New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-02-13
NEW PUBLICATIONS.

tures the general average of this well-knowh
zeal, without showing any marked advance Vi e0
cded falng.otf. There is revealed an ii'oi.a'ine
eatholicty of taste in the SELECTION VI su'e'
which is yielding to the inevitable, done III haii-
spologetc way, for no French art writer reaii! en-
foys straying so far from Paris as to our own "'e
color exhibitions, or even to the Enehsh oio'noi
hood of pre- Raphaelites. This naturally tends 10
Introduce RArt TO wider circle of readers ana
render it more worthy of its claim to rank as the
LEADING art periodical of the world-nOt merely oil
France. Yet we cannot think that IArt
has reached Its standard until II
becomes q more potent force ana I'M
mediate influence in arr. Outside OF the articles OH
the Salon and the Hamilton Palace collections we
find comparatively little that has any connection
with the art topics of the day. There ls TO ne sure
much that is interesting in essays on death Sheau
iewelry Of the sixteenth century, on statue lounu
in the sixteenth and lost Ill the seven
teenth century, and on lew Ho''
hardy artists of the fourteenth and htteenth CEN
turies. Nevertheless considering the breadth
and richuess of the field for inquiry and suggestive
discussion presented by modern art, we cannot out
feel that the many subjects such as we have men
TONED should have given place 10 Others OF Vita'
interest to all students of art, who are not soieIs
searching for historical curioslties nor are
mere antiauarians. Bastien lie rage, behhd'
and Jules Breton have high rank, bat all the more
they deserve the calmest aud coolest
critical estimate, and we would giaoIy
read monographs upon them 10y Ernest CheSneau'
Phi Burty or Paul Lenoir, while there are All TUG
ror,gor Partisan artists Duran. Berne-Bellecour'
Jacouet. Berand. with Heilbuth, Chiahva Sue
vens. De Nlttis Egusqulza Ribera and Rico. with
the scores of Others to whom j dr. might become
mentor. exerting upon them direct AMI u.s.
ful influence So with the ARTISTS OF Eng
land Munich, Holland, and New-Iork. Al
present as we have said, there is hV'io
beside the Salon articles dealing with the artists OF
the day. To fulfil all It's functions l. ATt shoulu
become teacher of its times. pointing
its d,scourses with morals freshly drawn
instead OF remaining historian we are
prompted to point out the possibilities lor
authority and power which lie within the reach
of such periodical ny the admirable monographs
on Theodore Rousseau, Eugene De!acroIA, UustaNe
and Courbet with those upon George Frederick
Watts and Ford MADDOX Brown winch taken To-
cethor form the most permanently valuable feature
ne +ho year These are excellent examples, varying
In their individual merits, of what may be done III
the way of suggestion and instruction by dlscrlm-
Mating ANALYSTS of an artists life, methods anu
modes of thought. If we turn from the text 10 the
pictures we find much that Is interesting as
bringing before with more OF less
success work which is wcrth study. but little that
calls for especial comment from the distinguished
excellence of the etching or engraving Ihere arc
no original etchings, although each voiume con-
tains dozen or etchings chieTy reproductions Vi
pai,tipgs in oils Lucien GauteT's etchings OF ms
own naintinos of scenes on the Quay at
Norseilles and in Paris, are notable from thelr
faithful elaboration and painful fidelity to every
line vet we prefer his simpler Bridge OF SAINT
Peres at Paris' Bocourt has done admirable work
in his free bold etchmgs Of Mets portrait, ana 30
of Faivre Gaucherel and Jacomin we would nave
welcomed something by Waltner, Brunet-De-
baines Cheuvel Balm. but this Is per-
hans asking too much. In wood engraving
we find nothing in DArt to discourage our
own engravers. The Century and Hdrp6s, month
by month, show higher average tLsn is gwen by
the engravincs Of the four volumes before us GER
taiply as regards pictorial effect. If we side with
Mr. Linton in demanding strict adherence TO the
line in wood engraving, shall find here few
more satisfactory examples than The Century al
forls Nor can any exception he taken to the excel
lent results of such line work as Clement Bengers
portrait Of Max Llebermann, and yet the more
sketchy treatment of Puyplats portrait OF FRANK
Hall is bald and disappointing Two engravlngs by
Enrene Froment show good effects, one OF The Day
after a Veto y at the Alhambra," in which the line
ia maintained although fully, and tue other of
Froncsis's pantlrg of 1.-The Sacred Wood with
almost a charcoal effect in the foliage and with
notable tenderness of feeling. The different schools
of wood engravers have been freely admitted. The
same generous reception has been extended TO all
manner of reproductive methods. Steel engraving,
ard photo-eI1eravure, and process prints have all
been utilized on almost every other page.
After thus much of general comment upon the
year it remains only to spend few moments upon
each volume II the engravings in the review of
- ,ria Naf NnI
be taken as faithful reproductions, they are far
from, caring comparison with those of Bewicks
time-honored British Birds" Nor can we find
cause for satisfaction in Smuton and Tillys engrav
Ings of ]. L. Francaiss pictures They
show q characterless excess OF cross
Matching which produces almost an effect IKE
stippling and contrasts very unfavorably with
Froments modified but happy use Of the line in the
same article Ernest Chesneau, who has written on
the frescoes of Eugene Delacroix at the chapel OF
SAINT Agnes Saint Sulpice, has been on the whole
we'll seconded by the echings of Gustave Greux
Henri Monceaux tells us of the legends of ST. Euenne
as shown by some ffteenth-century tapestries from
the ancient chapel Of Auxerre acquired by the mu-
scum at Cluny while the accompanying engravings
illustrate the costumes Of the reign of Charles VIII.
and Louis XII Still interesting Is the tals OF
an unknown work by Prudhon acquired by
the museum of Orleans. This is portrait
of louis Antoine La Vallee whose courage
AID determination preserved some of the
most valuable pictures at the Louvre after the
captulation of Paris to the allies NJ de Renchauds
essay on David Frances greatest sculptor, is worth
reading, yet we find greater value in Ph Burty's
monograph on Theodore Rousseau, the
father of modern landscape" Here are
outlined his associations with Diaz Oh. jacques
and Dupre his scornful rejection by the Salon
III to 1s4S, all the familiar story OF
the ACKNOWLEDGMENT aud humiliation which attend