atalogue has it: "He gets the
character of his theme. His art is itself full of character."
Temperament, overflowing, passionate, and irresistible, is his
key-note. In music he might have been a Fritz Delius, a Richard
Strauss. He is an eclectic. He knows all schools, all methods. He is
Spanish in his fierce relish of the open air, of the sights--and we
almost said sounds--of many lands, but the Belgian strain, the touch
of the mystic and morose, creeps into his work. We have caught it more
in his oils than etchings. It is not singular, then, that his small
etched plates do not hold the eye; they lack magnetic quality. It is
the Titan, rude and raging, dashing ink over an acre of white paper,
that rivets you. The stock attitudes and gestures he does not give
you; and it is doubtful if he will have an audience soon in America,
where the sleek is king and prettiness is exalted over power.

DAUMIER

Mr. Frank Weitenkampf, the curator of the Lenox Library print
department, shows nineteen portfolios which hold about seven hundred
lithographs by Honore Daumier. This collection is a bequest of the
late Mr. Lawrence, and we doubt if the Bibliotheque Nationale at Paris
surpasses it; that is, in the number of detached examples. There the
works of the great artist are imbedded in the various publications for
which he laboured so many years--such at _La Caricature, Les Beaux
Arts, L'Artiste, Les Modes Parisiennes, La Gazette Musicale, Le
Boulevard,_ and _Masques et Visages_. The Lawrence lithographs are
representatives, though not complete; the catalogue compiled by Loys
Delteil comprises 3,958 plates; the paintings and drawings are also
numerous. But an admirable idea of Daumier's versatile genius may be
gleaned at the Lenox Library, as all the celebrated series are there:
Paris Bohemians, the Blue Stockings, the Railways, La Caricature,
Croquis d'Expressions, Emotions Parisiennes, Actualites, Les
Baigneurs, Pastorales, Moeurs Conjugales, the Don Quixote plates,
Silhouettes, Souvenirs d'Artistes, Types Parisiens, the Advocates and
Judges, and a goodly number of the miscellanies. Altogether an
adequate exhibition.

Honore Daumier, who died February 11, 1879, was almost the last of the
giants of 1830, though he outlived many of them. Not affiliated with
the Barbizon group--though he was a romantic in his hatred of the
bourgeois--several of these painters were intimate friends; indeed,
Corot was his benefactor, making h