New-York tribune., 1884-03-09
ART NEWS AND COMMENTS
TIE WEEK IN ART CIRCLES.

the ncOnseqental "dropping In OF longwnded bOres
but the visits OF prospective patrons arc naturally hailed
with satisfaction and Othese there have Of late yearsbeen
too few When the number ofarsts in the city smaller
and when they were collected In two three buildings
like those on TeBh-st and TWenty-thrdst. It
easy and natural matter for the amateur 10 MT rom
| studio 70 studio, keeping himself acquainted with the
weekly or monthly progress Of pictures on the easel and
| leaving occasional commissions in his path NOW that
studio buildings plcntifully scattered over the city
from Washington Square to Fiftyeighth--t, and cXbO-
tons have frequent both In and our OF York;
the old custom OF studio visiting has fallen into dccadcncc
There studio visitors s bat in too many they
are OF a wholly improbable KIND. The Old stndo rccep-
tons parOok OF the character OF gatherings Of ficud'
But they increased iD magnitude and became more all
more OF tax upon tho hosts, until lnally they
were abandoned still there was felt need
OF bringing artists and thoe interested IN art together on
the mutual ground Of social intercourse and the decline
Of studio visiting by amateurs and buyers left tls Tan5
10 he filled by the revival Of studio receptions IN ISL
These receptions pleasant enough the guests FOR
artists studio always presents mysterious attraction to
novices and many symeu, but the invitations are 50
generally accepted that the result l. the bringing together
OF crowd OF strangers In an often fatigulng crush
The spaciOus Sherwood Building which Is better adapted
to reception than any other showed some uncomfortable
crOwding on Thursday and the large attendance at tue
Hohein Studios" yesterday viii DrObablybc succeeded
by larger to-day for although the sunday reception Is m
Innovation it Is likely To- prove successful Noindivdua
artist at either OF these receptions could have had
personal acquaintance with half the people who entered
studio but the hospable intentions of the host
were II IL to be hoped, none the less appreciated.
Whether these intentions were rewarded In any moro
substantial fashion is quite different matter. II tho
present style Of studio reception is productive Of saes,
these receptions have souDder for existence
than is at first apparent.
1t Is understood that the artists Of the Temth-st.
studio building decline follow the prevailing fashion,
and VIII hold no studio reception this year
Mr. Salem H. walc. writes that the bronze statue ~
Bolivar by Raphael dc n COya which Is To be presented
to the city ny the President OF the Republic OF Venezuela.
is ready to be put in place. 1t will stand In Central
Park upon granite pedestal, and the occasion of tho
unyeilng will be presented tn tue Mayor by NJ sotedo
the Venezuelan Minister Those Who have read their
TRIBUNE with will remember that this is an elues
trian statue representing Bolivar refining mp his horse
with one hand and pointing with the Cthcr.
new painting by Mr. George H. Boughton has recently
been placed on view at Mr. Ayery's rooms This is
gcarc-the subject, young peasant girl lifting on
quaint white cap before sla-s, watched meantime by
child, who clasps a hinge umbrella in one small hanL lt
rich and cheerful little variation of the artists usual
themes. Here, too, il painting by Adrien Dem0nt,
large view of feaborate Gorden- with workncn engaged
among farreaehlng beds OF bright flowers beneath pale
sky. picture by Yaly presents darAlaed handsome
page lifting piece OF amor aud seen against cleNerly
arranged background Of wellblended colors.
At the art rooms Of Schaus Co. there painting by
Lobrichen-a rosy, naked child against light back
ground, gazing with curious interest at bug upon nj.
finger, and askin, what T. II r. Various studies Of
child life appear a small panel upon the frame Other
pictures hero the large Daubi ny, painting of an
orch9rd in sprng-ime. first shown last year, and an
elaborate study Of stlI-lifc by Blase Desgoffes.
member Of the Society Of American Artists predicts
St,,1to atf at
exhibition than before. Another artist says in the
same column regarding the difference between the cata-
ogue aud selling prices OF pictures The idea in patnS
those prices the catalogue sno as people suppose to
initiate the of work TO make the artists look
important than they really The prices put there
because the pictures are really worth that and
artists expect to get It unless they chance
some jew OF a clsl omer who beats it down.
