The New York herald., 1874-09-19
THE EOSTON EXPOSITION.
Review of the Principal
Art Works.
BONNAT'S MASTERPIECE
Daphne Under II Course
OF Sandpaper.
BOS TON AR Il I'D L A S.

BOSTON, Sept. II, 1874.
The different depaI tments of the Mechanics
Industrial Exposition are now nearly complete
working order, and though here anc there men are
still engaged setting up complicated machinery
the exposition may be considered well under
way. Almost every branch OF industry is repre-
sented, and the attendance is very large much
interest being manifested by the visitors IN tue
labor saving inventions, winch are well worn
examination. Faneuil and quincy halls are both
occupied, and constant stream of visitors indi-
Gates how proud Boston is OF the display. The me-
chanical departments OF the exhibition 40 not
differ materially IRON other exhibitions similar in
character. The chief interest for non-residents,
therefore, centres in the art departments, and it
becomes all the more necessary to review the art
collections as the local critics, with more en-
thusiasm than knowledge have spoken OF them In
terms unduly euloglstic.
THE ART COLLECTION.
over 200 examples OF native and foreign art have
beeu contributed 10y artists or loaned by dealers
and collectors II Is evident from the number or
Inferior works which have been admitted to place
Oh the walls that neither the collectors nor dealers
look on the Mechanics Exhibition as a favorable
medium or bringing art treasures before the public.
This is very much TO be regretted, as the remarks
heard during stroll through the galleries reveal
OF art knowledge not credit able the boasted
intelligence and education OF Boston. In nearly
every case the works selected by the public Tor
especial admiration were worthless daubs, with
out qualities to recommend them.
There was, however, one notable and noble ex-
ceptlon, IN which
WORK TRULY GREAT
received the attention and the applause il richly
merted. This was picture by NJ Bonnat, OF Paris
the greatest living colorist, whose works are
rarely met with This SIDE of the Atlantic. The
subject Of the picture is remarkable for its SIM
plicity. young Italian peasant girl holds il her
arms chubby little urch1n, the very picture OF
health, who is in the best OF humor with him.
sell and his little nurse. Both are perfectly
content with each other and the happiness OF the
moment Is rejected IN radiant smiles In spite
OF the somewhat somore-coor treatment OF the
picture it is full OF sunshine-the sunshine that
perfect happiness draws from the human heart
These children are unconscious OF their happiness
There Is no disposition to posture. The incident
like ray OF transdxed light, is its own inumina-
tion, and sparkles by the quality that is in it, nde
pendent OF all outward influences or objects. Sim
piicity Is the great and commanding quality OF
this art. Everything about the children IS natu
raj, the posture easy and graceful, the story I'm
tted IN It's range-comprehensloe and fully
told. 1t is an ldyn of Childhood and par
takes Of chldhood's freshness and simplicity
this alone would be attraction enough Tor
every intelligent lover of The color is strong
literal adhesion to nature. In this the artist sepa-
rates himself from the Merle and Bougere.u
school, which paints delightful
PINK AND WHITE INFANCY,
which Is exquisite but not true-a refining OF ma
tnre IN ITS most Charming aspect much AKIN to tue
crease Its beauty. But M. Bonnat seeks aid
from such slcky color sentimental tallsm, but
gives US q chubby boy face OF robust health
and vigor, as the perfect type OF childhood. And
the a, contrast M offered by his picture with two OF
Merles that are hung close by is most unlavorable
to the color sentimentalst, whose stan OF Life"
and "Cupidn appear weak BESIDE the bold, posi-
hve work Of NJ Bonnat's brush. Not alone is the
color OF this artist's work unusually strong and
solid, but the modelling Is free and correct. The
nesn Is treated IN that nappy manner which gives
rOundness and plumpness TO the forms without
degeneratlng into naboiness. 1t is, perhaps, In
the expression OF MANTLE Joy ana content on the
faces OF both children that the artist has been
most happily successful at least this is the feature
that appeals most directly to the popular mind.
But TO the artist the great merit OF
the work hes in the evident mastery OF technical
has been carefully though broadly painted 10.
The picturesque costume OF the Italian girl has |
been introduced with excellent eject; but it is |
only an accessory, and s not Intruded on our no.
uce, as Is usually DONE The picture, q whole.
Is marked py the sombreness OF color which dis |
tinguishes the works or this color master. Some
thing Of the sympathy OF Frere and Murlo with !
humole ehild lie Is here joined to Riberas power
Of pressiOn but It'll better color qualities than
distinguished the great spanish master. indeed, |
though N. Bonnat Is French painter and DIS !
school, there is evidence through his works OF the
serious influence OF Spanish art. This quality
>.
Among his contemporaries he approaches most
nearly to the grand Old masters whose WORKS nave
won Tor them immortality.
MERLEs STAFF OF LIFE''
has been hung quite close to Bonnat's work,
Of the gentlemen having the arrangement OF the
gallery. IL Is simple canvas and possesses much
merit, out loses from 700 close proximity with
mucn stronger WORK. boy carries a huge loaf or
brown bread, and H one may Judge rom the some
M wnat @ panesd as expression on the ace OF the chlid
there are those at nome anXiously awaiting the
arrival OF the coarse DrowrTloaf The child well
drawn, with the refinement and, we may add
want Of decision which characterizes Mere's
pencil. The picture is sweet but not strong.
Near Merle's work is one from an American
artist IN Paris, Mr.. Bacon (S7. 1t is called a
"Rainy Day." and purports to represent artist
resort at Fontanebleau. 1t is a very dtsordered
composition, with nucn pretence ana small merit.
The French peasant boy in the corner Is the best
figure Ia the picture, and he is preternaturauy
Bti1.
ceverly painted picture by A. Serrune repre-
sents some ladies' and gentleman purchasing old
CHINA from brlc-a-orac merchant. IL Is very
delicate in color and gives evidence OF quite re.
spectaoe technical skill on the part OF the artist
scene lacks even the appearance OF reality. IL is
merely studio composition executed with clever
ness
is represented by a strong bit OF woodland. full OF
gnaried trees, rejoicing IN brown and sombre
fOlIage-in the foreground a marshy pool and some
bushes. Few men would maze a presentable pic
ture out OF such materials, but the very gloomy
nnd fOrs AIKEN Character or the landscape seems to
harmonic with the sombre genius OF the artist
quiet pastoral scene, by votz, represents
cattle drinking at a river side with storm brew
ing in the distance. An effort TO overhnish has
resulted In a metallic hardness which is so dlsa-
greeaDe a feature in the Northern European
schools OF art.
+. g. Brown is represented by "Street Mu-
sicians" 10 represents TWO juveniles playing
larp and fiddle. The work has been conscien-
t,ousy zone, but the result is not happy. The
color Is sombre and In the composition there ls
nothing to excite interest. 1t is neither touching
nor picturesque.
"cUPIDs PURSUING A BUTTERFLY
(s5). In this small picture Merle is seen in a SUB
lect admirably suited TO his genus. The cuplds
are tenGer I'D color and graceful in action.
some OF the eyil influence or section OF French |
srt Is seen IN 6Z. oJ both works by Mr.. Blash- |
ueId. Ihey are costume pictures, aiter the man
net net ol the school presided over by Toulemouche, /
out want tne grace and perfect drawing. well /
as the wonderful power OF texture painting which |
impart 10 the French originals all their value.
-, :, MOONLIGHT IN THE BAY,D
by L. Norton possesses much merit n ia well
composed and the distribution of iiunt ts mil ar