Fort Worth daily gazette. (Fort Worth, Tex.) 1882-1891, 1886-06-13

the painters, having FEWER ordeTsi McI'
better able 10 spend themselves on theii
Salon pictures.
This may serve fairly enough as an ex'
PLANTATION Of a certain technical superior
ity, not very obvious and yet quite per-
ceptlble. At his worst the French
paInter knows how 10 paint; he has
learned his trade. In his stimulating
study Of MIR. Watts pictures, Mr.. Il. Mil
let, one Of the most versatile artists and
one OF the most accomplished Of art
critics. declared that the virus that
poisons the art of Europe, and which Is
vitating taste 10 America, Is "the cry Of
the ultra.radicals In art that anything is
worth painting II II be well painted" and
he notes that the American artists who
studied abroad found excellent instruc-
tlon in the technique Of the profess
sion, but 'haye commonly neglected to
pay any attention 70 the requirement Of
a knowledge Of what is best worth while
to paint IL 10 here that the improve
ment In the present Salon is indispntable.
The pictures shown this year are perhaps
now aud again little better painted than
usual, but they were again and again
! better worth painting. There are fewer
! trivial anecdotes and more inspiring
| themes. There is an evident effort to-
ward the grand style--an effort not al
ways successful, but none the less merito-
I rious in the present and encouraging for
| the future. There Is broader sweep
and higher flight than one is wont TO see
IN the Salon, where prettiness and clever
ness, chic and technique, most torcibiy
smOte the eye Of the impartial observer
Perhaps the chief credit for this change
1.-The Importance of which | trust | am
not exaggerating-is due to the recent
frequent commissions for the decoration
OF the vast walls Of various public build
ings. Here Ia these mural cartoons the
prettlness OF the ordinary parlor picture
were out OF place, and the artist had per-
force TO attempt style simpler and
grander. Obviously enough there is
often stralning and standing on tip
toe; but art will be all the better for the
attempt and the effort. And IL WAS high
time for reaction against the
ultrR-reallsts OF art, as Mr.. Millet
called them, of whom Courbet was
a leader. Courbet wanted to limit art, in
the name of freedom and progress, for he
declared that no one should paint thing
he had not eeen with his own eyes NJ.
Rocheiort once heard him say TO young
artist 81 could paint an angel, too, but
nobody has ever been able to show me a
single one" theory like this, II man
rides Il to death, rules out the mag
nation and turns painter into maker
Of colOred photographs,
II Is perhaps the lsaven of largely
planned mural decorations which makes
this Salon seem more wholesome than
other Salons have seen of late. OF
these large pictures painted to order
there are one or two in nearly every
room OF the exhibition, and
the central hall at the en-
trance Is dominated by three Of
the most important o. all, painted by the
man who Is most thoroughly in sympathy
with the spirit of large and ample
mural decoration-M. PuVis de Cna-
vannes. In his first Figaro criticism M.
Albert Wolff reported that the word
passed about among the artists that this
was "the salon of Puvls de Chayannes."
Certainly these cartoons are mastery in
conception, in composition and in draw
ing; it is only in color that they are deli
Client. And so mcager is the scheme OF
color that one inclines TO the be.
lief that the artist has restrained
his palette of malice prepense.
Two years ago NJ. Puvls de Chavannes
exhibited huge panel, ode Bots sacre
cher aux Arts ct aux Muses." intended
for the staircase of the Museum Of Lyons,
his native city. To this he has now add
ed two kindred canvases, "Vision An
tiquen and Inspiration Chretienne," one
OF which Is held to symbolic Form as the
other suggests Sentiment. The Tnspir-
alton Chretienne" is as simple as It is
maSterly-the adjective recurs inevitably
In the cloisters of medieval convent,
with glimpse OF cold, dark trees beyond
the wall OF the courtyard, stands cowled
artist, in rapt contemplation of the
treaco on which he is nj work There
Is little group behind him, silent In ad-
mlration, while on the other side ton
sured monk is setting lamp before the
image OF the virgin. To subject like
! this the cold and hard and classic style OF
NJ. Puvls dc Chavannes is exactly suited
while for the "Yision Antique" one can
not help Wishing more Joyous color and
a more vigorous humanity.
| As though to emphasize the poverty of
M Puvls dc Chavannes's palette, there Is
hung over against his pale cartoon the
most richly colored picture in the Salon
the "Justian" OF M. Benjamin Con-
slant. Here Is canvas which CLOVIS like
= stained-glass window. II is riot OF
Byzantine warmth. Yet it is orderly and
dlgnlfled, 1t represents the emperor
ON his throne in his palace with his coun-
selors beside him discussing an obscure
point in theology with shepherd who
has sought an audience. M. Benjamin.
Constant has spared no marbles nor
precious stones, no jewels or cloth.of.
gold, nothing, In short, which could add
to the splendor Of the scene or give bet.
ter idea of the material glory of the lower
empire. Yet the picture is decorus and
selt-restralncd ana self-respectug. There
is general Impression that the prix iu
salon win go either to M, puvis de Cha
vaunes or to Nj. Benjamin Constant.
j, IL Is not Ii tie difficult to see what
o.her pictures there are In the salon to
J dispute this prize with theirs The gen.
eral level OF the paintings is higher than
usual, but for that reason, perhaps, there
are few salient pictures. NJ, Homer, an
"orphann painted from the same model
as his "Tabiola" In the last salon (and
In the Morgan sale), but lacking the
charm Of that most captivating profile
Nj. Gerome has Napoleon on horseback
looking at the Sphinx, and he witt ly calls
II "Oedpus;" in order not to withdraw
the interest from the central figure, h
repeats the trick In his "Crucinction, y
/ nrnfanf9 M ,..T.. 4