The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-11-25

ART MATTERS.
The Dcrby-Evrard Exhibition ut the
Academy OF Design.
In noticing the collection that present attracts
SO much attention nc the Academy the critic Is
puzzled somewhat where to begin. There is such
on unusual wealth of matter at hand that the mind
naturally wavers before selecting subject for
treatment. We are inclined to turn our attention
to the most mertorlous works, but the differences
between the paintings are SO radical that no CON-
parson can well be instituted between them.
French and German Italian and Belgian with
their national characteristics and peculiar idiOsyn
cracies 0btruding themselves,
ELBOW EACH OTHER
on the walls, and however we may decide IN favor
OF the different schools to which these belong, we
can scarcely make comparisons In the case Of
isolated pictures. Each school has its merits and
defects and each picture must be judged by the
standard Of the school to which 1t belongs. We
shall therefore take the pictures as they suggest
themselves rather than adopt any order Of merit.
One OF the most pleasing, if not one OF the best
paintings In the collection, is by the well-known
French artist Bouquereau. There is q delicacy
and sentiment In all that he touches that quite
atone for the absence OF strength in his works.
He is not wanting in Imagination, but he seldom
scars into
THE LOFTY IDEAL.
His highest aim seems to be to invest everyday
scenes with a gentle kind Of poetic feeling which
seems to be part OF the nature of the man. "The
First Lesson" In the present exhibition is work
OF more pretentlOus aim than usual, and mas an
idylic sense which captvates the imagination.
An Italian shepherd OF the romantic order Is seated
on a rock supporting young child Of remarkable
beauty on his knee, to whom he Is impartng some
Of his musical knowledge. The motive Is very SIM
pie, and is naturally told in the composition,
which is admirably conceived and full OF
GRACEFUL LINES.
The quiet interest Of the teacher IN his pupil and
the look of surprise, with sense of pleasure, at his
success, have been rendered with much cleverness.
AS we look at the picture we feel the fun
force OF the story. The contrast Of the
beautiful child and the sunburnt, but classic
looking shepherd his instructor, has been
very cunnngly managed. There is, however,
about the work perfection OF costume and
such beauty and nneness In the texture Of the
draperies that we cannot for moment cheat our
selves with the illusion that it is transcript from
life. The want OF severity in the outlines iorbids
to regard 1t as classic, though 1t belongs rather
to this school than to the more matter-of-lact one
OF modern times. In painting the flesh OF the
charming little boy Bouqnerean has exceled him
self. We do not remember TO have seen one eX-
ample in which this peculiar
POWER OF THE ARTIST
has been more visible than in the one under con-
slderatiOn. The tntS natural and the
modelling is so firm and drawing so exquisite that
the child seems absolutely instinct with life.
suOusness, of which Bouquereau is 30 peculiarly
the exponent, we turn 10 work Of totally diff
OF those works which is painted in Illustration OF
some incident the artist has observed, bat which
he never condescends to explain The work in
question is cattle piece, and can rely upon none
OF the human sympathy that the poetic class OF
paintings appeals to. 1t must interest us by its
qualities or be a failure. We should be puzzled to
explain the title, for why cattle should meet the
beach does not appear quite clear to our mind; be-
Sides the beach has nothing whatever to do with
our interest in the picture. What strikes is the
brown COW in the foreground which seems move
into the picture, and from this animal the eye is
easily conducted to a white cow in the distance,
that advances toward the foreground. In both
animals
Ia SO thoroughly conveyed that we can almost i'm
aglne the cows TO be moving. In addition to this
veay sused ne W G na cae Il
iere with a breadth Of effect. This work
in America. 1t belongs 10 the school OF Troyers,
and is not unworthy of that master. The same
as the pervading sense Of atmosphere which dis
tinguishes the works OF this school. Zicm takes
again into the land OF anrealities. Venice owes to
to pay. Bowling down before the popular superst
lions which people SO obstinatey cling to, he mas
THE CITY OF THEIR IMAGINATION,
and In return for his cOndescensiOn has reaped q
truly golden harvestmmiaday scenes with groups
colored sails glowing under the warm
s9 9 bean; with 6rilliansy and breadth
something attracting in the warm, sensuous atmos
phere OF the scene. 1t appears to be such de-
sun and watch the bright sails hanging stiessiy,
undisturbed by
THE GENTLEsT ZEPHYR
10 mir Init rot n tn
its reality, however. Apart from this question
this work and another which il put down In the
excellent examples Of the artists style. They have
all the excellent perspective drawing and richness
Of color for which Ziem is justly celebrated. We
are startled from the pleasant waking dreams
which these sun-lit canals call up by finding our
selves in the presence Of spanish-looking woman
liked and piercing. and the lips firmly closed;
the right hand clenches a fan as though it were O
person is supposed to be resolving mentally Il
viii be revenged" Il is by J. +. Portaels, ami is
is not pleasant one. Much more attractive to
our mind IL the attention. Of l.. Perraut.
young gp IS h deep engaged teaching lea pet dog to
the command to swallow 1t. The groups of young
faces who watch the progress OF the lesson are
their sport The composition Is very good, and
the work commands our attention by
THE SIMPLICITY OF THE MEANS
it adopts to tell its story. The color rich and
well harmoniZed. But perhaps the best work or
this class In the collection IS AFTER the Battle,n
by jose Verh1s, Belgian artist, with tendency
to pre- aphaelism. 1t is child subject, but full
OF character. A brother and sister have quarreled
and the boy has wreaked his vengeance on his
sisters doll. She is unwilling to confess herself
conquered, and restraints her tears. Her brother
Is half ashamed of what he has done, but thinks
on the whole he has asserted only his proper dig
nifty, and looks on at the ruin he has made with
all the sullen sclGshness OF boyhood. The picture
Is strong one free from mannerism, and with the
stamp OF strong individuality upon IL. It Is one
of the few works that grow In our estimation with
time. The exhibition so far, has been very sue
ccssfnl and the interest in the collection seems TO
increase daily.
GENERAL THOMAS MONUMENT.
Major General j. Hooker acknowledges receipt Of