New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-07-29
THE GREAT EXHIBITION.
FINE ART DEPARTMENT.
biExICo AND BRAZIL IL MEMORIAL HALL AND TIE
ANNEX.

ANNEX.
IFRoM A STAFF CORRESPONDENT or THE TRIBUNEl
PHILADELPHIA, July PIT would not be
fair TO leave the Mexican exhibit without word or TWO
abon few other pictures than those we have described
which though not perhaps OF any great intrinsic value
have vet some Importance helping TO indicate the
general tendency Of Mexican Art There is little to
nraise IN the portraits. Some OF them, the Family
of The Artist. Juan CoIderO," for instance, Win
that Of the late President Of the Republic
BenitO Juarcz very crude performances, having no
more hc in the expression Of the faces, nor ease N 'c
attitudes than we accustomed 10 look TO- IN the
commoncr sort Of hfcsze photographs finished mp noS'
The ST Charles Borromoo Distributing Aims by
salont Pima; The Rrtuu Of the Dove 10 the AIk by
Joachim Ramirez " Isabella of Portugal, bN ifi'sfhi
Uav6-arc only historical potbolcrs, examples q" "n"'
Hamlet perhaps. thinking Of tor we suppose ''eIe
was gallery OF historical pictures at ENn0fc since
we know there was cupr portrMtp9iu.er when he eX-
Claimed Imperial Cesar, dead and turned 10 clal'
Ynirht sop a hole To keep the wind aWay'-'he great
men aud great events Of the past made use oi by af-s
without purpose ard without sincerlty-Vith hothhS
new 10 tell rs about them and with no desire 10
enightcn us, nothing but so much Stock-n-tlade.
On the other hand we by 1.-THE Morn
ing Paper"-Julcs Gargeilo-that the artist is
genuinely working in the vein of domestic incident ana
character studies that mas been pretty well exhausted
by the Baugnies, Santins and GOUp.ls OF our Day
These clever painters nave made the most "l Hl'T
theme ami do their work Wei that we look t every
new performance IL had never seen one Ike IL DE-
fore but We are always little ashamed OF ourselves "r
taking even so much interest in it rs look implies
eigpor Gargco has taken a subject ont OF the life about
him an ordinary matter cuOugha welEtodo gentleman
In dressuc-gOwn and slippers. who reads MS morning
newspaper; but IL is n Mexican gentleman oil to-Iy'
and he is nanted with much natuTane5s. and WIN care
fui workmanship. This the only picture we have noted
in the Spanish and allied departments that shows
French influence, and it is OF too slight aud uuim
porrant n character to count for much. Jhfre
are German Influences. Munich Influences ana
following i'm tho footsteps OF the native schoo
Uartrny and the r,sD bat the French seem TO
be without a following Courtyard in the Convent or
Loreto Ccxicol" by jose Jnincz, like the C'rrtyard
OF House with wine press, &C., bye Gatnori noticed
In our review Of the trt Department OF the Argentine
Rqpubic shows skin 10 make common subjects inter
Csng by the way in which they ere looked 2t bt hee
"a in almost all the o-paiuting Of these people we are
conpelled toLVice at coaIseucsS in thcVXecnlon-a
,nuddy heavy way of putting the color, that suggests
so,oting Obstructive in the climate. !; SCI iom we
sec any painting that has occn produced uLdcr uoW"a
sky, and therefore 0e cauuot iudgehoW far ii is ID the
mower of the climate 20 affect the vehicle employed ~
naintnc hut It is perhaps not without Significance tha
fbe modern artists Spain country which has more
tropcal climate than Hcr latitude entities her 40" have
shown great liking Tor water-coors AMI immense ski
an the use Of them. On the whole, We sup
pose that their choice is Independent q 'hw'rc
Influences and IS merely part Of the'r individually
They look at nature in wav, and they have found
that they can express themselves better Viii wafer
color, than with oils Bar these Mexican oud South
Amcr,a painters DO no, seem 10 find oil easy 10 matt
age r ac Flores ha~ been able t. int the dangerous
eubc,t Dai4, and V~n surveying one of the Circles
of Hell" without eNac. ,rrtro. ana YET WIN M'e'
earDestncss such subject. r" ever, can never be
adequately tr,atcd) and jose -ou ba, painted Cui
mime Discovering Giottc" win much nslurUlness and
sweetness.
Tho Exhibit Of Brazil may be dismissed in s'r .erce
There be really nothing ina TIN, room 90 Gta.H one ten -
utes any longer fact han s necessary 90 walk about
IL and discover that an is barren Perhaps the footing
figure called in the catalogue rLc Cons uion," and I'M
sert the list Of Mexican works Of art MAJ be excepted
rs not altogether dscrcdtab.c, but mot mGc' can he
seid forit surely The score If originality hundred
floating figures Ike IL may be found ~ he 0I.-orth
lumber cf nodciu France ana Germany, and tn"'r
makers al found the recipe in Raphael, prlch,. The
Brazilian artists seem to take 10 battc-Vicc and We
have three enormou, cauvascs covered with fire. smoke,
md slaughter Of which the admirable Catalogue o. for
fools cap to stick upon his head that made If has only
room tomentiou However, one IS enough % look
at Brazil if L have it, EOthermc's-louo of thea can
come up onis FOR, with ~ their sound and fur, They
do :ify little ~ sometlug-has also IL Leu'ze. Ills
name is not di~coycrablc One has painted UiI picture,
Tn- First Mass IN Brazil" but the Catalogue neither
mentions him i, YET there is Ioa y no Tt'>'u as
ooyarable I'D his work why Fame should nave bn 80
partial How Leutze-Fe how genuinely ba~~.doIiy 81
thus sceue and yet with all rs sCencs.'tnr hy role
SIS conyenionaiy IN drawing and It's academic group
{pg We have again 20 make exception, "a, we nave 80
often done in these Spanish rooms, and welcome me evil
dcuce OF e artists desire 10 imagine th- scene as nau
rally as possible and to avoid ncodra'ua lis III HTc,
a. ypver is only 'rrercstingas far It is interesting at
p1ltrOuch its subject There - nothing IN the paint
inc land this remark harsh il may seem, VIII apply 10
ali Inc modern spanish an allied spanish AIT m TIE Tx
lJborl that can be of interest 90 artists. There is
nouOtnnOus want of Individuality the way OF painting,
plenty OF common sense nut hardly trace Of iLaEnd-
. ZION in the conception OF tho subject ana only 90
much attempt TO ~ the thing for one self as consists
with a re spectacle squt al dependence OF convention
Tl,!s ia SINGULAR TO note, especially M the case OF
spair whose artists in these Gays have shown
US all those qualities Imagination cNc'pteoj
yybict are nowhere ~ he seen nowadays,
md not to be demanded certainly OF the yorns
Ha:a1or "a Art Who amusing themselves with scciAs
who can make she conventional Bull madi,s, by set
ting of the most audacous fireworks under his nose
But tricks with tie brush, faIcfH situations Sat
defiance Of common sense, and withal real power of
observation 0 less real because it is too often expended
urou trivial suh'cctsi-thcst things, modern Spain,
wherever worFug-iu Paris, in Madrid, In Rome in Tan
licrs---fyos Us in plenty Ar we have lately seen SO
1nucl tr Lis work ana heard IL discussed 80 universally
that il Is with sort Of surprise come uuon this stad
ana decorous spinstcr Art hat has stayed az home and
done as it was bid while is gay sister has been seeing
men AID mann " a0d painting them in her saucy way
c. c.
WON&NS PAVILION.
.-,,r.,.s --,,.,,- M, N.NfAN's WORK TIE