New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-05-28
THE PARIS SALON.
SOME NOTABLE wORKs-PRIvATE VIEW
TOPICS


Since then have been able to get general idea of
the works of art exhibited there. The general level
is high. The prevailing tone is cool and grayish.
There is an unusual absence of eccentric paintings
FIrst-rae ability IS more than at preceding
bibitions. Nevertheless, there are some mastery
pieces in the decorative portrait, animal landscape
seascape and familiar cabinet and stllife branches
of painting. i have not yet visited the Garden
where the sculpture is Oh view. Nor have looked
in at the drawing and water-cOlOr departments.
At the head of the decorative works have no
hesitation IN placing lie Printemps qui Passe," or
Spring Fleeing BY. Its author is James
Bertrand, Lyonnais who studied under Perrin,
and first made mark-as we'll |
can remember-in 1868, when he exhibited Viz
einias dead body washed ashore in the Isle of
France and Cinderella. His Spring Fleeing BY"
IS sketchy-that is to say the figures in it not
strongly modelled. But the impression that it
gives is delightful one. Anything moro express
sive of the vital forces that are In ebulton of the
ford e1uberance the gayety and the ftfuness of
the springtme, have never seen. Imagine Apollos
horses all unloosened suddenly from the sun-god's
care and bestridden by nymphs who arc blonde as
Venus. innocent as childhood, and wild with ami
nal spirits. They are happy to escape from the
iron rule Of snow bearded winter and to be borne
along over hOwery meads bathed in sunshine by
the impetuous seeds. But this painting should be
installed in palace. The Minister of Fine Arts
should certainly buy 1T for the State and give 1t
place in Sale DIES Fetes.
Comerre's "SileDe" is also fine decorative
painting. But it represents the sensual bliss alone.
1t might be the incarnation of the joval English
renaissance such as Taine describes it. The fauns
and bacchantes who romp III dell enjoy the finest
health and spirits Their bones well-covered
with flesh and muscle. Fatty degeneration and
liver complaint have not yet set in. They eat,
drink and are merry, and give not a thought TO the
morrow Although NJ. COmerre is IN tho classic
tradition his figures are as living as any that ever
Rubens painted. The bacchantes are splendid
human animals perfect in all their proportions en-
lowed with magnetism, adorned with magnificent
heads of hair and not standing in any need of the
dentists assistance. The fauns are thoroughly
happy IN their company and the principle of equal
rights should say is admitted by SiienuS who is
the central figure of the group. fauness-excuse
the neologism-whO has been to 4 vineyard to I'LL
basket that she carries her arm, steals up to the
merry-makeTs and pelts them with grapes. Del
monicos would be the place Tor N. Comcrre's pagan
joilifcaton to be installed.
Bouguereau's Alma Mater" is thing for the
Vanderbilt palace. in which the fancy bail was
gwen about which European no less than American
society has since been talking 1t would not shock
prudish lady, and young lady, though leaning
on the arm of a male escort might gaze steadily at
IT, The artists eve would Tevel all the infant
nudities. one of which climbs up to the breast of
the universal mother 10 restore the wear and tear
of his tissues that fast growth and romplng have
occasioned. alma Mater" is in point of technique
Simply magnificent. The babies are nearly OF
size There must be at least dozen of them In
deed, they form a perfect litter. HE universal
mother is indifferent TO their joys and TO the sor-
rows of a dear little fellow who is glrt i'll a
sheepskln like Murillo's John the Bap-
fist at the London National Gallery.
What he is ready to cry for does not appear. Per
haps he has been showed aside from the maternal
bosom by his brother who is climbing up to 1t. The
Pagan conception OF Ceres. and the Catholic one OF
Mary Full Of Grace and tender hearted to the point
| OF weakness are more human than Bouguereau's
"AIma Mater" But the French painter is rucr to the
| Osrwinian eospel-Or at least 10 the gospel which
has been deduced from Darwin's writings Mother
| Nature may not care a straw about the individual
sufierngs of her children. To superficial Observers
it would appear if she did not. But to those who
Judge from a wide experience of ie there is com
forting feeling that she great deal Her laws
are at bottom kindly. 10 know them is to love
them. They tend to establish the reign Of
,ustics aud fraternal kindness on earth,
and to punish Dives for clothing himself in purp"
and fine linen and faring sumptuousy when pow
erty.stricken Lazarus at hi, door, watching for
the crumbs that fell from his table.
lam not sure whether / should call tho Cruel
nxionU by Morot, and the Descent from the
Cross" by Story, either religious or decorative
nictures They are not in tho lines in which the
religions sentiment of ChristendOm has grown to
mature age These lines were the outgrOwth Of
pagan statuary which repudlated violent effects
and even In the cOntortons Of La0cOOn's death
struggle with the serpents remained nobIy dlgnl-
fed All the masters Of the sixteenth century,
except perhaps, Michael Angelo, wOrshlDped plastic
beauty Their cult for it degenerated in the seven
teenth century, and in our time fne-hdyhOod could
only understand in religious art bOok-oi. beauty
prettiness The vlgnettes sold for Catholic prayer
books all the world over arc examples
Of this degeneration. MOrots "Crucifxon
stands in the same relation to such art lola does
IN the author of "Clarissa Harlowc." heard
nric.t saw that his Christ should have been set
down In tho Catalogue as The Impenitent Thief"
This painting is work of powerful realism. The
vigorously modelled torso stands out well III the
strong sunlight Of an April day III Palestine. The
is not the traditional one. 1t is made of two
beams of Embarked timber forming a gigantic T.
The legs are half twisted round the vertical beam.
70 which nails driven through the insteps attach
them The arms are StTeche1 out as lar rs they can
he pulled and fastened with cords TO the horizon
tal timber. Nails transii1 the hands. The painter
has sbrunk from anatomical consequence. Phys
zeal torture cOnvulses the whole body, which is
that of a workman who has been in the habit OF
usipp his muscles. The throwing OF the chest
forward shows an effort 10 break away from
the cross There is intellectual refinement III the
head A poet only could have delivered the Sermon
on the Mount" or been the author of the Gospel
Apoloaues" Accordingly the head, which is thrown
hack. Is beautiful. But, lest IT should take from
the working class aspect Of Jesus of Nazareth Son
OF Joseph the Carpenter 1t is purposely in shadow
What Morot says he aimed at was TO give pictorial
expression to ali utterance Of Camille Desnoulins,
that was not IrreveTent as the last generation
Il Lon aAn La