New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1883-06-24
MICHAEL MUNKACSY.
A VISIT TO THE ARTIST AND HIS GREAT
PAINTING, CALVARY


Munkacsy the greatest of all living colorists, per-
haps is grsvously ill-so i'll that be has been per-
emptory ordered to rest from his labors for at least
six months. l was in his studio this afternoon,
talking with him. To look at his face one would
never have suspected that much amiss; and
vet he assured that he felt incapable even of the
exertion Of going up few stairs to show me his
grand Calvary" and Mime. Munkacsy when her
husband was we'll out of earshot) declared that IL
one even breathed upon bis flesh ne would writbe
and scream with the intolerabe agony itcaused him.
The painter of the superb "Christ before PLATE"
which, after triumphal journey from Paris to
Vienna and from Vienna to London, is now being
exhibited in Liverpool preparatory to Its departure
for Berlin has long been ill, suffering from periodic
nervous attacks. Last year he went through
course of treatmenC which it was fondiy hoped
would cure him of his ailments not only for time
but radically This expectation has however been
disappointed Whether from hard living in his
Younger DAYS ere fame and wealth had found him
ont or from oyer-work or from other causes, his
nervous system seems to be seriously affected, and
all the medical advice he has received SO far has
been powerless to help him.
1t will be a terrible trial to Munkacsy to leave his
Calvary alone on its easel while he sits idle at
the watering-paces to which the doctors have
ordered him. He is desperately anxious to make 1t
worthy companion to the Christ before Plate"
nor udcing from what have seen of 1t to-day its
vet unfinished state is he very far wrong in sup
posing it will become go. To paint it he has had an
entirely new studio fitted up IN the Avenue de Vii
liers next door to- and In communication with, bis
old one A rather bare, simple lofty, square room,
lighted not too brilliantly, and hung all over with
dull, claret-colored drapery
Much and dearly as the great artist loves luxury,
I'll Al. - q he Au af tGa
he had to set forth on his canvas would i'll brook
association with costly stufs and golden ornament.
Thesed do well enough for composing fashionable in
teriorsn such works as those which are scattered
bither and thther in his old studio next door, that
gorgeous and glittering room which is one of the
sights and marvels of Paris Inspiration for the
greater work could hardly be breathed into him
amid that mundane magnifcence, that soft, rich,
yoluptuous beauty of decoration. So. at cost OF
something like 200 900 francs he had this new work.
shop purchased and prepared for the creation OF the
grand composition he was meditatng.
You enter the studio through sumptuously fur
nisbed salon. adorned with exquisite china and brio
a-brac quaint medieval armOr trophies and heavy
velvet drapery. Out of this spendor presently you
issue into the midst of strange confusion OF half
finished paintings studies, all of them, for the mag
mum opus which fills up one whole side OF the room
the famous Calvary" Round the walls hang
boldly sketched figures of weeping Magdalens, sor-
rowful mothers, and hooking scribes. Standing
ont IN strong relief against them. too, "behold the
Man, Him whom they crucihed. At least three
complete. rough, preliminary studies for the final
composition are strewn about in different parts Oh
the ROOM A reduction of the original cartoon oc-
cupies conspicuous place facing the huge window;
and in the most distant of the four corners there
basartfuy been fixed small oblong looking glass,
in which if you 60 close enough. you may see re-
fected the tragedy that is being acted on the ac-
cursed mount
Itake peep into that looking-glass. This is what
confronts me cross, first of all, on some rising
ground-a cross of the traditional pattern not like
that of Aime Morots in the Salon. T-shaped. On it
hangs the Saviour in what seems speeches. agony;
His face appraised to Heaven, searching for strength
to bear the dread ordeal. To right and left, two
other crosses at slight angle, and T-shaped Each
bears its human burden, thief; one penitent, the
other impemtent; both dead, with their limos
drawn up conyulsivelv and their heads dropping.
Beside the central cruciix stands disciple John'
erect stupefed as it were and clad in red raiment.
Aths feet her head pressed heavily against the cruel
tree the black robed figure of the Mater Dolorosa.
next TO whom with her fair, weeping face upllited,
her long auburn tresses careessy tossed back over
her dark green dress, kneels the Magdalen. third
female figure in black stands behind her. All this
fills the right side of the composition. To the LETT
il a motley crowd-the same crowd we have already
made the acquaintance of in the Christ before
PIlaten Here be Scribes and PhariseeS, pltiless
Roman centurons, and bowling pebeans, the Ia
matte mob, the callous, sceptical Saddueee ana the
learned doctors of the Temple. Some jeer some
threaten. others gaze Indfferently, at the dying
Christ A white-draped Bedouin, on horse, is nd
ing away on the extreme left I blue-cad rufian,
close to the cross is removing ladder by which DO
has lust assembled to nail the hooking inscription
above the head of Him who dared to call IllmseI
King of the Jews. In the immediate foreground
two grave, bearded doctors are walking together,
deep in earnest converse. Behind themal loweIsa
sulen, stormy sky, with one small lurd rent in 1T
boding woe unto Jerusalem.
Magnificent though it be in every part, as whole
the composition strikes as strangely unsatisfac-
tory. The fault noticeable in the "Christ before
Plate has been repeated. The interest of tho
spectator is not as it should be, at once and IRE
sstibly drawn to the figure of the Saviour. The
eye wanders from grand group to another
taking delight in each-in the two grave doctors, III
the picturesque white Bedouin, and the sorrowfnl
Mother and. indeed, in ALL except the figures OF 81.
John which in It's present state is an utter falure'
and the rufian with the ladder. His face is very
familiar to me- and will readily be identified as that
of the man with brawny arms appraised, who shrleKs
aloud in the mob shown in the Christ before
Plate" There is an utter absence of all emotion
however good evil in his brutal face as he stares
at you in this picture. He might be a bill-poster,
or a lamp-hg hter, for all the signs of excitement
you see in his dull eyes and mouth. As for st.
John--but it is premature, and would be un-
fair, TO Judge him. Munkacsy intends to alter him
altogether His attitude and face are now highly
suggestive of lay fgure's There is no life no
feeling no soul, in st. John yet; and as he stands
by the woman whom the Saviour in His agony ln-
trusted to his tender care, none would or could
L. LIZ ha liscinA whom