The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-11-17
ART MATTERS.
The Derby-Evrard Collection se the
Academy OF Design.

The Derby.Evrard Collection st tns
Academy OF Design.
One or the largest and best selected collections
OF paintings ever brought together in America Is
at present on exhibition at the Academy OF De-
sign. II is perfect treat to enter that curiously
composed structure ana md the walls absolutely
laden down with pictures which we can look upon
with pleasure and satisfaction There is, OF course
great inequality OF merit; but in collection num-
bering some four hundred works this IL unav0ids
able. On the other hand, not alone Is
THE AVERAGE MERIT
far above what we ordinarily see in American
exhibitions, but it would be considered very high
in any of the capitals Of Europe This fact Is very
creditabe to the enterprise OF Messrs. Derby ami
Evrard, and displays confidence in the growing
taste OF America for art, which we hope win be
justified by the event II is not necessary TO say
anything to the American pubic about Mr.. Derby,
who Is well known IN art circles, but Mr.. Evrard
comes among IA fof the first time, ana 1t is of i'm
portance that the public should know with
whom they dealing. Mr.. Evrard is one
OF the most extensive picture dealers In Europe,
his operations extending over the Continent. 1t ia
almost needless TO add that every picture in the
collection Is genunethat is to say, Is the work OF
the artist from whose easel it purports to come.
Unfortunately this is not always the case. In the
past art purchasers have been sadly vctimized by
dishonest dealers: but. though the evil exists to
some extent stl IL has been considerably lessened
by the influence OF the prominent art dealers OF the
city. Indeed, this evil in measure brought its own
cure by throwing the whole picture trade OF the
city into the hands OF u few respectable firms
where the people felt they could buy with safety.
There Is IN this collection an admirable repre-
sentaton Of the chief European schools France,
Iay, Germany and Belgium have contributed
works by In III most
PROMINENT LIVING ARTISTS,
and some few 10y artists who have already passed
away. For the chief part the works are Of the most
modern class indeed, we might almost say they
are fresh from the studio. 1t is rather surprising
when We stop before some OF the most Important
works To learn that IL figured in the salon OF one OF
the European capitals, ard won honor ana dlS-
tinction rom all competitors. hi % strong proof
% what we have been asserting. that New York VIII
IN the not far distant future become
THE CHEF CENTRE or ART.
AS we grow IN wealth our tastes become more
cultivated ana bare utilities OF life no longer
satisfy us aud we lay tue world under contribution
to minister 10 our aesthetic, rs wen as to our
material wants The progress that we are making
IN this direction cannot be better illustrated than
! which have been brought into She American
(, market hy dealers who oughe TO be conversant
| with the exact state OF 4 taste which tits their
business TO cater Tor. The Writc collections which
! attracted SO much attention early last year.
! though OF remarkable value, palcs by comparison,
ana we have no hesitation III SAVING that no coec-
ton OF
EQrAL MERIT
Continent.
IN the south rooIa Muchot's staircase or the
Dogc OF Venice forms one oi the principal attrac
tions. IL represents procession IN the sixteenth
century descending TIE staircase ot the Dogo, and
so strkin, Is the Illusion that ~ we gnZe.
the A;cres seem absolutely tn move aud detach
themselves nom mo canvas, 80 eScelently nave
the atmospheric effects been rendered The pie
turesauc costumes OF the periJ AFFORD tine FULLEST
scope 10
ran cofoa TREATMENT
OF the artist. ana he has awaited l'msef Of 1t Ia
the fullest extent. The canvas absolutely CLOVIS
nader me wealth OF eo.er, ga ws are
Venetian school OF color m coEtemt latng
tins petmo % Venetian lite. We nave, as
If were, the Roy note ia tie success or hc school OF
Ncroncsc. TIE conditions oi lie winch surrounded
the Venetian painter were gorgeous aud Iuli OF
co.or; hence lie only transferred 10 eis easel The
objects that hay everywhere about him IN their ord
nary 9arb. without any need oi stfainipg his III
vention. IL is somethig 10 ind an artist whose
skill In the treaim MT o. color paftakes IN no small
dsgrec Of The billiancy and delici.cy 81
TIRE GREATEST SCHOOL or coLoH
the world has ever known. Admirable III compost
ton, tho grouping has been managed with such
subtlcty thar sense OF motion porvadcj the pic
ture which n strikngly natural lie chie triumph,
however, has been won in the harmonious blending
OF the brilliant cuor's so as to produce perfect
harmony. This has been accomplished with rare
..IYxocENcg AND MrsFoRTtNnr
Is one or tie MODEST dramatic compositions OF the
modern schools. IL is rom The easel 81 T. "A.
Cot, who ~ wen known n this country by
some p' more pretensious works. "Innocence
and Misfortune Is the most important work that
COZ mas ever painted. III was exhibited III iaSt
Years salon IN Paris, and Obtained the medciHe.
The subject Is u touching one ana was meant as an
ausi N TO the sorrows that iell 50 thickly on
sents II wi0ow with her two Young Children at the
grave Of FER husband. The WIDOW Is Standing be-
hind small cross. with her infant son in her
arms. while a little girl of more advanced years il
IN The act of lighting lamp attached to tho cross.
The figure OF the woman Is
FULL. or GRANDEUR
and quiet, dignifed SORROW The expression OF the
face is unspeakaDly sad. hut there Is something
noble In her expression Of sorrow. She Is in the
act OF placing wreath OF fow ers on the cross,
and the feeling OF womany sorrow which the ar
list has drawn contrasts with melancholy force
with the innocent happy expression Of the infant
sad duty his seniors are performing. The story Is
told with great dramatic power, and the compost
ton l. remarkable Tor its
UNITY AND GRACE,
as well as grandeur ana force. II Is noble pic.
turc and would be sufficient to redeem the French
school rom tine charge OF lrivoty, which Is too
often brought against ii without 5un.c,eat cause.
''HAprISrss,n
IL the tide OF charming cabinet work by the great
artist, Louis Galait. IL IS iul VI sweetness aad
| grace. This Is Il very unusual characteristic OF
the saddcr phases OF human lie and eve to dwell
with something like affection on its most repul-
sive aspects. II IS therefore, relief to see him
devote ms iincdualed powers as q draughtsman
ana coioiist 10 the delincaton OF subjects
regard VITA pleasure; AdoIthe Diliens. the Belgian
artist, who Is so fond OF painting Dutch scenes, il
rep esen;ed by very Large and important picture.
me subject rs ! SEATING scene and as the arlstex-
GELS IN the laiifng OF Ice he has had full oppor-
tunity to display his peculiar talent To the best
advantage. There Is an air OF aaturalness
about the group IN the foreground, where o
man Is fastening on Il woman's skates, ana also in
the n9urcS which moving about on the Ice.
tho principal interest viii, However be concern
trated on the igrres IN the ceboat in the
background, as they are the portraits OF the artist
aud his friend Schampner, q brother painter. The
transparency OF the ice has been
ADMIRABLY PAINTED
ana we sec even the rejection of the skating
figures on the Ice surface. In this works
by Mcissoncr. Wilhelms, hughes, Merle, Casa
nova, Bak aiowicz, Won Schendel, schaetes. Ste
vens. Tademas and rising American artist, X.
Wylie.
TEE COLCHICuM POISONING CASE
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