New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1884-05-19

IL they did not oppose they refused to support Tue
men to whose energy that triumph OF Ehehsh
art was due 1t did not begin with Leighton q"
is true but Leighton in the end put himself at the
head of il in his official capacity and with all the
personal zeal of aman who meant to succeed and
who did The resistance he had to overcome, the
suggishness he had to animate, the ridiculous SuS-
capabilities he had to soothe was then, asnow the
evidence of the narrow spirit of which this exhibition
offers the singular examples have mentioned; ana
many Others which refrain from mentioning.
OF the other foreigners, our countryman, MI
Sargent is perhaps the most conspicuous, and his
portrait of Mrs. Henry White is not so badly hung
as 10 indicate any special dislike of his nationality
It's if | may say So pendant to Bouguereau's
La Mutt looking down on you from similar ele-
yaon on the opposite side of the arched east door
of Gallery No 7. At this height full-length por-
trait cannot be seen to advantage, but III is seen'
BougueTeau. moreover, is perhaps the French mas
ter TO whom Mr. Sargent owes least The contrast
between their styles is very marked; yet MI oaI-
gent is in art Frenchman to his very finger tips,
and never could have painted this very clever por-
trait had he not studied and lived in Paris 1t Is
not, they say one of Mr.. Sargents good years.
He is not fortunate IN his GrosvenOr Gallery
picture, nor, some of the Frenchmen THINK
at the Salon. This portrait of Mrs. White is never
tneIeSS, q WOIk WHICH no hhlu OOu'o nav
done. Mr.. Sargent's subject is almost as Partisan
as himse If, and lie had to translate upon canvas
that indefnable something which belongs to the
Parisienne. or to her Of foreign birth, on whom
Paris has breathed It's own air. and on no one else'
Ii is not precisely distinction though of distinction
ESPECIALLY in Lord Coleridgcs sense) there is no
lack. Perhaps the quality may be left to explain
itself as it will easily do TO any one who looks 1or IL
IN this Likeness. Much else to admire will be found
if he looks ceverness of tone, cleverness OF hand
ling which at times amounts to brIiancy, and an
arrangement of drapery and background that set
off to the full the attraction of tins delicate face
and Glance figure.
Another American name of distinction is that of
Mr.. Alfred Parsons, whose After Work comes
near to being skyed in Gallery No. 4. Mr.. Parsons
has chosen to send his best and most characteristic
work tins year to the Grosyeuor. where it is duly
honOred in the hanging, and heartily admired by
critics and public alike. Yet this present example
of sound andscape art deserved more cordial hos
pitality in Burlington House Mr. Parsons is
painter who takes his art seriously. If there were
more such among Englishmen landscape might be
held IN better esteem by the Academy which no.
toriOusy discOuragesit it. This After Work Is not
poetic; If you like, it has more of the spirit
Of Daubigny, or even CouTbet than OF
CorOt but the artist has done the
the task he set himself with loyalty throughout;
with equal Justice to every part of his subject; and
the unity OF his picture is in striking contrast to
the SPRAYING uncertainties which are the nam
merits of more than foolish landscape TO which
wise Academicians have accorded the honorS the
line.
Three slight pieces, not without promise, by Mr..
Vein, also an American. nephew TO the dlstn-
guished actor may be seen by those who will hunt
for them. Mr.. BOughton's Field l1andmaiden"
and "Village Below the Sand Dunes" are both
Dutch studies. of which the former is by far the
most interesting piece. But Mr.. Boughton can
hardly be claimed in these days as an American
He has even ceased to paint American subjects
which may be one reason why he is not this year
thought to he in his usual force. If be is less man
nered and less monotonous he is also less quaint
and charming than he has been, and than he |
doubtless will show himself again. G. ". s.