National Republican., 1883-06-01
THE PARIS SALON.
A Surprising Amount Of Favor Shown ID
American Artists.
Some OF the Principal Works OF thc
Modern French Painters.

ises to bud into immediate summer. So much
the better.
The principal attraction is the Salon. There
are many splendid canvases, and we note
with pride the fact that American artists di-
vido the bonors with French and other ex-
hibitors. According TO many celebrated
critics, they in many instances surpass the
efforts Of some Of the best known modern
painters. Among the we'll known names we
may mention Bierstadt, Bridgeman, Church,
Pearce, Dana, Healy, and Mosler.
The strongest painting Is probably that of
Charles Sprague Pearce, of Boston, A young
woman walking in a field, carrying two
heavy buckets. one in either hand. On each
side the grass grows close to the path, in the
background is tho usual accompaniment to
such q rural scene Mr.. Pearce has great
talent. The coloring Is very good 4, the
drawing excellent, and the expression on the
young girls face, one which only nature could
have stamped There is so much force in
this ensemble that one readily recalls the pic
ture when awny, and even in imagination its
striking points come mp again before the eye,
the expression of the face still haunting the
memory. America may well be proud to
claim so fine an artist.
Sans Dot" (withouta fortune) by Knight,
is very much admired. This artist always
chooses good subjects, and is particularly
we'll known as one of the greatest living por-
trsitsts. His attempts are always successful
in one sense, that Of school, and tho perfection
which steady hand and thorough knnyl-
edge of his art give. prefer his male rather
than female portraits. Besides ho is unu-
suslly successful in painting children--an art
that is most difficult, and one quito beyond
the reach Of even the greatest painters.
We regretted to sec nothing of Mr.. Walter
Blachman. This young artist ranks first
among American painters, but was too busy
this year to even attempt the Salon. His
studies ane noticeable for fine drawing, nat
uralness of tone and expression. more
fattering appreciation of his work lies in
the extraordinary number of orde rs for pic
lures that he constantly receives.
1t Is really difficult for American artists to
gain recognition from foreign painters.
Many Of the works, in fact nearly all of those
by American artists are sent in with the
name and this addition: "Pupil of Mr. So
and-So," even If one has studied with the
French master not more than n few months.
An artist once explained to me that it was
easier to gain admittanco to the Salon under
these circumstances, but the belief is scarcely
creditable either to artist or the jury on exhi-
bition.
There are many fine works exposed, and
hundreds Of others utterly incomprehensible.
The jury accept any canvas, no matter how
poorly executed, If it only show touch of
originality. Frenchmen have monomania
for startling subjects, and startling treatment
of the old standbys-Christian Martyrs, The
Crucifxion, Magdalens, Virgin, Pilates,
Diana, Susannah Phyche, Aurora, and so on.
NJ Morot gives us n Jesus Of Nazareth of
most peculiar example. The head of the
Saviour lies in Abandonment on tho right
arm, pinioned like its mate to the cross The
features are good the expression one Of in
finite sweetness and resignation. The artist,
in order to show his contempt for the old
tale of the feet being nailed together to the
cross, has quietly stretched the legs to a con-
venient width, the knee turning In, the calf
out, and the foot again turning in. He has
securely bound these members to tho outer
part of each side of the cross. This is orig
inality with vengeance Moreover, the
effect is bad, the idea undoubtedly false, and
the execution of the lower part Of the body
very poor and faulty. Yet Morot is consid-
cred one of the great French artists.
Henner gives Magdelen reading in the
woods, called LA femme qui it," must say
that do not countenance levity with regard
to religious subjects. After Coreggios master
piece one scarcely looks for an exact repro
duction of another female lying in that exact
position, painted in those same colors, read
ing in the same book (et us hope it was not
more immoral), and resting her hand on the
same head, or in the same place of that other
hand and that other head. Mr.. Henner's
model had simmer ankles and wrists, but
the back is more followed out, and the hips
enjoy the usual amplitude Of that of the nine
teenth century French woman. can assure
you that it is something very colossal. In JUS
tice to man of undoubted talent, must say
that Mr.. Henner draws suncommonly well poses
with discretion, and colors with delicacy
and taste. l decidedly object however,
to any artist initiating SO well known and great
a picture as the Correggio Magdalen. Let
zl.I.. A..
tion; let him give her q red gown instead of
the garment of wonderful tint that Correggio
has made famous-in short, let him make
good copy of great masters work If his
brain is so denuded of ideas that he can con-
ceive nothing original. AT least, let him
avoid anything like the present ridiculous
attempt. Perhaps he thought to treat the
same subject better. l cannot say, but am
sure of this The only difference in the two
pictures is that one is by Henner and the
other by Correggio.
The execution Of Gen. de Charette in'1798
at Nantes is splendid effort. 1t is large
canvas and one that attracts universal atten-
tion. The artist is j. lie Blaut, man of
great talent certainly. In discussing the
Salon heard an incident apropos of this pic
ture. The general asked to see the city for
last time before his death. The commanding
officer himself offered to accompany him. The
two started out and de Charette looked with
uncommon interest at everything He seemed
to utterly ignore his impending doom. They
walked up and down, around and about,
finally the wearied officer stopped short with
these words "Well, Mr.. General, time flies.
Have you nearly finished with sightseeing.
You should have been shot two hours ago."
Great heavens, let us go at once" re-
sponded de Chavette. "lt is for the first
time in my life that one can accuse me of
having been behind time"
Bonguereau has fine painting, Alma Pa
rens. The little children, eight in number,
are exquisitely natural aud childlike, Most of
the madonnas with children have two faults
the virgins are vixens and the babes adults
in vice and knowledge to judge by their ex-
preston. Ajuvenile child, or childlikejuv
nile, is rarity on canvas. NJ. Bonguerean
has succeeded admirably with his subject
Macquarts canvas, l.. Etc, is weak. The
coloring is gorgeous the women very beauti-
full and well drawn, but the whole is lame in
comparison with his other works. He is
always a great painter, but at times poor
artist.
Mrs. Hill, an American, contributes bust
in clay, which bears good promise. Our we'll
known and distinguished American physi-
clan, DIR. johnson, tells me that this bust is
the result Of only four months study. He
sent this lady to Cauterels, in the Pyrenees,
for her voice. (She was studying for the
opera.) And while there she met sculptor,
who showed her his studio. She was so taken
with the idea of modelling in clay that she
commenced at once, and behold the result.
Her work was adjudged as so good that ii
passed the first time the jury thought upon
it. Mrs. Hill should have a great future.
What she has done in 80 short a time would