The sun. [volume] (New York [N.Y.]) 1833-1916, 1884-06-01

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PARrs, May iA--Flity yenn ago the then
obscure Signature Of Ernest Meissonisr figured
Tor the hrst time ct the foot Of Q microscopic
picture called "Lss Bourgeois Tismsnds /"
which now figures in the collection Of Blr
Richard Wallace under the title Of visit to the
Bsrgonastsr." In honor Of this nfttesh amt
vsrsary an exhibition Of some huadrcd Of the
paintsrs hnest works. together with guam
tity Of studies and drawings. has boon organ
lied In the gallery Of the Rue Do Sazs. The
Queen Of England has lent the famous picture
OF La Rixe." which the Emperor bought IN
1855 for 5000 and presented to Prince Albert
Mesers. Van Prast, Stewart, Seoretan. Dsfosr
Boy. Nine. do Cassin. Sir Richard Wallace. and
naoss Of the grsst EuropeAn collectors have lsnt
their pictures: and. in short. there 10 here
about ons.Quarter OF Meissonier's whole LIES
work. which consists Of 40 pictures.
40 the total result Of nifty years work 40
pictures may seem little. This fact. however.
gvss US tho key to Meissonier's whole exist
ence; his motto is perfection. and. thanks TO
having faithfully observed this motto. he can
say that no picture has ever lefv his studio
until he had put Into It all that his talent per-
mitted. In presence Of these famous pictures.
La Rixe." 1874" 10 Dessinatsur," la
Partie do Cartes." "Lhomme & rep6e." la
Barricade." TO-. and In presence OF these studies
and sketches. some OF which We saw recently
at an exhibition at the Ecole des Beaux-Arts
what 10 our dotlnitive impression OF the artist
Is he great among the greatl Z he the great
Frankly at this present ext ibti0p just a at va.
ssns
preston 10 one OF ast?nishment rather than Of
a n N m nj n m 4.
| utsness OF thu touches. 10 Doid. and the whole
picture. perhaps no larger than sheet Of lotter
| photographic exactitude Of reproduction. The
difficulty overcome 10 enormous and that u
tGs ma.ss byys shs
orsf and insectus Than s SHs and ia ss
inoral and intosctuai qualities prsdomin ate
largely over the artistic qualities. and the great
est OF AL Meissoniers qualities 10 his conscien-
There Is a tendency among the dashins
@naseness So exe
cution. This minutenass. however. 10 . certain
proof Of two great auaities-tho love OF perfec-
courageous andncity with which in those
microscopic pictures the difficulties OF q long
come. such execution implies a profound
meditation q z subject. and EXCLUDES caprice
sna e. are thu Of
Every pieturs BY Meissonier 4, 2 az onoment
daily painful and fatixunG hard work whore
Wers and M u Smss a''n In Ills
ss aes S'n ill., O. 81 yi s 81
offer excoptionai Interest II would be ediiyine
OF seeking after perfection. and Of .Hxity and
have to say about him We must ali i' recosnias
that Meissonisr y the most conscientious
Thsre " Was sads IN exhibiting in the
Sa q Tlamsna s and it, Only 8 81 ' az
carer .%s a. 10 a The end HST Inc fs%e
and entirely the influences q the triumph,
q the classical school Of David and
. the Of sas %'a ssaS
ssspis pajn.ias. when Sslors Then s ' no Frsneh
led him to take up the forgotten tradition Of tho
Dutch school OF the seventeenth century. Let
imiisssa the Dutch " When hs plased sinssif
under the cover q their authority; Meis;;
%ep, s ssysr t. naS II
SEPARATION In tho Dutch art OF the seventeenth
century, but merely encouragement In bis own
critic. H. Ernest c6esnsa. has ssld. Msis
SOD Ter has Wed In patience and calm energy
and in execution be has often exceiled them.
In certain points he is superior to thom, In ono
only i, sSow The
manners OF his own times his precious talent
The intellectual character Of Melssoniers
work c?mss out In many WAYS 10 all his pic
rare ssxncity OF observation. and although we
may often accuse him Of dryness IN the sxeeu-
Ma f"n d III asssf ID Il
! certain kind Of reysIy. Of penetration and
nnssss 81 Snalysis. Ia az bis ilxares which
costumes Of the pact, there is thought and sem
ument You see l. 10 their /, looks o. their gss-
mony with the expression OF the face, and al
ways sp0ntaneous and natural. Take The
Painter" i9r instance ,s which , MsiS,
lions. This picture has had an immense intu-
tare. In an interior in she style o. 10 las.
century hung with TAPESTRIES: with here and
n sn arm
feet K seated painter In hs dressing sown
eishtcsnth century. one leaning over The
'odss man; Of time, ns ' lat s sSs :ue ss
IA. il; Rx nss
remains interesting. and amusing so truthful
are the pastures Of hts figures, SO expressive
! their physioYnomles. 80 natural the mimic OF
| their gestures. You ee0m to henr what the
| little personages ore saying. and you can read
| In their faces their characters their passions
! their crez"s. their weaknesses. Notice. too.
that In Melssonisr's work tho first place is al
| ways reserved for man. The artist loves to
naint single, ngures. and to Ak on the mask
| some studied expression. This natural predi.
| lection has snyed Meissonier from the errors Of
some Of tho Dutch painters. who have sacrl.
| Decd the auhiects to the aoceasoSiee. In oil
| Naissoniers pictures the human interest Of the
| little drama or comedy In question comes 0rst,
| amply developed the artist proceeds to estab-
| lish the miliou, the scene and tho surroundings
.AHaia In his famous picture Of la Rixs"
Meissonier 4isp,ays bis great power q render;
With his olhsr works La BIKE" is a colossal
| pioture--tho hGures ara ak inches highI A
| man. his veins swollen with anger, his muscles
| standing out. his checks notified with paleness
| and rsdnsss. struggles to- escape from tho
grasp. OF his companions and ding himself unon
The eostumss indIcaIe the sixteenth century.
and the scene 10 laid In low inn freQuented BY
| sworJs are out every moment. The walls are
bare. the floor Is gray and dirty. Nothing could