New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1882-07-16

| her marriage. The subject is La FiaDcee" The
central figure. lovely maiden is being dressed by
a group OF equally lovely companions for This last
rite of girlho0d. Upon their faces is expression
Of afectionate admiration; upon hers calm PEN
siveness rs il suddenly in pressed amid the gayetes
of the hour with the serious, solemn side of the
step about to be taken. The chasts sweetness Of
the picture is wonderful 1t takes possession OF one
at first sight One feels in the presence Of master
hand and master spirit. The artist is a man 10
whom art is q religion He feels its meaning. its
dignity and lie is true to his highest inspiration.
NJ Lefebvre il called by his contemporaries
@L'Impcccable y: the artist whose purity Of pur-
pose cannot he swayed. He compromises in his
profession. and as the result France can still boast
the production of such works as the one just cited
have not yet exhausted the repertory of merit
IN the Salon. Although appearing at rare intervals,
there are occasional GASES in this wilderness OF
mediocrity that give pleasure. Here is Tony Robert
Flenry. with mis- mathematical justice and excel.
lence of drawing Here Is jules Breton, the poet or
both pen and pencil. His little canvas called lie
soir dams les hameaux du Finistere." is a gem of
atmosphere" The moonlight falling on the
white caps OF the peasant women. the stone wall ia
the shadow Of which duo Of love Is passing, the
very pigs. installing perhaps the moonlight for day
all combine TO torn charm irresistible The
simplest as well as the most cultured appreciate
Breton. Ills appeal is to the heart.
Not to neglect Young America. W no holds his
land her) very crcdltably by the side OF the Old
World. / must speai of the p, : Cbateans en-
Espagne" of Harrison. young Philadephian OF
fine promise The picture is open air work and
represents a far-haired urchn on his back in the
sand by the sea Shore His blue eyes, lost in o
dream, his blue cap and feather. and his half
tumbled- down she'll house Just as he left II 10 build
his airy castles in Spain" are so natural that one
returns 10 the picture again and again.
Peter Cooper in his wholesome honest planness
hears testimony to the talent of William NJ. Chase
Berstadt also is here but his reputation is ostab-
lished. and his Curtis dAmerique" are not re-
One OF the finest of its kind is a picture by
Frederic BTidgeman. lt is q Dame Roumalne a
fine piece of execution worthy Of pupil OF Jerome.
GerOme did not choose to expose with the
"crowdD this year. Ills works ARE among the at
fractions of Petits gallery, Rue de Seze
Although last in the category the feminine side
of the artistic world is not to be overlooked
Woman has welded the brush so extensively
rs man, nor has she long enjoyed the same adVan'
tages of culture. Now, happily very little II any
distinction exists single innovation introduced
some years ago by gentleman OF most Impartial
and lust appreciation OF talent. without regard to
sex opened a fair field to woman. His example
has been followed in other parts of the city, but
Jnlien's Atelier Passage de Panorama I" continues
always the first in rank as school of honest
artistic culture. The best women artists have been
Taught IN that studio. There has not yet appeared
a feminine Gerome BOuguereau or Letebvre But
there is q Gardner at the Salon, Schwartze, a
Schneider. Langlois' and koth, tnat p9 ,, 10
shame the majority Of the masculine efforts there
exposed.
America will be glad to know that Miss Gardner
is one OF the strongest of her sex III Paris She Is
Dupil of Bouguereau. and she has caught something
of her masters spirit Her picture this year.
Daphnis ct Cloe, is sweet piece OF elevated SEN
tment.
written on the women artists OF Parls. L have
heard il said that in tho long run, talent being
equal, women more promising as students
than men. Their conscientious devotion and then
perseverance in the face OF difficulties have been
remarked rs qualities that rank them superior to
their fellow students Certain 1T is that they show
less disposition fall into the vices OF their probes
SION. There are fewer women naturalist" than
men. Woman's native sentiment Is IA guide which
leads not astray If she is courageous enough TO be
true to herself Now is a time for her To do great
things in art by throwing her influence against the
degeneraiing tendencies OF the age.
1t is true there can be no great artists to-day
To paint a great picture man must have great
ideal. He must be able to worship his creation
This is q practical icOnOclastlc age. The Ideals OF
the past are dethroned The ideals OF the tutnre
are unborn. The artist is confronted on every side
by the bald commonDlace reality What is there
left tor him to Worship Nothing. II he knew
enough to grasp this TACT TO recognize the dltncu-
ties of his position more could he asked lie Is
not to blame that he lives in idealess age IL Is
his misfortune But when q class of bralDless dab
blers, to whom picture means only so much palnt
and canvas inspired by certain weight OF g0d,
set themselves to naugurate new school, there ~
serions cause tor alarm. In default OF gods they
il all passes under the sonorous designation OF
Originality" and "nature.D This is the tone OF
art that is growing on the Salon from year to year
II Is deplOrable IL is the nlOtting ont OF the IDEAL
the beautiful and the true 1t is perverting the
taste of the public, to whom the authority OF the
Salon Is unduestionable. What comment on
modern civilization, that that which should he one
of it's most precious Instruments OF public culture
and aesthetic development should descend to worse
than uuliitv and should become actually means
of national degeneracy.