New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-10-10
THE GREAT EXHIBITION.
ART DEPARTMENT.

Hall and In the Annex, we have noted the follow
ing as having saving merit, though France is
hardly better represented 10y her andscaps than She s
by her figure-paInters In Memorial Hall some land
scapes by L. Lcgat which interesting from their ind
viduaty. aud show artist who knows how 10 make
good of his material. The Village on the River
Bank" No. 81, " Landscape with Figures No %, ana
An Old Water Nil" No 1S2, are by this painter who
shows plainly. we Think the influence Of the Munich
school We Should have been surprised to find these
pictures in the German gallery but they seem rather
strange their present company A. L. HaIpignies, an
artist considerable note and with a. growing repu
tatiOn, but who works principally IN Watercolols'
has a large picture in Memorial Hall, No. 50,
Landscape near Reward" but it impossi-
Die 10 Judge his talent by this very respectable
Dusseldorf performance However, so Few french
artists Of any note whatever either at home or abroad
have contributed TO Exhibition that we must not let
one of them pass without word, though he may
not have thought IL worth his while 10 show us his best
work ] believe ! have mentioned the :" interior Of
sheepcate" No. 123 by J. A. Baue6. 1t is good pic
ure strong and OF the honest school OF Met ana
Charles Jacques. Watering Cattle by H. Victor
Dupr6 Is a small landscape with breadth of effect that
many an artist would be glad TO compass in larger
frame. Small it is, give it the first place among
the French landscapes here though it needs TO be seen
In more subdued light than this glaIing gallery Affords
LISA picture for late afternoon OF when the lights
on the low rolling clouds and the streak between them
and the horizon would catch and concentrate the hnge
Hail. Gallery l, are landscapes by Karl Daubigny, A. IL
yeron. and Deshayes which should not be passed by;
but with the exception Of these and the Others We nave
named the French galleries Of Memorial Han oer us no
more landscapes of merit
In the Annex there also few pictures that follow
with more or less originality and individual feeling the
direction given to landscape art in France by Coro
Rousseau Courbet, and Ddubiny. OF these men Corol
was really the only one whose descent could not be
traced to some other master As MS eacheI' sun MUS
seau and Daubigny did so much good work. following
with the stream whose springs in the English oit
of Cainsboro.gh Constable, and the early water
ooloists and they succeeded wen in mpressng tLer
own character on their pftmes that they deserve the
name OF masters though tsey must be reiegat 10 inc
second rank. We ting influence OF Corot in tu'
Evening Landscape" of a. burst, picture III Whlch
the composition is more complex than is usual win the
French who study the utmost simplicity OF lnc' AVOID
Ing incident aud content with the harmoules oDi"t'
by massing and by grad tons. In this picture the
bright aergow of the sky reelected In the lVe ana lne
delicate tracery of the treesoOsng both river ana SKY
are poeticav managed and the picture max us desire
10 know more of the artist. He does not appear here
however, with another landscape but only as the
painter OF a clever figure, No. 33l, Evening IN tue
Kitchen" We should think his landscape painting
one could sec more of it, would prove to be his more
valuable work "The Marshes Of LonGre,' by A. t.
lambert No 24l; The Oaks Of GTaudmouln." by
l. Oh Cameron, No. $50 and The Park at eenls N
A. r. Ver0n the painter OF a good picture ID AtInoI"l
Hall Gallery The Banks Of the Seine No loj-dIe
all valuable I'm their way and afford some reiosnmen 10
the spirit in wading through This sandy collection So
foo we NAV call the visitors attention TO The Valley OF
Alleyard" by j. j. Belief No. BOP, picture which is a
reniniscence of POussins mt Of the so-caued CLASSIC
school, with influences from modern followers OF tne
same teaching It shows considerable Independence to
have produced such picture in these days when the
stream is all the other way. "TEe Canal Of Courreres,
by Emile Breton No. BIZ, like his Village IN winter
No 353 shows love of scenic effect and considerable
strength but not enough confidence IN the power oil
stretv and restraint Ii this these pictures hardly do
Emile Breton Justice. He has such confidence ana mas
often shown IT, bat it may that ne enjoys most big
canvas and plenty Of paint. "Ihe Canal of Coureres
is a very effective picture to be rightly seen' u
should be looked at from the DINER SIDE OF
the roon and it is best on cloudy day'
"suly's Walk at Fontainbeau," No 333, by
A. Cassagne j. clever picture dashed OF IN lIsli hy'
,retty nearly pure piece Of c0nyentonali-m though
The work Of a man whose cOuyentonaisn, Ike thal oil
the English Harding, is the aEOIthaud by Whlch are eA
messed truths learned by hard study ana long eAi'iF
cnce Perhaps picture Ike this gets GOOD zeal oil It's
intercstngncss from the fact that is portrait Of
farnous Mace with Karl Daubimy's shipping oysters
AT Cancale" rich and vigorous piece OF painting NO
.51 and A. ses6's Fountain at Nantois,' No &c. in
which the eject Of light in the interior OF Wood is wen
managed though as so often with The fIench as u an
were seen reflected in Claude Lorraine glass, we leave
tte consideration Of the French pictures with sei-
,nent borrowed from the Vicar Of Wakefield, that they
would all have been beter the artists had taken more
pains And We may add that we deyouiy wish the! h"u
done .,.,,,
The French have sent but little sculpture to the TX
btou and none Of it is very serious work. nor rises
HIGHER ON the whole than what NAV call, without
meaning any disparagemeut, "Omamental" sculpture
OF course there are exceptions. "Ihe Woman taken III
Adultery" Of Mr. J. CambOs is a figure the grace oil
which is not obtained at the expense Of carnestncss ana
sircerv Tie woman has thrown herself on her Knees
pd covers in terror with her bound hands hted ABOVE
her head expecting the first stone. Her mantle mas
flan down covering her limbs, and her body is COW
ercd-though all its forms are sho"n-Dy cneH'se oi
suk or Of the finest cot, u, which cngs 10 Tie shape
IN mpltituds Of fine folds. This TO us the best
OF the larger French pieces ola Cgae that careless
cbirpinp cricket OF La FOntaiucs WoknoWn fable, chp
inc All the Summer TO when tie cold winds Desh
IN o has been of late favorte subject with the French
artists transformed here into an errng daughter OF
Eve Another good work is the "Spinniug Girl OF Me
CARA >, No 491 by L. T. Barrias statue in silver bronze
This Is whawe call an ornamental piece SINCE u mas no
special significance, except that il is founded on Iac' anu
& graceful accomplished performance, at which we are
reased TO look but Of which hardly think again 10
the same class belong the many pieces by Mr. Charles
Cor3ier; The Prestess OF isis" in the Roumda OF Me
mortal Hall; the Arabian Woman" in onyx and bronze
In the main French Room Of Memorial Hail. the Young
Greek Girl" and the "Felah Girl" Nos. 3G6 ana 3G5
Gallery No 80 Of the Annex These works may DC
tboicb more curious than beautiful, but even as cuiOs
ties they deserve as much study the spectators time
win allow for in their way they are among the most re-
1narkable productions Of our Time They are CAREFUL
scholarly studies fe the subjects taken generally
from the people Of Egypt and OF the MOhammedan States
further west on the African coast Of the Mediterranean
In these chronological studies the type OF face Is pre-
- NTH n scientific accuracy, and the