New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-07-04
THE PARIS EXPOSITION.

IN me- tho most interesting portion of the Great
Exposition Is the interior elliptic gallery of the build
ing. which Is devoted TO the Fine Arts. here, the
lines of division between the different countries
being distinctly marked either by inclosed halls OF
high dividing screens clear display of the present
state OF Art in the world is for the first time pre-
sented AS you pass from one division to another,
In walking around the gallery, the change of atmos-
pheres is most remarkable it is not necessary to
look at the catalogue in order to know where you
are The artistic expression of each country makes
itself felt first, in certain broad general qualities,
which have found to be confirmed by the after
study of the individual works There is not more
diversity in the choice of subjects than in the treat
ment OF them; but-with the exception of England,
where there are signs of convulson and revolution
the artists of each country preserve the national
manner II not the characteristics of the national
school
One thing is very evident: that the emancipation
of art from the service Of traditional subjects and
ideas Is very nearly complete Greece and the Mid
die Ages will of course always the artist one by
Beauty and the other by Mystery, but he is most
representative when he deals with the things of his
own time. You still see VenuSes and nymphs, Mag
dalens and St. Sebastians; now, however instead of
forming the staple of an exhibition, they look upon
You singly and with sort of reproachful isolation,
from the midst of modern landscapes battles CATTLE
groups of peasants and ladies in undress, who are
neither nymphs nor saints. 1t is not merely ten
dency toward Realism for the old masters knew how
20 combine the seveTes realistic study with the ex
preston of the highest and most elusive ferns OF
feeling aud passion it springs from the general prac
tical direction which has been given to the move
rnent of the world. Compared with the most of what
hes Immediately behind us, it is healthy and en-
couraging change; and it, with many artists, 1t has
already degenerated into fashion, the fact simply
shows their quality. not the decline of art.
do not agree with that ATt-criticisIn in America,
which while ostensibly preaching broader and truer
ideas of the artists work, to recognize only
one variety of apprehension and treatment, and to
insist Oh the rigid mode of expression. The moods
of nature are as infinite as the moods of the human
mind and the hard facts of life require atmosphere
in the one and GemGh Il can't find an English word
for the thing in the other When MISSIONER, IN his
Champagne de France" paints the rutS In Winter
road from photograph, value his work less than
that of Eckersberg when he tr1es TO represent the
fan dissolving distances Of the Norwegian fields, and
makes feel at least their space and their solitude
In Messonier have the rnts and the snow to per-
lection they are better in Nature. In fact, they
arc so wen done that see them first and last, and
the soldiers of Napoleon become almost secondary;
and after all what have but ruts and snow 7 How
ever this ia no Mace for discussion. only meant TO
hint that don't believe IN any school, faSlllOn, or
theory except far as they are based on the old,
eternal laws of Truth Harmony, and Proportion.
In making a survey of this kind there Is always
temptation to classify. Let me say, then that Wlle
England sends al varieties OF pictures, from the best
TO the worst and it is difficult TO guess what will
como out of them unless it be Color the predominant
characteristic of French art is Form. France shows
an astonishing amount of technical excellence Inc
drawing is nearly always good sometimes almost
perfect the color IF not always of high quality gwen
boldly and clearly and the poorest picture SHOWS
at least clever knack of handling the pencil. In
German art there are greater evidences OF eonven-
tionalism. whether in the attempts OF Munich 70 re-
realism of Dusseldorf. In Sweden, Norway and Rus
sia the chief impression is that OF force and strength
in the United States, harmony and sentiment; III
Spain and Portugal feeling for certain cOloTs rather
tnan their rich union and reciprocal erect ana IN
Italy that kind of mediOcrlty which belongs TO the
decadenCe, rather than the infancy, OF Art hn1
that have omitted Holland and Belgium both OF
which are excellenty represented but Their artists
seem to feel side, the vicinity OF Parls, ana
on the other that of Dtssedhrf.
The French display is probably the finest that has
ever been made 1t embraces te pest VI
WON Bouguereau, and many others, besides spe-
cimens mot the best of Corot Rosa Bonheur, trere,
etc was little disappointed both IN the Geromes
and MeissOnnieIs. The former WITH WITH, all thelr as
tonisnng correctness of detail skillful composition,
. and las in the 1.-TWO Angqrs, entirely admirable
telling of the story pitched 70 very low Key OF
N color showing timidity which seems to imply
conscious defect. There is no good Disappointing
anywhere in them, with the exception OF the Lee
.tUfe chez Dderotn None of the MeissOnneTs seemed
10 me so good as that purchased by Mr. Johnston in
New-York. These pictures are miracles Oh dehcate
manipuiatiOn ana great deal more; but that any
class of persons should grew enthusiastic over lneh
Is thing difficult TO n4derSt!nd ,,..,,
GahanelS Birth OF venus" Is 0ellclOuSly crawl,
and harmonious in Color though almost as hat as
frescO painting Above it hangs a huge picture by
the artist which at first glance, took to be
fawn and nymph surprised by an angry Jupiter; but
ii proved to be Adam and Eve after the SIN In CON
trst to the pearly thinness and unhealthy OF CaDanes
nude figures there are ten specimens of actual flesh
and blood BY BOuguereau, who strikes me as being
tine equal, in this line, of any living painter -
IR landscape ait, Rousseau and DAubigny tower
ebove the others There is great force snd breadth
i'm the former and he is content with representing
the ordinary aspects Of nature-eool glooms OF forest
meadows between caPes OF wo0danf otbe2' hand
seems to prefer sutTy atmOspheres ana 10 represent
common landscapes under unusual eiiectS Oh IghL
He has more OF what artists call teeAng IMAM
Rousseau vet his pictures, with all their reality, are
no am here reminded of a remark that has been made
in regard to American landscape art as cOntraSleu
with that of other countries-that 1T seems 10 lack
color That this something Ike IT, is the hrsJ ll-
preston i can easily imagine. In point OF harmony
and sentiment, find few landscapes in the kxposl-
ton which can be placed beside those OF hehsettl
Clifford and McEntee; and the feeling wmch cleateo
them is one that would rather SHRINK from suOhB
contrasts and effects of unusual force III Is pas
Ioral and idylGc, rather than dramatic
The saRS remark 9f Church M and eerstadt
Cbnrcb's Rainbow is a marvellous presentation Oh
a natural phenomenon, as bold as II Is succ9ss!lm
Tcspect il is akinto French landscape art There are
some really fine landscapes IN our coiecuOn, wIlcn
appear to have faded since they left home when one
comes to them fresh from the lavish Color % tllo
French gallery. Yet the latter pictures very often
Lack the great charm Of the former-eXpressi0n. In
tine Annual Exhibition IN the Cnan9s e aiys sees
forced aud violent aspects Of nature, more grotesqe
and unusual landscape combinations more Oh the e
and the morbf III fact IN TINS Drach Oh
srt than ever saw in all my life. Our landscape
artistic seem to be haf-pOets, and the french lau-
scape artists halfphyslcians , ,.,,,- al,
When one passes through the English gallery, Win
eta 200 pctTres in oil and water and reaches inc cor
ner where the 75 representatives OF America hardy
find space It is Ike coming oO OK +raot Xxx INTO