The sun. [volume] (New York [N.Y.]) 1833-1916, 1878-11-10
SOME OTHER PICTURES IN THE LOAN
EXIIIBITIOM

the Loan Collection at the National Academy;
the attendance is large, and it appears as If the
efforts OF the Society OF Decorative Art were
receiving tho practical announcement that they
deserve. Such unique exhibition could
hardly fail Of n very generous support at the
present time. The decorative tendency of our
period il too unmistakable. and the Academy
iust now IL welcome occasion OF polite and
rsthetic dissipation. Modern conversation Is
peculiarly exposed TO contingencies which ono
cannot safely meet without knowledge at
least Of the Technology OF decorative art; and
1t is amazing what an amount Of valuable prac-
tical information may be acquired by a little
careful and iudicious study at the Loan Ex-
hibition.
Some brief mention has already been made Of
n few Of the pictures to tho exhibition Of which
tho South Room is devoted. In referring to the
marked value Of the compositions OF NJ Gerome.
It would have been worth while TO call attention
Mt the same time to Richtcr's b" Veil Dance" mo.
42l. as nfrording strong contrast by the aid OF
which their better qualities are at once rendered
more obvious. NJ. Gerome has painted several
pictures that would certainly appear to be
within tho moral purview OF gentlo-
man who has recently made himself
conspicuous by his censurc Of work OF Hans
Maknrt's. Notably among them one may recall
his Phrync dcvant les JUICES" his LAlmeh"
and Cleopatra" and his more recent Sword
Dance" Strongly sensual as Is tho motive in
these and others OF his pictures, NJ. Gdromc's
method mparts certain refinement and deli
cacy of expression that render them compare
lively innocuous. and subordinate the element
OF grossness TO the artistic quality OF the treat
ment. the color. and the composition. 1t cannot
be said that anything Of this kind obtains in
Richtcrs Veil Dance" Tho coarseness and
tho low animalsm Of its motive have all their
baseness unimuaired by any artistic dellcacy
or by any refinement Of method or treatment. As
an example of lorid vugarity not even mitigated
by any yigOr in the composition or any discre-
ton in the color. 1t is u picture not easily TO be
matched. At best it is a panty. garish thing,
and tho drawing is very Indifferent. But its
more Objectionable qualities lie in tho uncon-
cealed depravlty Of its motive in the unpleas-
ant sophlstication expressed in the faces Of tho
women and In the general vulgarity Of the exc
cution Ordinarily. one would treat work OF
this class with Indifference but in this instance
II Ia quite as aggressive as any picture in the
room.
Ono may turn from 1t with pleasure to NJ.
Paul Niry's Miniature" near by or TO the ele-
giant severity and quiet distinction Of NJ. Adams
Dancing Lesson" This latter is a peculiar
work. 1t is very admirably painted; it shows
an unremittng and patient attention to detail
and there Is very pleasant suggestion of
humor in It. The central figure that OF young
girl in an exquisite costume. is most gracefully
treated. and is full Of vitality and action. In
that OF the dancing master poised on one foot
and executing step Of eonsummate elegance.
there is a delicious touch Of absurdty that IL
heightened by what one may take TO be the
evident appreciation OF II on the part OF his
pupil and the pretty girl at tho piano who IL
laughing. So much for discornment and good
taste in tho treatment OF not too promising
subject 1t is impossible not to be pleased with
the cleverness Of the work and the nice delicacy
Of its treatment. nor yet TO DO unaware that it is
not art Of a very high order.
NJ. Hector LerouX's picture La Vestale
Tuccia." is a replica OF portion OF his large
picture OF the same name purchased in Paris
some few years since by the trustees Of the Cor
,oran Gallery at Washington. The figure Of the
vestal appears TO be OF the same size that in
the original. but the color is different The
pose is effective and graceful. but neither In
this nor in the original is there any idea con-
veyed of the physical effort required to raise
the sieve full Of the water Of the yellow Tiber.
There is good deal Of simple dignity in it. but
the story that It illustrates is more less evaded
and one loses sight OF Tuccias passionate in
vocation 10 the gods that her sieve might hold
the water TO her justification.
There are good examples OF three French
military painters. who have Of late. however
abandoned the themes Of which the Franco
German war was so prolific. and passed. by AN
easy transition into military genre. They are
NM. Berne- Bellecour. dc Melville. and De-
taie. The late NJ. Pills delineaed every phase
Of military experience with great skill and eff
fnnF l.ttf 4 H.,
got 60 much artistic value out of military ma
terial as any one Of the three Just named. NJ.
Dttailles treatment Of the accessories Of arms
and uniforms 10 marvellous; but hh horses
also are superb and his men are real soldiers.
They suggest no posing Of useful model, but
are types Of soldicrly spirit and martial feeling.
Among the Landscapes there is one 10y VAIL
berg. a Swedish artist, who has for the past lew
years exhibited very successfully In the salon.
Like all Swedish artists Of any note. VI. VAIL
berg Is distinctly subject TO French influences.
His nativity is only apparent in his choice ofsu5-
Jects and by no means In his manner OF paint
inc them. The example on exhibition is
Sunset on the Baltic no. 81. and is in every
respect n strong landscape. The sky is SUI
pcrb piece Of work. deep luminous and tender;
It's clouds massod with great breadth and con-
sistency and its tone an exquisite harmony Of
tubuueu coloI. IL Is n Serious lunNscNpe, iull OF
power and one that may not be casually passed.
The rugged force Of the foreground the sullen
gloom with which ii retorts to the threatening
sky that oyerhangs IT, and the peculiar radiance
Of the more remote water imply cll-denned
motive and no little depth oil feeling.
A landscape by Jules Dupre no. Coz affords a
very good opportunity Tor astudy OF the method
Of this master. Tho technical quality of his
work is not more remarkable than that of other
great French pdvsdgisies. but considered in
connection with the effects produced it is very
interesting. and well worth noting carefully.
Regarded closely his color. both in the matter
OF quantty and intensity is extraordinary. The
handling at tho first glance seems purely acct
dental, the canvas being heavily loaded. and the
different colors used appearing to have had no
regular succession. and to possess. relatively. II
merely empirical value In the foliage for in
stance, there is "A most foreign looking base OF
what appears to be a groundwork of bitumen
alternating with dark crimson and purple.
Above this comes a haphazard glazing OF por-
ton Of the lighter material Of the sky. while in