In recent private letter similar views expressed
bv well artist whose work deserves the success
which has been obtained. He helthar, considering tho
education and experience of artists of the class to which
he belongs ard tie time ana labor actually expended
upon picture. his prices taken, representative
Of class were too ign He stated also that
of the younger men compelled by necessity accept
prices below the actual value OF their work and explain
I'd the frequent discrepancies between the catalogue and
selling prices Of pictures 10y the pressure OF the actual
the other handtO take the point II pew OF the ayman
it /, fact that some visitors to such an exhibition es
impression Of eXaggeratlOn In pces and led 10
The conclusion, perhaps unchalitabc that in many
the high prices are merely nominal aud intended tI
initiate the value OF work" II is fact
also thai many exhbitiongoers would he clad TO psy
small amounts saw sos $50 or s75 Tor studies wIich
please them but they are prevented 10y finding the prices
Of moi esDecaly import works much above theil limit
And these people who have 10 desire TO jew"
artist the many discrepancies between catalogue
and selling prices always occsoned by the shabby beat
ing down of price below the real worth Of picture.
hc question after al Is simple one, for no one whose
opinion is worth having wishes artists to be undergrad
work and it remains only for the artists 10 de-
eide position Will be most adv antageous 10 them
selves and at the same time satisfactory 20 those with
whom they have to deal When an artist takes tho
only air return for his professional educaon expe-
ana labor above the actual cost Of production.
there few who Will find fault with BIS prices But
of course the price viii inevitably he regulated by the
demand.
The Sudo says: I useless deny the fact that the
passage Of the Belmont bill through Congress will b.
Greatly npedcd by the aclo! unity u thou St and action
among the artists Almost the entire profession Op
posed to tue present tmty per cent r but ihis large
1aority il divided in Opulon ~ regards the proper sub.
3u,ue for the present tart Dl Not few artists
strongly in favor OF SpecIhc Hnly ny whch We under
stand that they wish every Work or art to De taxed GER
ain set sum OF money r'rllss 81 rs qlity slle or
value II tue believers h Spechc iui! hct are asked
why they wish II and what IS its object they viii answer
hat II Is not Tor the increase of the Governmental rcSeLH
that is too large now bu IT'S o3lrc 10 LEI ecoi
icWes IN and keep he bad ones ana the " trash 0It'
somc lensth conclude, that "The establishment o 4
specific duty would not have tc effect oi kcepin. ont
trash in ant any than II wo1d IA dry goods or pig
IRON
The sales al the exhibition Of The Boston AT ollb
,iuountrd To 81 POO and included pictures 0y McSrrs
IInJ"inh r. Bunncr, L. X. II. Reln, ID. ". ISon and
GI p. rintcn's portrait of Wendell Philips The
BaSOt AdcernSrr fHYs: ,ui......s., -.
- liic-slZe pOrdt or cndrll Iaps
i time ard tne will be regarded, without DOUBT
tv n me best pr, nauOn wich exist, OF The iorl
80, i,urrrs the expr ssoh AMI character OF the de
,s .. orator and rcfouurr. Mr.. Philips is shown here
in a position OF dg1Irrd rcpoSe WIN his cit hand held
,e1nd his back characteristic pose" an ms right Test
ng on the ed Of table. Ine portrait was painted IN
sSl, period when he showed no iriceploie dlmim'
ion of ph, ,ical Power hc stands nln there IA the
riSoeratc lines OF his cOuutcntnce qutt EXPRESSION or
ood-uatured rhc ieatuCS the calm glance. the
attitude and everything about the lsulc, appear 10
ter dissent and independence; ana 10 have achleSc
IIs much In tho way Of characterization II no snail
iolor 10 the artist the workmanship l. con-
rncd there nothing nadcquale CArecss or rcCcn-