The New York herald., 1868-06-28

CItSt IUVt7y
groups they have observed that it is conventional
TO paint dark grounds behind red p0ppies-that one
ower oYers sufcient shade TO its neighbor for the
purpose OF c0ntrast but am OF the opinion OF many
who ind II easier to criticise than execute namely
Rousseau's flowers are faultless in themselves The
same must be said OF splendid plate OF fruit with
down on raspDerries and haze on grapes.
will leave the principal room for Victor Girauds
sensational and dramatic scene. It represents hus-
band and wife, the former dragging the latter down
q steep staircase, at the bottom OF which lies her
lover. The injured husband holds revolver over
for the work s catalogued 'The Husbands Return"
The accessories and materials strkingly painted
can pass By Without being arrested by this an
able painting feeling interested In the
In a novel signed BradtOn.
wish could say as much for another scene or
the same kind, which is perfectly improbable that
the breach Of the commandment forbiddng adultery
elicits most cOmical IDEAS lady sweetly reposing
has gentleman by her side who Is not her lord, and
who is dressed IN nothing but-a guitar hanging
from his neck: The iniurated an and legal husband
strains of the mand0line. He has dagger in hand
The young illegal tunes up serenade and the scene
Portable couch is turned into amateur performances
The painter may remark that the incident takes
place In spain, wnere n9ahing & can 20 On wltnout
Spaniards are very queer If we do admit that the
above situation Is probable.
the exhibitiOn-COrots "Morning at Vile dAvraz"
and Daubigny's two grand canvases, 'The Spring"
aad "MOonrise." The first by COrOt, confirms the
Partisan dictum Nothing is SO fine as fine Corot'
/ add, "Out Of Paris,n having seen some American
landscapes which Parisians may have not. That Is
no fault OF CorOt; his MOrning' Is all fresh invigOr
ating atmosphere all crystalline stream, all buzz OF
myriad insects all dew, all sun and haze. The trees
shake of their morning fog and man breathes freely
as he contempates this picture. Daubignys Spring'
is large plain lighted by the sun from distance
The front is verdan and teeming with reused nature
The apple blossoms fall like snow on young pair
threading their way through high grass and pOppes
"Moonrse" is the reverse it Is all repOse and rest
large plain, rendered half sOmbre by twilight and
IA rising dotted
ricks Some lowing cattle, 80 utterly weary, are
somniferously gazing on vacancy Two peasants
distant farm, and it seems as II they must drop
before the stout, robust man has got through the
tale to which his wife, as betrothed, Is patiently
listening.
There are many other fine pieces to describe, but
eagerly turn to Courbets "Beggar Giving Aims, the
ought to hang at the White House, Washington. l
should with all my admiration for some Of COurbets
works. be sorry to see beggar among the Senators,
and especially this one. l cannot discover in this
painting all the grand philosophical ideas which en-
thusiasts have deazed In the paupers face, which Is
OF earthly, vd color. The same tone pervades the
whole.
"A Baby on Its Mothers Bosom" in the back
ertheess. beggar child, belonging to wandering
tribes Is sent out on the high road to stretch forth
Its small chubby hand, and, child-hke, uses no
discernment In the choice OF passers by, but asks
for money Of ALL The mother is cooking over
low stove near roughly built tent, and looks On,
when a very diapidated old man, the very mendi-
cant would avoid at dusk, comes down the road.
The urchin kisses his hand as he has been taught,
and recites his woe-begone tale; the old man is 30
unaccustomed to be treated with the respect he
treats others to that he stops and then patronzingy
puts his hand in very shabby pockets and most deli
fingers into the child's outstretched palm. The
mother seems appalled, This is the famous picture:
Like all Courbets Ideas It large wide and full Of
failed. He intended to make poverty horrible and
still full Of love; he has, but made 1t vain and re-
We have lovely Ophelia at the Exposition by
Edward May, from New York. II is strange coin
that the nea ss Mile
should have appeared attired in the same way, with
hair wildly tressed 10 the same artstical disorder as
her brow, and the same deep, earnest searching
glance tells tale Of irretrevabe folly; STILL they
resdns there Is he
tive expression again lurking on the Comedians
features, as If Nays object evF were to compare
much light on the surface, but show such fathomess
depths below. Nays great work, however, ordered
being amused BY the Duchess Of Bourgoyne. WHO
is throwing bread crumbs to fishes. Nine. de Maint-
enon in sedan chair, nils the centre, by the falter
ing old kings side. She Is looking at him with tender
anxiety and her face expresses how socitous she s
The great man is indeed worthy ofpty; he Is fallen
support The ccurters around, in gorgeous attire,
are looking on In lovely atttudes the dog, the pet
and fayorlte too acting his part while the palace
grandeur. The lovely Duchess de Fay, SO often
spoken Of in memoirs Of the Times" Is splendid
piece Of painting. The whole picture is full OF feel
ing and life.
Three other American painters have exhibited
also Mr.. Haseltine, remarkable and much admired
view Of Capri; Mr. Bacon, "Poachers In the Snow''
and "First vsitn This artist has most certainly
great name to make and has all the energy and per-
severance which such talented artists generally dis
dain.
Mr. BabcOck has sent in an "Interor and 'Fish.''
Both are pronounced very excellent. The French
have agreed that If American artists are few there is
not bad one here. They toll incessantly and uni
versa respect is their reward.