bold him to be the greatest artist not only or Norway but of the world. "I'erbapa tile first impression upon seeing the only collection of Munch'a work ever shown in this country as it is In the Scandinavian exhibition, raises tte question why he should ever have evoked so much execration. Granting the right of painting to bo interpretative' rather than imitative, M'unch must be recognized Instantly aa a master craJtsman.

'The Sick Child' tells Its story of approaching death quietly. In a way that only an artist dt the first rank can venture upon. Tha interest concentrates in the attenuated face of the child framed In ft mass of red hair. The figures of the mother and child are only sketched in. scarcely rlelng from the blurred, sun-flecked background; but the rhythmic lines of the group show the oare with which the composition has been studied.

"The picture of ft young gift atandlng. In a -garden la devoid of all' tho trick and graces which the ordinary artist seems to think are necessary to Interest people la young girlhood. Stie seems at first commonplace person against a com monplace background, but there Is a lock In the wide-open eye and In the face, slightly rigid, aa of one arrested suddenly by a vision. Involuntarily one returns to it he pfcture again and again, andjpach time It seems to grow In significance. Life baa not touched yet, but fth senses Its approach:" "This is the key to the opposition which Munch has always roused and will alwayn rouse.

His gripping reality repels those who wish to be soothed rather than stlm- ulated by art. Like Ibsen, be has cased too long and closely at lite to be contonl with painting graceful nonentities. Those who want such will always dislike him even when bis technique shall have become com- mon property and bis message old-faeb-ioned. But he will go on arresting, repelling, fascinating and at last holding those who are really seekers after truth." There Is an unusual exhibition of small pictures by big men going on at Young's gallery, Kimball hall. It Is not often that one can pick up pictures of this size and of tu-ch a quality.

There are two One small Innetsej. both of them having a pleasant bit of personal history. There Is WInslow Homer's "Tbe Grand Discharge." 'There Is an interesting and. characteristic! Thomas Doughty, one of our early painters of landscape, with an exquisite tky. Then there are bits by such very modern men as William Rltschel.

E. H. Potthast. Robert Henri. W.

E. Schofield. Chllde- Hatsam, J. Francis M'urphey and others. It Is a showing that should greatly attract people havlr.g small wall spaces for picture backgrounds.

The present exhlttlon at Albert Roullier's galleries. In the Fine Arts building, is one tl engraved portraits In line and1 stipple In mezzotint. There are vi-crks by the very best and. by many of the -second best cr.sravers of "the great period." of tire The best of aic-zzotints are represented. Bartolczzl and William Walker and lesg names stand for the engravers in stipple.

"Ilnre." "very rare. "exceedingly rare" and impres jc DR. STEPHEN WISE ON ts A. 1EB. DR.

STEPHEN WISE ot New York has been In Chicago tbe past week and has departed. Dr. Wise did not come and go, however, without producing a tew ripples upon the tranquil surface of most women's vision of woman, suffrage. Dr. Wise could never be a weak exponent of any cause, for he is one of the most forceful speakers of this country.

It is upon those questions that affect the welfare of millions of women and children, that Dr. Wish's vision looms significant today. Whenever and wherever questions affecting working women are agitated. Dr. Wise has come to the fore and worked for the resseclcg of woman's labor in shop and factory.

Whenever the children of our nation, have needed the protection of a great thinker and doer. Dr. Wise has stepped into the arena to protect the rishts ot childhood. But this week was a momentous one for women who desire Fuffragre for their sex. li lis Vi-e gave his unequivocal pronouncement In favor of votes for women.

His attitude was not remarkable for lu nor I of concept: but It wn it ii.ir ir its pcuKirienesS and Its CM.vi.-Hon. Ir. WUe the of thi day, the desire for emancipation, la the economical and political world la a dok impartial manner. Had a woman beea pleading for the rights ot her sex. she could not hare argued with greater Insight Into the Intricacies of the question.

Herein lies the secret of Dr. Stephen Wise's impression on thousands of people, whom be makes converts to woman's suffrage. The farcical declaration that politics would pollute and degrade woman was stamped by him with the contempt It deserves. Said our oratorical exponent of woman's rights: 'Tolltics can no more degrade woman than man. If a man cannot keep his hands clean In politics be cannot do so In any pursuit la life.

"Politics does not make characters de-riaved; but depraved characters make low politics." In like manner the suffrage fur woman cannot defile the pure woman, but defiled women would be a dancer If enf rar.chised Jut as are denied men. Still shall the btird'Mi of responsibility for good and efficient citierfeblp be wi'hh-lJ from women Just btcaie home are illg-qualiCed? This one ttrui.g, vibrating er.tuiiipat of Dr. fur oitiuii a a the jr'f-devc Uti-in-tit. the of fslo-n," appeartcff frequently In the cata- logue, stimulate even the veTlest layman to see and. to enjoy.

It Is a liberal education in "black axd white" that on might pet by keeping up tth Mr. Roulllefs- constantly changing ex-MblUons. He tas a continuous show of the best that ever has been produced In the graphic arts. Pts very recent "Catalogue of American Etchings" 19 of unusual Interest, for it not only contains cuxcerouft pictures of the men who have mad the etchings, fifty small reprcductloca of work by them, a full list, with prices of hundreds of their plates, but there are also excellent short sketches of tadi artist. In fact.

