New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1876-09-25

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of snc owing 10 the part he tooE III inc
Commune he is ouawcd from France and LIS pictures
could not be allowed place In the French eoleenoh
But in reality these pictures do not represent Gourmet
at all; his strength lies In painting the hgure ana the
only fe1lrepece OF his here Is "The Baher which goes
for nohns the drawing is out of all reason bad ana tne
color not true 70 nature In any light even under the
shade of melancholy boughs But Courbet has also won
deserved distinction as landscapepainter and What
must those who know this but have never seen any otE
specimens Of his skill in this direction, thnK Wen 'nsy
see these pictures How impossible 1t would DC 70 argue
with an unbeever in the genius OF the man. WHO no
had such texts ~ these to preach from!
In Room No 81 we search with good VIII tor some
thing TO commend among the paintings but what shall
bei There are four large pictures 1.-THE PrOdigal Son.
No. ESQ., by A. srony; Electra" No. 24O, by Fenx D.
Barras; "The Vegetable stand" No. 26O Dy H. flll''
and 1.-THE BatlIer," No. 269 by Jules GARNER inc
Bather" is OF those obstTeperous nudlues WHICH NJ
the Salon year after year to the annoyance Oh
the French themselves. This not because OF the nuu'
but on account of the bad drawing bad color and gem
era want of meaning and OF natural motive that char
acterize nine out of every ten OF these pictures.
Let the reader returning to Memorial Hall for mo-
ment ask himself what good purpose, whether for ART
In particular culture in general Is served by sucn
picture that called "Saambo," No. 203, Gallery l.
by A. dc Cetner. eaambo Is character In one OF the
most serofuous of "serofulOus French novels on gray
naked On a couch and playing with bOaeonstrietorI
Mr. iarniers Bather7 is by no means SO bad as MI.
de Cotners saambo Our quarrel with it Is solely on
the ground Of Its defects work OF art The drawing
Is only good enough to pass muster and the cOor-out
perhaps we should not be too severe In judging TIC tone
OF the esb for this is point in which all French artists
are weak This woman doing nothing. che Is only an
undressed model standing be looked at and we pro-
test that such subject treated is not picture at all
In Fascination" No. 3j2, by j. p. A. Antigua, little
girl OF cay years. who has been bathing sanus Deore
Us perfectly nude with her eyes fastened upon snah
snake Is twisting out Of crevice in the rock An
gna is an artist not unknown to NEWCOMERS, where
his mixtures have from time to time been exhibited We
have never seen so good picture this from his hands,
and indeed nc proved unequal painter by other
works Of his in the present exhibition. We refer the
reader 10 Nos 26 and 27 Memorial Hall, " The Ship
wrecked and "The First Step in Crime The color OF
the chis flesh in this picture called Fascination" isnot
good Il is too nuch like Gotta but the drawing Is
beautiful and expression perfect Here may be seen
an example Of the way in which artist with pure
mind who loves beauty, and loves the innocence OF
childhood and respects his art tread on dangerous
ground with perfect safety
The other large pictures in this room are OF little Vane
The Electra" Is On academic piece OF the correct
atttudinzlng type common in France, and 50 wear
some 20 the spectator Why the artist should have gone
10 Veto Hugo for an Electra instead Of 10 sophoces we
feeling there Is nothing recalls the Of the fiery
and essentially modern poet This picture comes down
10 us from Davids time when Greeks and Romans were
your only wear but the difference is that the French at
that time really stirred by deep and, as they
thought practical interest in classic times, while the
French OF to-day not interested in them more than
the rest OF s oderns are and their interest such as 1t
ia L. like ours chiefly archaeological But the traditions
OF the studios running back TO the time, when under
Dayd's influence modern French art was BORN are
strong enough TO keep the subjects that he painted stu
IN a sort Of conventional demand.
Te ProdlgaI Son" by Mr. slrony is pastoral Of the
Dubufe school, and is animated by little more sincerity
than is usually reached by the artists Of hat following
But rey we mpy be excused from looking long OF this
picture nor need pause long before Mr. Villas veg
eabls stand" though the subject good one as every
one with an eye for color who goes TO market knows
very we'll with taste this artist might have
made an attractive picture. His vegetable woman Is
very natural and unaffected and eats her soup as she
felt quite home But the picuresqueness Of the PIC
ture is hurt by the formal pile OF carrots If NO sup
roed that tho Paris yegetablestand could afford an
artist no better studies Of color than this, should
advise him 10 come over here and zee Fulton Market
In Room No 80 We find picture that TO us Inn
uressiyely painted sheIk Saah Dead in His Tent Sou
ycnir Of the AlRerine Sahara" No. 29l by f. Jadin
The dead chief lies extended at full length In his tent
with bis arms and his saddle at his feet He is wrapped
I'm his thick WOODEN burnous and the noor Is spread Win
rugs Against the wall Of the tent opposite US, and titus
I'm row behind the body, ye six members Of his
family who mourn for their dead in the quiet Resigned
way OF these people The picture composed with great
simpcity and n IL not hung in a dark corner,
where Il can only DO by those who are determined
70 look at IT, II would think, nnd many 70 admit ita
pathos and dignity.
The First Mourners" adam and Eve beside the body
OF Abel, No. 800, by f., Ponson Debat, is another
g,., I,tob tha rita ha
enough 10 throw somewhat more feeling than usually
goes 10 such works. but its essential artcaness is too
strong 70 enable the picture to take possession Of the
spectator aud Oblge him 10 feel and not TO think
little touch Of the studOthe way In which Ewes hair Is
drawn forward from her nape, so as to fall over her
mce-paufully suggests the professional. model, since
not any agony OF grief, but only strong comb, could
have forced the nir into such strained arrangement
The believers In the efficacy OF schools Of art to accom-
plsh everything their field may mediate before this
picture .s before many French and German picture
on the evidence Il gives that feeling, and the perception
OF truth In expression and action do not necessarily ~
hand In hand with excellent draughtsmanship. The
"orpheus and Eurydice" OF NJ. j. D. PonceL with It's
correct drawing and its want OF all that makes 1t worth
while for an artist learn to draw correctly Is another
example.
poor specimen OF how not TO do it" is TO be u
No 33l "sculptors' Hall in the Exhibition Of 1872" by
Mr. Lasale Cabnlot where instead OF close portrait
of tho place. with all the principal works OF the year in
miniature and perhaps portraits Of the chief souptor
we have sort of sketch Of tho ground floor OF the Pal
ace Of Industry In tho Champs Elyseea, with sug
eestons OF the statues and highly finished ladies
and gentlemen OF the period, attitndazng like the pup
pets In fashion plate. Another poorly drawn portrait
piece OF architecture is p dc Castelnaus apollo Gal
ery m the Louvre" No figures introduced the glass
cases IN the middle of the omitted aud the
perspective drawing 10 in the highest degree dseredt
"a. tgsa q n,.A uoha
and well deserves to be painted but this Is not it, Com
$3.50 MIN a. ous lis phes ne drawing OF the interior OF