New-York tribune., 1867-05-02
NEW-YoRK, THURSDAY, MAY 2, 1867

delicacy Of tho Details every Dntt0n, spuii roam
drop hOOf- print vein, plume carefully wrought out,
and the whole so truthful i'll character tlat you can
imagine Napoleon some beaten rebel but yesterday
Ietreating down the slopes OF GettysDuIg OF AR'S
tam. These pictures are the most expensive OF all
The third great Master of the French School ls
Cabanel sumamed Alexandra.
cnt from the preceding. Like both OF them, nc is
Professor at LEcoio ds BCGuG Ars position OF great
honor and influence in his profession, nut ile mas no
mind for the geiTC inclnlng rather to the nuue III
acg0ry and mythology, and to hiSoncai p9ITIIriii-
ture You have seen his portrait OF Napoleon ~. ia
pbotography-that in which the Emperor, III black
velvet and hose, and red SASH stands beside ms
crown one ann upon his hip, anu the sphinx looK III
the flesh tnts soft IN o9tilhe anu "ei anu n,
smooth as n in relief. Out OF IL eN-
amples here, the most noted rs rs cod1nas n,d,n
drawn with wonderful grace ana NoiuptuoushesH,
lies as if inhang the first breath of the world mon
the foam of thc sea, Cupds floating above her Inns
wciTdneSs in il together hint OF the Vasthess Hl o
origin and dominion, and OF the tender lelH i' oa
Cabanel il the Paradise Lost-God painted III the
clouds, with his aTchangcls, dismisSng the tempted
palr the Serpent huge boa, Is slipping on III inc
len-leaves. This is warm and beautiful IN color bur
trte i'm conceptiOnthe old telling Ot tie 0ld story
Cabanes portraits are the best i'll eotelnporary arr
his Napoleon III. is eXCellcd by tAndnna alSO
familiar 10 yOu-the Emperor wearing genelals
The hattie PAINTERS of France are headed by Pills,
who has all the technical knowledge Of liorace Yer
net and is more refined than the latter, though
not so bright in color. Hc eXcels IN water color
miniatures as clever MeisSonlcr, representing types
of the French soldier. Two Of his canyases mere,
THE Battle Of the Alma and the " Arabs oi Algers
doing homage 20 Napoleon and Wlfe,' are OF great
siZe-Creater perhaps than the incident thcy com
memOrate. Adophe WON is altogether more anu
mated and powerful artist His Gorge OF the hala-
kof' is the battle ctCEdoT0 OF his sch3ol.
thousand figures contend IN IL, their faces showing
all manner of furics their positions involved ahd
chaotic gabons piled in the breach gre9ades SHOW
cred down from above, the purpose oil muIInel ~
papable as its eashes, and almost the very din ana
Shrek of fight heard above the swaYing columns IL
differs from Salvador Rosa only as the hlgheI hVen-
Tg Tho SSIf eSGhr dI9R Ss IS Da%by gray
and hazy in color, very happy and true IN sentiment
Rosa Bonheur, rs an animal painter appioachea ohIy
by Landseer IN any modern school mas zen ol hV
hest pieces Sheep cattle .staCs mules. asses ana
skye ponies depicted. with incidental landscapes
OF meadow, lake and mountain. h'y !3 M9noiousS ~ @
true in color, realistic IN character shlliul IN com
position and drawing, and every lace ls full OF III
,tinct almost great enough for thought. Inc
brightest Of these is mixed composition, Win
Spanish muletecrs driving thcir drovcs over the
mountains The cIOwdiug mules, the chaIacteIlstlc
costumes, the rugged brown OF the sierra snow tIlh
powers in her own speciality of ANIMALS IL hgitS'
and in landscape Scotch lOCh very tcndeiy
painted, shows n bark filed with sheep passing
toward the soft horizon. II there be sentient part
Of heifers and of buocks this woman ought 10 nave
found if ont She j. past ~, working very lath-
fully al her villa near Fontaincblcau; but her p9pu-
laTity is not 81 great n home as IN England, Whclc
she finds her patrons. She has never maIiled hFr
love like Margaret Van Eyc, has been ior hef All
and the world knows no spouse more faithful
Very different IN history and genlus1s Ooroi man
of position and fortune past 40 years OF age Wh9 pc
gan TO paint because hc had ideas, perhaps mo
synqasirs, and after 80 years awOkc famous lie mas
a ially. moonlight color. scenes without object OF
motive, people without humanity, nature without
design yet there are influences ~ his paintings TOO
mysterious for analysis. lie ls ghost soiA tllei on
canvas. and his works are rs thf1lng ~ thcy are
ineNplicable. do not understand him. hut feel him.
