The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1871-04-03
THE FINE ARTS.

E'Artadne."
NJ. Bouguereau has hitherto been known this
side OF the Atlantic as painter OF pastoral and
home scenes, which remarkable rather for their
techlcal than their intellectual qualities and no one
familiar only with the class OF works to which he
has almost exclusively confined his attention would
have supposed him capable of producing picture OF
such tragic interest as the "0restes pursued by the
Furies," recently purchased by Joseph Harrison Jr,
ESQ.,, and now on exhibition at Haseltines Gal.
leries, No. 1925 Chestnut street. The subject is
familiar TO all students of art and literature. as
1t has been repeatedly treated In some shape or
other by artistsand poets without number, from the
time Of Homer to the present day. With the Greek
tragedans it was especially favorite, and OF the
thirty-two plays which remain TO US OF
the writings OF the three great
tragic poets, seven introduce "Orestes"
as a prominent figure. The murder OF "Agamem-
non" by "Clytemnestra' and "Egisthus," the ven-
geance OF his son "Orestes" in the slaughter of his
mother and her paramOur, and the torments suffered
by Orestes at the hands Of the pursuing furles and
his final release from them at the intercesson OF
Apollo and Minerva, treated by Eschylus in
the only complete tragic trilogy which remains to us
the Agomemnon, the ChophoTi, or Libation-
roprerS, and the Eu7nenideS Furies and the muir
der OF Clytemnestra Is the direct subject OF the
Electra of Sophocles, the Electra of Burpdes, as well
as Of the second Dir OF the triogy OF Eschylus,
''Orestes," a wanderer pursued by the demons of
remose is also the hero of three other OF the trage
dies OF Euripides-the Orestes, the Iphigenfa an
Iauris and the AndYomaohe. The story illustrated
by the picture OF NJ. Bouguereau is brefy, as fol-
lows it being promised that the death Of saga
memnon" was, in some respects, not unmerted
account of his own and his forefathers' crimes:-
The legend, which was first given definite shape
by Homer relates that "Agamemnon,' upon his re-
turn from Troy, was murdered by his wife "Cly-
temnestra" and her param 1ur Eglsthus," the
preteXt being the slaug hter of his daughter 1ph-
genia," sacrifice to.Diana at the setting out Of
the Trojan expedition. "Orestes," who had been
sent from his home when a child, was frequently
minded by me ssengers from his sister ELECTRA" Of
the necessity Of avengng his fathers death, and
finally he consulted the oracle Of Apollo as 20 his
duty in the matter, ana encouraged to become
the avenger OF blood by the promise OF the counte-
nance and protection OF the god After visiting his
fathers tomb and sacrificing lock of his hair, he
made himself known to Electra" and discussed
his plan OF revenge with her. and with her aid both
"Clytemnestra" and "Egisthus" were slain by his
hand. No sooner was the murder or "Clytemuestra'
accomplished than "Orestes" was seized with the
madness remorse, and pursued by the turies, who
claimed him as their prey, he became wanderer
and Outcast until Apollo and Minerva interposed
in his behalf and released him from his torments.
Such an intensely tragic subject as this demands
intellectual and imaginative abilities OF no common
order for its adequate representation and the high
est compliment that can be paid to M. Bouguereau's
picture is to say that it is intensely and horribly
tragic. 1t is at once embodiment and an deall-
zation OF the theme and it is less admirable in it's
poetical than in its technical qualities; it is both
great picture and mastery piece of paintiug and
in all the higher artistic qualities it is certainly by
the most Important work that has been exhibited
in this city during many years. "Orestes" is repre-
sented as rushing towards the spectator: his hands
pressed TO his to shut out the dreadful cries
OF the ends who pursue him, while his eyes are di-
lated with horror II they ever beheld the freshly
murdered corpse OF his mother Behind him come
the furies. snakes wrthng in their hair their eyes
anIn infin lff,t,r
temnestrs," which one OF them bears on her arm.
The one on the right, who rushes along almost in ad-
vance of "Orestes, is pale and deathlke aud bears
in one hand torch. The one in the middle is OF a
jaundiced, yellow color, and ourishes in one hand
whip of snakes with which she lashes the fugitive
The upon the right, who bears the corpse ia OF
purplish tint as if her veins were ologged with
black and bitter blood. All these are yelling yoci-
ferousY, and more fearful embOdlm ents OF the
powers of remorse can scarcely be imagined 1t is
worthy OF remark that the corpse of Clytemnestra"
is not pale and deathke, but is warm
and full OF color, the artist intending
to represent "Orestes' as having ever in his minds
| eye the figure OF his mother at the moment when
! she received his sword in her bosom Rschyus
makes "Clytemnestra," when apprised of the muir
derous intentions of her son, appeal to him in the
strongest manner by barring him the breast at which
he had sucked and in the picture the hands OF the
murdered mother are represented in the act of part
ing her garment in order to display her breast the
| fugitive. Tnls action ana the dagger which is
driven to its hilt into the body add greatly to the
pathos as well as to the tragic horror OF the work.
| The four figures are admiralty COMPOSED and
black and threatening sky against which they are
relieved is an appropriate background for such
group.
M. Bouguereau is famous as a flesh painter, and
il we except slight tendency TO hardness which s
one OF his common characteristics there is little in
this work that will not excite unqualified praise.
The figure OF "Orestes" might perhaps be objected
to not Greek II we accept the antique statues as
true Greek models, but we are OF the belief that
the picture gains rather than loses by the nom
adherence to a strictly classical model 1t is an OBJ
lection, and very serious one, however that the
legs, from the knees down. are much too slender
for the rest OF the figure, which is that of
| very thicS-set and muscular young man. The de-
feets OF the picture however, either as regards con-
ception or execution, are OF small importance in
comparison with its very extraordinary merits; and
while we are far from wishing that the artists of
oar day would make a habit OF treating such
horrible subjects, we certainly do wish that more
OF them had the ability 10 do so In adequate
STYLE The "Orestes" is not work to please the
fancy OF mere pleasure-seekers any more than is
such tragedy as Macbeth, but 1t cannot fail to ex-
cite the admiration OF those who appreciate the
higher aims OF art.
The mastery painting upon the "Orestes" has a
somewhat damaging effect upon Vanderlyn's "Arlad-
ne, also the property OF Mr. Harrison which hangs
near It. This is nevertheless a picture OF much
merit, aud It is probably the best life size nude