New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1886-04-12
ART NEWS AND COMMENTS,
THE WEEK IN ART CIRCLES.

recalls movement based upon the idea which d
to diametricaly opposite results Thirty five years aso
the English pre- Raphaetes started ont TO paint nans
as they actually IT, But they not masses n,
colors but IN line detail and pictures were con-
spicuols their scrnpnously worked up details Tina
claim would probably be thst natus
cOuld photographed In coors the cOiors REPRODUCED
would be those OF their pictures. The prrRaphaees
painted with fidelity which has become rroyerb Via,
photograph would actually give. The pictures Of the
schools far apart the poles. The absurdty
OF attempt to make any one thing cover all ey
dent enough. Yet both movements based upon
tho that artists should 20 10 nature and study
carefully The exposition OF such theories Is needed As
safeguard against stagnsOn and conyentloaaisn. For
this If there other, the work Of the In
pressionss is welcome a stimulus 10 thought and d
cussion. But II artist Is to be blamed tor literally
copying lines and details, there Is surely reason TO blanc
min Tor literally copying colors which are utterly dis
cordant and offensive upon canvas IL the artist Is to
exercise right OF selection, nation and moica
tion II he Is up his color what becomes
his arf This theory OF the mrrcssioniss Is imperfect
But they evidently do sometimes exercise rsnt OF
choice. now exagcer atne, less often modifying their
colors Artists like Claude Monet and some Of tis
strong be fettcred By dogDas. and
learned Of them from their pictures than from
the bright defence OF the school by NJ Dnret which ap
pears Ia the catalogue OF paintings by impressonsts e.
| hibitcd at the American Art Galleries.
aud arguments which injure his own sde lie lays
much stress ON the influence Of Japanese art noon
IN the summer the whole coorIns OF the Landscape will
appear to you glazing Well, before the arrival
among US OF the japanese picture books, there
one in France who dared to seat himself ON the banks
Ola river tut side ~ side on his canvas root
frankly red white washed wall, green POI ar yellow
road and blue water! Before tho day oi Japan TIL,
was impossible. The painter told nothing Dnt lies.
Nature with It's fresh tones put out his eyes Nevnr did
thing his canvas bat faiei eOlOfs drowned
In general half tone" This Is very amusing, but the
POINT to be consi is whether NJ Dare really know.
what the japanese PICTORIAL art Is On this point
NJ Duret has put himself record in his writings winch
are quoted by GOnse in his L1yi JaDanlis the arts.
whom NJ Duret selects as inol"i to exempiy all that
Is best in japanese art is HOusai Ho says HoAusai
is tie greatest artist that Japan has produced emsy
ne mixed beside the most eminent artists OF our
race. His color we'll his execution have IN his
later works an incompatible ANA spendOr." This
then IL the artist whom VI. DIret and the impression.
lists, il he is authorized u speak tor thcn regard
model But now comes Nj. Ernest 7. Fenoos. pro-
lessor in the University OF Toxic, resident o. Japan
for many years whose unque stiDned acutencs, aud
knC Wedge sufficiently shown III ais REVIEW oi H.
Gou,es chapter on painting. and Professor FcaolOsa
says 1t great deluslon TO say that Ho@ual repre-
sents pure Japanese art without mixture HoAusaL as
well knO studied such specimens o. oil painting as
from time to time had been brought from Europe he
sionaly oil himself. From this practice comes
largely the badness OF his cOlornG For the first time
japanese art, he Uses dirty warm groeLs ana yeio|s
ana his blues make impure ike those
OF discolOred European paintings" Again VI. Dare!
It only since Europeans Lave placed Hoku'a
head OF all native artists that the Japane,e nave
universally come to recognize MN A. one OF tier reat
mem Professor FenOlIosi. wrItns IN Japan, Fcnak
Hardly japanese Oi culture has ern really converted
to the foreign view. Critics here Tssafd VITA amaze.
ment or aDaseneut European estimates FROM tAs Il
least as regards the qualify OF japanese which
he emphasizes AS prime factor III tDe educa'ioh ot ns
lmpiesslolsts
The truth that com positions in tones are pretoria.
than cOmposu as lines included IL the creed Of ae
M ros,loy the use OF the IL ode.t word ~plctosi,l'
may prevent tine re opening old especi
ally since IL Is readily granted ihat even an iMet>Un'
ISL should able draw accurately 1t Is not neees.
