The sun. [volume] (New York [N.Y.]) 1833-1916, 1885-04-05

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IN. impression q N" pic11rs- 81 hs.sJ.n
f~pag. i. f,r is.- .trsins. They .~.rp dry.
81 .st.rnni.. III" Joan % NJ. fSr n 'n%.nc".
which for- not nsurs IN IN" present cyhi billion
meat. W Inspiration u ANY kini. In q gar,icn
IN hroai DAYLIGHT. Lnfraine toasant siri Is
ipnary spectacle - -. Michael and tho angels
rsnde reel with 'hs com inonr-t realism ~ effect.
With ps" gray saies ioossg sc,a "y-f Witt ss
T m ,n.n ill.,, LUZ VIA, poor eoncsr,,on OF
been dreaming ~ painting this Joan Of Arc. "a
Joan a. Arc Of our alag. real Joan and not
but. after all. this character OF realty. and sim
r,icity OF pose and of .arrsngsmep, do not eI-
and even naii in their simplicity but they
Esss asyT and iq he IN
lous rlscss Of careful painting and minuts OBJ
respect Tor nature and rendered with scrupu'
lous brush. But hero again tho Worthy ex-
gagged from the surrounding details. In Tho
Be.gar " the wallet and III. house front are
la at
as interesting as the figure OF the old man
9TH III. Ssn xir st on hi sss
these pictures which taxa as specinen there
Is passionate search after certain truth tho
which seems to have abs"rbed and tormsntsd
the artist and stsriiizsd his effort The great
artists. 1t would Rppaar, are those who know
take In nature or in man ony the essential
Lspars aspirsd: would end b. Klliinx art. inss-
h.osnts Of an Inferior art. which Tor sxactituie
Of rendering would always remain. in it's turn.
s,sG
details. but in the ensembl.."
Bs:tisn LspaSs was sincere, convinced. and
mos, perfect work man skilled in all the details
Of the handling OF the pencil and the brush.
nut ss AID . +; si: Sa iAs ne.
him Put 10 be- In ne II, rrsser to The
Bsstisn Lapags from his debut to tho On d. Be:
fore bic name vas known 70 the public he said
pain. What you s I Know AND VIVA. You oys a
come from Lorralns village; shaft paint
first OF Al the peasants and the Landscapes Of
have sufficiently observed the Parisians, l shall
attempt some Partisan scenes. My comrades
think that everything ought to be treated as a
Portray; even tree Or pIsse Of st !ife. You
IS peculiar to saes. This is al my !Seory #A"'
complete, a. basis q art. Literal realism is
dues objects exactly. for that Ia impossible.
Hoibein in his portraits seems reality itseif.
them some mysterious inspiration. an undo.
Unable personal element which goes to the soul
s s.Hss sSe and
saa II: IA. ~ss% hssS q
WG" OF .he 81 all nd 70 keen
S, 81 ss
and whether ;.h In .conss OF real :" IN land
tion and what might be called reality Of .mbi.
INT :. atmo,rhers Natnraism and rHtion.llsm
is considsrsS too great for shosS Who liassr Ia In
the trs%msls Of sntiqIa,sd acsIemio iorma;
the phrases a Ia mode. and when an artist can
say that he he. painted mis- whole picture put
page" the critic 10 required to how his head
and hold his peace; The eritic: however.
Of art he seeks refuge from reality. that
in prssence Of nature hsrself 1t is tho im.
aynRtion which makes the picture. and tina
even the most interesting pisce OF nature gives
us pleasure not through the eyes alone. De'a-
dictionsrg and that t" imagine com % position
Is to combine tho elements Of objects that one
knows and has seen with other elements in the
with the nol.l under their eyes; they lake
from II or add to II. but they start always from
exterior model It IL this lack OF invention.
| OF soul or OF svnthesis-th" name matters little
external character OF Bastien 1epsge's pic-
lures. Tbore in no preconceived idea. no dom
inant soul slsmant to guide the painter and
his on y salvation is in the painful and exact
imitation OF the details which were the occa-
sion OF his nsagrs inspiration.
THEODORE CHILD.
EORELGN ZRaYEk WILL Re LLGHT.