New Orleans Republican. [volume] (New Orleans, La) 1867-1878, 1876-07-02
ARTISTIC CHAT.

The rowing range for an art seeker is
rather limited in our city, and excepting the
Art Union Club there are very few places
where one can examine and appreciate any
art works.
Under this impress sion, will the reader fol-
low my steps Of q .Raneur. and cast glance
at tho paintings that are exhibited theres
As we enter the exhibition room, we may
notice . "Scene on the Bayou Ssra," which,
on account of component figures, We might
designate as the white Cranes Congress"
The scene is very good as landscape and
water study, and is q correct likeness Of the
natural spot from which it was copied. A
storm effect is vigorously brushed in the
back ground, and the rush of the clouds is
exceedingly we'll depicted and rendered
quite active by the fight Of large vulture
lowering in the sgitated atmosphere. The
coloring and composition are quite typical,
and combined are the compliments of
very good painting.
Another picture that l consider still bet
ter is "Scene on the Black Fork swamp"
taken near Bayou Sara during the evening,
few hours before dusk.
On each side of the dismal fake of water
the messy Expresses emerge with their lofty
tops, some of their struggling branches
reaching above the water and forming here
and there a silent shady grove, while some,
erect in the distance above their cOngena-
ries, appear like 30 many spectral monster
skeletons.
The low, receding brims If the marsh are
heavily covered with the variegated and
thick foliage of our forests, where the lata-
nier dwarf palms exhibit their many fan
spread tops. In the foreground of the
painting q sketch of land extends in the
green hued water and on it q majestic white
crane perched on one leg and it's beak I'M
der wing, is taking quiet far niente.
| The painting is one of the best forest studies
have seen, and with the former does great
| credit indeed to their author. julio, wor-
| thy follower of Bonnat's teachings.
A little further on We notice typical
plantation scene, something in the manner
of the cane cutting scene Of the artist, now
IN Philadelphia. and also . suggestive study
head made in Bonnat's studio in Paris.
Everett Julio, the artist whose works and
studio we are now examining, is one of the
| few among us who have gone through
| complete course of rational studies, before
| he ever claimed the title Of an artist.
After studying composition and anatomy
| under DR.. Rimnen, Of Boston, and drawing
from the antique in the Lowell Institute Of
| the same city, he went to Paris, where
| he studied several years under Bonnat's
direction. His efforts being rewarded by
| the admission of his paintings in the Paris
salon. Travelling after this on the con-
tipent, where he had opportunities for study
| ing all the renowned schools of Europe,
Julio returned to America, opened studio
| in St. Louie, and finally came here in order
to establish q school of design, which he
will soon make free for poor boys and me-
chanics, while he has also opened an art
gallery, which will give the people from
time to time an opportunity for seeing good
pictures. There are already above forty
paintings in the gallery, and for the coming
winter several of the best paintings that
were exhibited in this years Paris salon
will be sent here for display in the art gal
lery of NJ. Julio.
The efforts of NJ. Julio render him GER
tainly deserving of our especial notice and
consideration, and We trust the people will
acknowledge the credit to which he is en-
titled, and give sheir attention to his laud-
able attempt at the establishment, in our
city, of a real art gallery.
Among the additional good paintings Of
NJ. Julio, should be mentioned Becker's
Landscapes Clague's "Studies Of Louis
lana Scenery" Sontag's "Virginia Noun
tains" and 1.-TWO Heads" by Bloemaert.
While l am conversing with the artist
hear that the exhibition of the Royal
Academy of Arts was opened in London on
the tenth Of June, with splendid collec
ton of 1923 works. J. E. Millais appears
to be the foremost among those who have
distinguished themselves; the two most re-
markable of his works are picture of her
grace the Duchess of Westminster and a
typical landscape with this only label and
title: "Over the Hills and Far Away
There is also much talk of w. Small'a
Wreck" and of w. Orchardson's "Flot.
sam and Jetsam," Of Saturday Night" by
Barnard Ia scene near the London markets J,
of Leighton's portrait of Captain Burton,
and of w. c. Cope's choice Of the paint
ings for the Royal Academy, in which the
artist has given likeness of all the actual
celebrities in the English school, such a.
Millais, Leighton, Cslderon, Hook, Red
grave and Alma Tadems. John Gilbert
has q Orchard Giving his Crown tc
Bolingbroke;" Leighton a grand antique
composition entitled "The Daphnephoria;'
A. Dixon q "Vaerant Girl" Calderon .
Reverence" bumoristic study in the
manner OF Heilbuth, and "The Cardinals al
Rome, splendid color display: Fahey Gle
Never Gomez" Armitage ''Phrynea;" Z
Crofts "The Morning Before Waterloo
Alma Tadema an Audience of Agrippa;'
and finally, Philippoteaax a startling and
sensational Charge Of the Light Brigade
at Balaklava." The list is closed by a serie
of remarkable Dore paintings, among whicl
the "Christ in the Praetory" and "a Md
summer gifts Dream are the most con
spicuous.
As a whole. this years exhibition of tn
r ,y.l Academy is a complete success, ant
am happy to inform your readers tina