The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-07-12

Mons Dubuffa's Great Painting, THE Prodigal
son'-Rsfections on the Defective State
Of American Art Schools.

Of American Art Schools
1.-THE Prodigal Son" belongs to the highest class
OF imaginative art IL Is grand In conception and Is
boldly and skllfully treated both In color and draw
ing Whatever Its deiects-and we intend to point
some Of them out-they are amply a,oned for BY the
general excellence Of the execution. Warm and
brilliant In color, generally correct and sometimes
powerful. and often exquisitey tende In drawing,
the picture presents series OF harmonized groups
eacn one OF which represents an iucident In this
general train OF thought. Indeed the number Of
independent points Of interest seriously interfere
with frl Ia I'D.
THE DRAMATIC UNITY OF THU COMPOSITION.
No dread OF being charged with anachronism In
the treatment OF his subject has restrained the
artist from presenting the biblical hero liz the
costume OF the sixteenth century because the
the artistic beauty and rich cOlOrs Of the costume
suited his composition. With the same sublime con-
tempt for dates the artist takes back leap 1000
years in order to exhibit to the prodlgal in the
desert tending his swine and seeking his fathers
forgiveness.
In adopting this bold treatment and sacrificing
truth OF time and place the artist was, no doubt
influenced by the example OF
THE GREAT VENETIAN MASTER
Paul veronese, who never hesitated to abandon
chronology when 1t inrerfered with the technical
excellence OF his work. One OF his grandest and
best known works Is the Marriage of Cana"
which, by wiru anachrontsm, he pants as though
1t took place in Venice displaying in accessories
all his theatrical taste and love OF decoration. with
time cosmopolitan carelessness In the minglln9 Of
all kinds OF costumes demanding only that they
shall be rich and
BEAUTIFUL IN COLOR
and such as will narmonize well IN his deep, rich
tones. Given these primary requirements. he cares
not TO what age or nation the costumes belong.
not seeking after historic truth. but bright, warm
coors that he can blend into painting that VIII 30
great by the depth Of its tones the Drliancy of its
color and the power Of Its composition independent
OF conventional ideas.
Between "Thc MARRIAGE Of Canan and 1.-THE
Prodigal SOM there Is strong analogy, and wide
as the gulf which separates the French artists work
In point OF execution from that OF the Venetian
master, yet there are points OF excellence In which
the advantage must be given to NJ. Dubule's work.
The wharfage OF Cana" is perfect In color and
composition; but there is a wider grasp and more
POwER OF IMAGINATION
displayed In the treatment OF ''The Prodiga Son.
which, were 1t equa IN color, and not marred by
some defects OF composition, would undoubtedly be
higher work OF art. Taxing up the period OF the
prodlRals life when the pleasures OF the senses are
In fullest play, the artist presents us with scene
OF revery full Of animal life aud voluptuous enjoy
ment, but toned down Dy an exQusi refinement in
the bearing Of the principal figures. Some grosser
types among the subordinate characters serve to
heighten the air Of grace and nobility that hangs
round the more prominent reveiiers With much
that IS
sUGGEsTIvB AND voLUPTUOUs
IN the scene there Is nothing coarse or offensive
and we feel even amid the dissipation which Is
leading to ruin and disnonor thaI the refinement
which ever accompanies the higher natures prevents
the revel from sinking into debauch.
The main interest OF the picture Is concentrated
on the central group composed OF the prOdgal son
and TWO rival beauties who seek to win HIM BY their
SOFT voluptuous caresses. The prooiga stands Ia
blaze OF crimson hight the sun Of the revel, with
wine glass raised In his hand II he were ABOUT to
deliver some lmpassioned pledge. HIS tace, which
Is OF the Jewish type, neb G. but bears dsssipaued
look, and were It not for his deep black eyes the
countenance would be lacking IN express on; as 1t
Is his look Is too distracted, seems wanting In
SYMPATHY WITH THE SCENE,
OF which he IL supposed to be the very life On his
right fair young creature dressed In dazzling
white, hangs upon MS neck and looks intenty INTO
his eyes. Her face Is lacking in that Intensity of
passion which the artist sought to convey. The blue
eyes and gentle face are full rather Of tenderness
than OF PASSION aud lack the force OF expression
which the situation demands This gentle and beau.
tiful woman looks too pure and holy Tor the scene
and seems out OF place In the reveI. There Is too
much Of the angel ana too little Of the animal in her
makes the warm. rich crimson costume OF the
prodigal
GLOW UPON THE CANVAS
and Is one OF the best light effects the picture
The main group is completed by the figure of peau
tlful woman seated to the left OF the pro0icsl
against wnom she 10 leaning back In the most com.
piete ABANDON, her eyes closed and her whole being
glowing with the most intense passion. Her arms
are crossed lightly and gracefully over her ful aud
swelling bosom. which seems TO heave and palpi-
tate with vouptuous passion. 1t Is impossible to
imagine anything more gra ceful and tenderly ex.
pressive than the action Of the arms and the hands,
which caress lightly the ing ers Of the lovers hand
that rests anectionately on her shoulder. For
beauty Of form ond exquisite modelling OF
parts we have seldom seen any thing more beauti.
full Than this study. The contours are rich aud un.
duat1ng, but delcately lrm and the right arm aud
hand are so near perfection In beauty OF outline
and correctness OF m0uelling that they remind us
strongly Of the mesh painting OF Corregrio, with
THE TENDER SHADOW LIGHTS
forms OF his nymphs soitenIny ana toninr down
the too vivid flesh cOlors. Ii we have anything TO
repfoach MONS. DuDunc In the matter u his dcsn
painting OF this figure It Is The great Intensity of
his nesn color; just the suspicion OF too much white
aud carmne. A little more tender shadow reduc
ing the ectdt OF tnlt passioniul bosom aud neck
would have added charm OF mystery and maze
the study perfect. or the pose OF the figure we re-
greet to say we cannot speak approvngly. No doubt
the action IL expressive Of complete GOIRdOR and
Is suitable enough TO the thought IL EXPIRE sses: but
the artist has sacrificed the equilibrium of his figure
which appears in some danger OF
ROLLING OFF TIE CANVAS,
and so mars the effect OF the principal group. Also
the placing OF the marble colu nn 80 close behind
the prodigal gives fatness to the group, which
should nave been avoided.
An accessory group Is formed by very fair young
lady, who looks natural anu Joyous aud Is peernI