The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-11-08
SOME NOTABLE PICTURES.

In inc BOutn TOOm vi llo NhNiOhu h'nuohJ "h
der the auspices OF tho Society OF Decorative
Art. affords an opportunity to SOC several now
and interesting works which otherwise, in the
comparative privacy OF their owners possess
sion would be inaccessible to public view.
Their arrangement on the Academy walls is ex-
cellent; no acrimonious distinctions are APP
parent in tho hanging. and tho general effect
that IL produced is striking and pleasing This
general effect is completed by some well-chosen
objects OF a more obviously decorative character
and by three bronzcs The latter are Of little
interest. being reproductions OF three cele-
brated works-one tho Theseus and the Cen
taur" OF the late Baryo; another. the central
figure OF M. Carpeauxs now famous group in
front OF tho Grand Opera House, Paris, and tho
third. the same artists Italian Fisher Boy"
picture which attracts probably quito rs
much attention as any other is n portrait OF a
Spanish lady by Fortuny. the only portrait. 1t
is understood. that that lamented artist ever
painted. Public interest in It is further stimu-
lated by n paragraph that is appended in tho
catalogue n translation OF something written
about 1t in his usual morbid style. by NJ. Arseno
Houssaye. That II is Fortuny's only portrait Is
certainly not its least value. 1t discloses com
parativcly little Of the method by which he is
best known, and. apart from any other consd-
crntions is more notable for the quality Of the
flesh painting than for any depth OF express
sion or grace OF treatment.
Tho most conspicuous picture, in size and po-
sition. is Cots "Springtime" long since rem
dered painfully familiar by its countless re-
productions. Tho original should disappoint
none OF the many that learned to admire it by
the aid OF engraving. photograph or chrome;
and as an abstraction. conveyed in medium Of
distinctively French sentiment. the cause OF its
popularity is obvious. This OF course implies
that its motive IL moro or less sensual. and II
decidedly is. In the failure Of NJ. Bouguereau
10 paint similar pictures must lie the secret of
that artists commercial prosperity. as well ms Of
his popularity with American picture buyers
His full-cngth nude study tNo. 10Y is an adj
mirablc technical achievement: the color is un-
obtrusive but good the modelling careful. and
the work throughout finished and conscien-
tious. This Is all that can be said. II IL so thor
oughly devoid OF motive or feeling Of any kind
that 1t has no meaning other than that Of sim
pic. unaggrcssive nudity. unrelievod by any
symmetry Of form. or grace OF pose or action.
Its value. therefore. is determined solely by con-
sideratons OF testo; and these considerations
happen to fix that value at what is comparative
ly quite a high figure. His picture entitled
Hesitatng between Love and Rcnes" tNo.
AL shows the same excellent workmanship, but
as n composition Is SO trite. weak. and conven-
tional as TO be even amusing.
OF GGromo there arc three examples. the most
interesting OF which IL one OF his older pic
lures. Egyptian Conscripts Crossing the
Desert" (No. 81 This In painted with strength
and vigor. and tho composition is less studied
and affected than il tho case with many Of his
later works. 1t conveys admirably the feeling
Of the sense-thc hot sand and the heavy vault
OF impenetrable blue above-the sense OF desc
lation and oppression. and the slow monotony
Of pain wcafiness. and dependency in the
group that plods across the desert waste. His
Moliare Breakfasting with Louis XIV" no.
| 52) which hangs Just opposite. is a very charac-
terstic work. and il composed with his usual
| dramatic force. To any one that values micro
| scopic elaboration for its own sake. and at the
| sacrifice OF Almost everything else that goes to
make picture. this example should be n treas
ure indeed. This particular quality is seen to
| inuch better advantage in the remaining and
| smaller picture tho interior Of n Persian inn.
| in which il serves to convey charmingly an
effect Of u strictly decorative character. In
| treating subjects Of this kind NJ. Gjrome is in
vinciblc He handles material with wonderful
| skill. and patient industry that is marvellous
| in its results.
| Mr. l.. Alma Tadcmn Is represented by an in
tcrcstinG md decidedly characteristic picture.
|
Arms" mo. 49, Mr.. Tadcma's industry and
ingenuity in the selection Of his material and
general accessories. and the strong and not
| unplcasing mannerism that characterzes his
| use II it must be- allowed to compensate for the
| utter absence 81 anything more serious than
| refined eeccntricity in his pictures. The severe
| cassicsm" OF his grouping. tho obvious pos
| ing and hard atttudlnizing Of his figures. and
| the impression they invariably convey 10 one.
ms Of n set stage, are things in themselves OBJ
| Icctionable. and rather inconsistent with the
| attainment OF n satisfactory artistic purpose
| But Mr.. Tadema quito readily convinccs us that
| his figures are simply so many Legitimate ex-
pedrmts for the exploitation OF certain cos
tunes. and he effects this with so much adroit-
ness and SO much individuality OF treatment
and actual good taste tina, it is impossible not
10 be pleased. One is even led into considering
his pictures as II they were designed 70 be se-
| ricus. and finds that they suggest all manner
| Of questions as TO the authenticity. chronology
zeal and otherwise. Of the costumes and The
archWoloSic value Of the A-brac and the
architecture. Mr.. Tadema is wonderfully
clever; he is always new and always aggres
sve; hut he is an outgrowth OF Il school OF NOR
bid and affected sentiment and style that has
lately prospcrcd much in the London atmos
phrrc, but Of which II may be reasonably
doubted II it have any permanent value.
MIR Roughton's " New Years Day in New
Amsterdam" shows how an artist who ascribe'
to the costumes he paints a certain suprcmacl
in tho work to be produced, may yet very hap
PLY declare his subject in spite a them and in
vest his picture with Il well-delned interest
Like Mr. THdema. Mr., Boughton too often gives
MS nIures that are costumcd rather than figures
TINT wear clothes as II they were used to them
WeRre made 10 feel that his personuges ar
posing as nonchalantly MS possible and no
Without n sense of discomfort. in robes thn
presently they know they will put on But il
this picture this is less apparent 1t is pervndc
by so well-dcnned u purpose. and contains sucl
nice sense of quiet humor that the costume
become subordinated to the general motive. an,
the story is told with proper accentuaton an
emphasis. One would like to see more spon
taneity Of design in the work OF so conscicn
tious and faithful Il student rs Mr. Boughton
but all his pictures. whether drawn from gu
early colonial history or from the pages q
Shakespeare, have II read up,' prcmeditHtet
literary quality about them that greatly dctract