It leaves nothing to be desired except the etchings themselves, for which it creates a maddening sppetlte. Axf aplied: to woman suffrage Is the latest cry la New York, 'bere there has Just been ft three days' loan portrait exhibition for the benefit of the Women's Political union. The admission fee of 2 brought In a. good sum of money, aiwT on the fourth day It was open free to art Institutes, settlement classes and. cclleg undergraduates.

There were fifiy-teven portraits, all of women and children. The artiets were the most from all nations: Zcrn acd Zcloaga, Sargent and. Sorolla, Chase and Constant, Manet, Matbew Marls and Ma-ffraio. Beaux and Boldlnl, Troubetztoy arc: Alexander and many more. Of Sargent1, there were Eeven, and of Whistlers, five.

O'! WOMAN'S SUFFRAGE. a ladependent factor ia life, the enfranchisement might give her. As things exist at present the idle, self loving wife of the muni-mi'Jlonaire may say. "I enjoy power without responsibility." Dr. Wise contecds that as soon as tbe world demands ot woman the same sense of responsibility for wrong conditions as man Assumes, so soon she will be forced to assume an Interest in them.

The gift that characterizes Dr. Wise above all other is bs unusual degree ot sympathetic insight. He sees tha tolling riillllona "sweated" for paltry wages that scarce keep soul and body together. He sees thousands cf children in factories, laboring for a pittance to help unfortunate purents. He sees all these miseries of life with the vlsUvn of a latter day prophet.

A man of his keen foresight knows that miny of these cor.dillors are preventable and caa be changed. Dr. Wise does not only talk in word paintings that please the aesthetic fancy and then allow people to lape Into Inactivity. He stirs Ms hearers to action. He ron-es them to a fUch of enthusiasm.

He bcRfts the desire tu be iip and dolrg. at once, to rl.eht these, wrongs. Dr. AVI? though a nan of Is a h- on i anions them "TiiO Blue Bonnet" ani tte gre3t "Rose Cvrcer." Soatid sense in pl.Un, phrases "characterized John W. Alexander's lecture la the course on "I'alntiug as a I'ro'essioc." Tha lecture was adiressel "To tte Student." and wes of great ss coming from so pre-eminent a painter.

The keynote was, "Take jocr Mr. Akvtan sail that "it iJ trarlcally easy to mitt-Hse estt.ttic appreciation for talent." He de lured that mere rainstaklr.g Is not enough to a great artist any more than la undisciplined talent. "Nothing but sounl tecti deal based cn the sound tradi tions of the pan" will do. The artist must know" the rules before be cab break ttcm. "No great life work has ever been achieved by Iraphazard methods." "No mere exacting profession, than that cf the pair.tv-r exits, although tha pui-Iie thlrks th painter can 'knock of' a pioture between "Chilureo should Le tiiv.c'ut to see what Is all about them.

Just as ir.uca 3 they are taught to ral." To teach peopli to see for themselves, to see truthfully, is pne of the most delightful features of ths painter's work. There is no one methoi. Progress Is "only made by expcrlmt-ctis In right ways, but not by any suJJcn adoption of some new method of technique cr use cf eclcr. Teachers shcuid fcrter the pupil's individuality. The pujil should not be an imitator of the master.

Pupils tome-times think there is magic in tho ni.ileiniJ used by great masters. Brair.s make the oaly satisfactory medium ksan to the artist." For the attainment of success bard, uure-letting work la the nt-cessity. Perfect art always convinces us by its apparent spontaneity. Spontaneity is the result of hard work. Mr.

Alexander fads that students are less and less willing to do hard work in preparation, and be quoted in proof of thl3 experiences from hi3 own student life In Munich. He Suds that many cf oirr younger painters seeir. already to have reached the limits cf thtir development because they did not have sufficient funda' mental training. Mr. Alexander claims that the best of our American art schools art as good as those of Europe, and that, it Is still an ftgreeable experience to ga abroad for study, it is no longer neces-cary.

WInslow Homer is 'proof of this. "If willing to make the mojt of opportunities, th student can get quite as far in this country." He urged the use of the art galleries as places' of suri'leme ntarj- study. "Woman," Bays Mr. Alexander, "has no( contributed to art best seir-fcxpreseioo. So far she has been willing to imitate man, but there is a fenrinlte quality cf streegta which Is as strong or stronger than that of man." The second lecture, "To the Artist." was given on Thursday.

The two remaining lectures. "To tha Critic" and "To the Pub lic," wiii be given on Monday. March 3. acd on Thursday. March 6.

at 4 p. in Fuller-ton hall of the Art Institute. He wants people to do things, to rise to the fulj being of manhood and womanhood, and in doing these things to rise to btgher levels. One of the first requisites for woman to rise to her higher self la suffrage, One of Dr. Wise's most scathing criticisms of the man opposed to surage for women was bis rebuke to the writer Pierre Loll.

Tbe latter was quoted as saying, "The woman who votes, or su to vote, does noi please m-." Dr. Wise cited th's instance a typical ct many men who are oppose! to right to vote, oa the ground, that enfranchised would ba a "Ms pleating and less mysterious "Is to be pleasing to man a woir.ati'8 chief reason for cur exponent of suffrage demanded. The "mysterious ty.ie" of woman, the womaa who Seeks to please man at b-T expense to herself, is a har-m tyte cf womaa, an 1 not th? woman tc lay ia the strenuous era. Oi-e of the in.i.-t rrr-ilve th cf the spenker as that it is f-r harem type of wom.ta to r. i.i that the i.

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