sary 30 tar back ior the Inue ces reieeted IN tls
technical OF these SITS Trey ale slow TO own
Mauet their father, but Manes theories nave had 50
much effect that he must % Recognized ProDaby
Manets mud was set work'ng in certain direction ~
Couture, ahodgn the Two soon Paiteu coml any tes
Manets ideas Of seeing nature not Ia lines ana details
but in masses OF coiors, and q" ayo!IhS dra"ii@ ana
details by EXPRESSING the values these under
went various notifications. 90 seen from his pct
Without intervening notes III. batkg,ounds were 10,
always OF inexpllcaDlc in themselves, ia
admit graiations tones, AMI despite the absurtcs
WHEN gained Tor niIn among other titles that
painter in chief Of ug less. Manet did good. he GER
tauly enforced truths regarding the relative value;
OF tones the i'm or.anc1 OF accents Of
his subjects the background III is best isnIe paint
Jugs here every part keeps ITS place ana distances Al,
expressed without la orcd drawing. lie value u ths
tones But OF course there have been mary 10
| follow Manets perversitles without prohuns BY MS
cnce of CoGrbe Ieais as he called himself, although
his fo7cibe, often brutal palntn; OF nases ald strong
local c0Crs syDpatDvtlca.iy received ~ ,he I'M
pses.lonisl As mater OF eoar2e 'ley nay. gsoa
who broke away from conventions 10 nature. Name,
Coulbet and Coiot, whom ~ Dnret gloups ua.ural'
yelopment OF this school. CLAUDE Monet is plainly no
mitator of Corot but some OF hts seine anis apes II
| lnnka At ~ lt,rpf Al
reseuIb ance OF bjects NAV dee mSleadns out one y
see in rs.rroS nenIes someihnS o, Miiets ieens,
heard when B,sten lep.se was dong MS moss
limit Yet OF these have individuality enough
to mako thur way, can DC seen py any one VINO wi
them up man by man and study All the pictures OF
present hibi,ion by Claude Monet. nslno generally
confused by the printer with na1et aud the VISITOR
must sadly lrejIdcch Who Tails 10 find aduilF1hs
work vel Is eitraN aeanoes.
The good done 10y movement Is apt ~ bo LOST
81 sn OF in multitude OF absudos which Invariably
accnlnI any it The meaningless eiorts ior olsinaly
seen Salon yeaI by year are held ny some 10 .,
sufficient contamination OF not only the work hut tho
ideas the impres-Ioni-ts The dangers OF Initiating
the,n with no reasons fo adopting tLcir manuer nave
demonstrated in exhibition. here ny artists VINO
neither OF door IL paint t!.rif nude Z es 81
landscapes. nor observed nature ei'seiy, ann snys
studio impressiOnsm was 10 say the least lnlcrlccty
artists poorly tianei OF aictcd with iearth ideas
Tue nIressionists represented IN this exhibition "oua
the better fcI course uqder Boz" niger or eroos
tney could keep their Individuality Bat when We nave
artists developed Oh all sides we shall nave |"
d
prcssnulst have claimed 10 cypress any III tneh
lectures beyond theories already noticed Inc an
moving thing OF own artists has been thss
the, have claimed to express Ideas whcn 10y hiu
nothing more show than technique. anu thls misap
ped The end OF the inpressionss is technique a. We
have sal and tbs Is equally true OF nearly al ho
French art OF the day. Including thai OF sucu panters
Mcissoper and Gerome The general Theory OF art held
by the ian Is false. We have often pOiD-i
ant hat there few French artists VINO consider
art a. be means OF expression Art and the artists
n aterial. to them one aud tho same thns bH
retnru 10 this particular school tie fact remains thd "a.
members carried oat ucw IDEAS anu nave Isiu.i
some aduIra Die pictures Thclr fOles 30 witaont az
ing A. As unrea sonablo ~ iuclude all their WolA "
uir sweeping cOuden nation "a To swallow IL "nV''
| iol,s and all.
There another addition the long list Of artists WIZ
AZ Mr. +. T. Church, saying was nave fouLu L.
at Niagara deaf" GsnouX wa, one q" te ~.
pnnt-rs Of Niagara In winter, and the last 20 essay V
i H.. fI.Au