American art and American art collections; essays on artistic subjects . threelong-lived maids themselves, on whom, as ^Eschylus has it, neither the sun with his beamsnor the nightly moon ever looks, and a light, fluttering scarf weaving them together in theirstrange relation of interdependence, add to the spirited impression of the ephemeral, anxiouslyexpectant poses with which they are endowed. They are semi-nude, while his figures have thegeneral characteristic of being closely draped; and are among the instances showing his accom-plishment with the material of pronounced high art. They, li
American art and American art collections; essays on artistic subjects . threelong-lived maids themselves, on whom, as ^Eschylus has it, neither the sun with his beamsnor the nightly moon ever looks, and a light, fluttering scarf weaving them together in theirstrange relation of interdependence, add to the spirited impression of the ephemeral, anxiouslyexpectant poses with which they are endowed. They are semi-nude, while his figures have thegeneral characteristic of being closely draped; and are among the instances showing his accom-plishment with the material of pronounced high art. They, like the Roman Girls, are thrownup against the sky. Being all in nearly the same plane, with the parts well distributed overthe canvas, they fall involuntarily into a kind of decorative arrangement. But it is carved ratherthan frescoed decoration, and carved in high relief. Vedder is nothing of the has no patience with flatness. Whatever else his figures be, they must be solid, substantial,rotund, almost salient enough to be taken hold of. W. H. From the Title-Page of the Book of Drawingsby Elihu Vedder. The Dance. — By Elihu Vedder.—From a Photograph. ELIHU VEDDER. Chapter Sixteenth. F;\ T n^m redact- *HE latest in Vedders classicseries are The Young Marsyasand The Cnm&an Sibyl. Theyare to be named as of promi-nence, both by reason of theirsize and ambitious intention. TheParisian journal LArt, at thetime of their display at the Ex-position of 1878, spoke of them,it will be remembered, as cesdeux mechantcs toiles, and cov-ered them with a sweeping con-demnation, which was far fromjust, even if it be admitted thatthey are not the artists mostsuccessful works. The color inboth, in pursuit of tone, has be-come a more or less monoto-nous russet. Nor can it be said,in the case of the Marsyas at least, that the usual interest in the story is aroused. The youngsatyr is playing pan-pipes, crouched at the foot of a large tree-trunk, in an Arcadia whichvaries
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