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

presence Of sucn excessively low types is scarcely 10
keeping with the refinement that distinguishes the
principal jewellers, and that. evsn Tor SAKE OF con-
trast, II was mistake Introduce so low type OF
the gambler into scene which In the midst or dlssi
patton reveals the influence OF poetry and refinement
group Of three dancing girls occupy the LEFT
foreground; they do not necessarily belong TO the
picture and rather Interfere with
THE UNITY OF THE COMPOSITION,
but justify by some beauties OF execution their pres
ence. The dancing girl on the right OF the group is
gracefully posed and drapery OF white gauze that
floats around her adds much to her apparent light
ness. iatness in the region or the stomach takes
very much from the effect OF thus figure; the
right arm, too. IS little hard IN outline
ing, but the form Is not refined, and mas too much
OF common nature. 1t ~ wei m0delled, but nature
has been followed too closely. The truthiulness OF
THE WANT OF IDEALITY
in the figure az once suggest Thoughts or Ettys
studies from life. An exception must be made In
favor or the right arm holding the tambOurine which
Is an eXGqs example o. rsnsd ce au W
light shadows soiteniDg the full. we'l-rounded
forms. We DO not ike the pose OF this ggure, and
think the action OF the lower limbs might have been
improved. The action OF the dark Eastern beauty
on the lett is much more pleasing: but she Is scarcely
IN equilibrium. We consider the flesh form just
SHADE TOO FIRM. rrr1 If
The legs are well drawn, but the anatomy is too
strongly marked Tor female nature and the outlines
In 10 liking at the picture generally 1t strikes Us
that some oil the accessory figures are present only
to I'LL up space ana aid the general erect OF the
color which Is Sufficient lust ncation for their pres
ence. However, we think that the artist would
and giving more compactneSs 10 his composition.
At present there are too many centres OF interest,",
nate and main groups. No attention whatever
seems to have been paid to the drawing of the cloud
and mountain forms, the SKY being simply repre-
srREAKs OF BLUE AND YELLOW,
with here and there fOrmless Dlotches OF gray ana
white. while the mountains are repre- .ented by
Iorness mass OF blue without the slightest lndica-
ton OF shadow or hill form.
picture Is masterpiece OF art in which. even IN its
faults the hand OF the master appears: The know.
ledge OF anatomy displayed In the ooid. pronounced
and sweeping outlines Of tue figures show at once
that Mons. Dubune has been conscientious stu
dent, while
THE TOUCHES OF TENDERNESS
and exquisite feeling that cons anty appear through
tae WORK ten OF close Sympathy WIN the beautiful
no conception Of what years OF Thought and labor
are concentrated IN this giant canvas, and now
to I'LL 10 taultlessy the details.
Leonardo da VlncL the best educated artist that
painting the portrait Of Monna de Lisa, and yet
Thought he could never ps:fsc a THIS may give
those VINO undertake to paint
GRAND HISTORICAL SUBJECTS,
which never repay from worldly point OF view the
the history Of the "ProdiQal Son" on canvas
Mons Dubune undertook great work. which he
has success uly carried out displaying The highest
powers Of imaginative art. Hls picture Is u grand
poem, full OF warm brilliant color and true artistic
feeling. He has assembled ana cOntrasted the DIFF.
ferent productions OF Woe and pointed out clearly
the path where they lead with rare Judgment. His
the most can read the moral and the cesros
perception see nothing to su sgest by way Of addi-
tion The two drawings IN black and white. repre-
senting the prodlgal tending swine and his return,
are magnificent studies or
CLASSICAL SEVERITY. el
The presence among US OF this great work must
have good results. 10y making the people acquainted
with some Of the wonders OF Ola Word art
that we nave not yet had time to dev slop school
OF historical paintings and, IN truth, our national
life mas been SO short so wanting N incident OF
artist would miss the food which the lntrigues and
dramas Of the Old World furnish to his European
cOaborer. For the highest branch OF historic ART,
indeed, our history, snort as lt IS affords ample
scope, and already European artists have lound
INSPIRATION FOR GREAT WORKS
in the incidents Of our revolut Onary struggle
Therefore we must look farther and deeper when we
attempt to discover the causes winch produce bar
renness In the higher walks o. art. The absence of
art SCHOOLS ana galleries, where the American stu
dent might become acquainted with the wonderful
creations OF the best mas ers, Is. undoubtedly, the
primary cause, ana this Is supplemented by the
want OF correct art taste on The part OF the mass
stances 1t Is not astonishing that the American
fists as body turn their attention to landscape
painting, which mas reader patronage because 1t
does not go too much beyond
THE coMrREHE Ssios OF THE PATRONS
BESIDES, the rlcn VINO buy have almost always
pleasant associations connected with be uti ul
scenes selected by the artists. often purchase
the picture as much as a reminder Of past pleasure
rs N encouragement OF art. Yet we believe That IL
au Amerla an artist dsplayep even moderate ability
and conscientious WORK IN an EFFORT to treat historic
SUBJECTS he would receive generous support
Perhaps the greatest obstacle 10 the growth Of o.
school VI historic art is to be found IN absence Of
good models guide the student anu 10 educate the
public. Thanks 10 the Increased facilities OF travel
we are rapidly acquiring an educated class, and
there IS no reason nv the American nation should
not stand III few years among the foremost patrons
oil art. Next to the power OF producing great works
IL the power OF approaching them, and, indeed IN
I'll the latter point Is reached really high art Is I'm
possible among any people IL be regretted that
no effort Is made to collect from time to time the
masterpieces OF Eur pean art on this Continent
where 1t would he possible for the American people
to become acquainted with
THE EAlSTENCE OF TREASURES OF THOUGHT
OF which they have no conception. Private enter
prise has brought TO our shores example OF the
grand dramatic ars Of our own day, work that
with many faults or detail is still q masterpiece
well deserving OF our homage. The thanks OF the
public are especially due to MIR. DERBY for his enter
PRISE Ill securing such an important example Of
contemporary art And we hope That some rich
corporation will DO public spirited enough to pur.
chase tne work of the French artist, anu secure it
Tor the nation as beginning OF the national COL
lectons oil great works which we hope 10 formed
In all the principal cities OF the United States