The critics say he - great
N,,1l NJ TflNp NJ. |
To you of Dumacsq jules, Breton. Didlcr. llomcn-
lin, Frere, sadly deprecated of late ilamou, an
dele Millet Passan, PT0tais, Robert Flcuiy. lvul-
mouche. Tloyon, aud others. But before conclude
with this department. let ne sketch Tor Nou thire
remarkable paintings, two oi winch are MOI h'h1,d
in the main collection though they belong essentially
to the French schoOl and on exhibition ia Paris
The first is the Gambling saloon at Baden Baden,
by Gustayc DoIc an enormous canvas biiminl ol
figures with the iOHgc 81 Ho table IN the center The
% DV"I, I w. H. nrotile hack and fuil face Tho Instant
of the turning Of the card is the scene Of the tableau
when disappointment. despair, safety OF dcliehi u
depictcd upon the assembled councnancrs. ne
drawing and action of this picture are admirable;
most of the players and loo crs-on are women many
OF them are qucculy and beautiful, all IN superb
octtcs. But in color it is dull. III character super
fetal. i'm lesson not very palp"bc. No otheT luah
could have grouped so many figure. hut the picture
i not what / expected from the greatest designer
in tbs world It will fear Ice admitted that DuTe
j. himself only upon the block. lie has probably
more Imagination, ana more power 10 develop III,
than any living artist; but the lightning processes oi
ipulatiOn and experiment of the painter. , .
The second picture is the Parable of the Prodigal
Son by Edward Dubuie, bought before II was begun
by Mr. A. f. Stewart of New York, at the pIlcc, rs
am correctly informed of $4,000 in gold. ms Is "A
canvas 10 feet by 20, in three parts. NJ the lett IN
gtisaiHc is the mOdpnl son feeding swine, ragged
and dcsOate, mkempt, aud full OF renorse. % the
right is the return 10 his home: q portal with the
boys head on his fathers palm, the old man reaching
mp thanks TO Heaven and the mother weeping JOY III
the shadow These are side pieces, tail ana narrow
Between them, for the body Of the painting is de
riccd in the richest color the rotons yeaIs of the
prOdigal, when in far country he wasted MS sub
stance The happy selection OF this part of the para
bic for the chief illustration is eqWlcd by the nobler
conceit of matchmaking the subjects cTTantry.
You behold. not a lad at wassHll. Sunken of eye
and lecIing at his bailots, fighting his dogs,
gaming; but youth. graceful and credulOus,
with all the muses. purchased 10 hls WI there are
poets AT his feet musicians soften the ar; dancers
contend together; upon his breast two women, beau
tiful as the ripe morning, look into his eyes with
longing in which You scarce eau study deceit, and
over their heads he holds the wine emp The boy
himself in rich attire. IS altogether graceful and love
able, almost pure-taccd IN his thougltlcssness;
wicked only in his truantIy. In the shadow OF the
pctme there are passionate folks with dice There
j. atmosphere, scnsuousness, richness IN the
whole composition that makes IT. to me- the hnest OF
all the large canyases IN The Exhibition. II Is to he
hoped that Mr.. Stewart viii arrange 10 show this
fnc picture 70 the public; aud for the publics sake
indulge the selfish wish that Mr. Stewards new
house will find no space great enough to accOnino-
date it.
Lastly. call yOnr attention to the wonderful piece
nv Couture, called An Olgle III llc EcllOd OF roman
DecadenCe. Under noble entabatuTe. IN the open
air, group of reycleIS arc carOusng. Clusters of
grapes and the stains of wine are on the ChecScred
marble of the floor. The men are noble III forehead
and body but dissOute of face: the women are peer
less; over both there is shadow Of unrest i'll the
midst of the TeyclTy, If the consciousness that
they Romans, aud heirs of more glorious hours.
Stealing upon them, almost III the severity OF tears,
two grave philosophers come rebukefully. Over
head, from their pedestas, the marble statues of the
great dead men OF Rome look down, with sorrow, in-
djenaton, and upliited hands. The splendid con-
ceptiou of this picture is matched by its bold even
ru,ud cbatoctcl and drawing n brought Couture