The Portland daily press. [volume] (Portland, Me.) 1862-1921, 1888-10-20
THE cURRIER EXHIBITION.
An Analytical Criticism by Professor
johnson, Of RowdoIn College.

The examples of Mr.. Alger v. Curriers'
work, now on exhibition at the Stubbs's
gallery, are of uncommon interest. The fact
that Mr.. Currier was born in this State
would of itself constitute a claim to atten-
ton, and is a sufficient reason for our some
what closely following his development as
an artist. His training has been entirely out
of the State, If we except his studies in the
rudiments of art. The faithful, patient In:
struction Of his teachers in the Boston Art
School, especially Of Professor Grundmann,
was plainly evinced in the character of his
drawings and paintings exhibited in Port
land not long after he had finished his
course in the Boston school. What he had
accomplished was especially promising for
showing, besides his natural aptitude, a
technical strength which was the result Of
limiting his efforts strictly to laying the best
foundation. His good sense in this particu-
lar has stood him in good stead also in the
course Of his later work under his French
masters The studies in oil in the present
exhibition were done under the direction of
Duran for the nude and Of Blanc for drap-
cry, each an unexcelled teacher in his
speciality. Mr.. Curriers' drawing through
out is that of a finished artist, and he is
never careless. His studies in oil, il judged
as they should be, simply as studies in tone,
show an unusual mastery Of the effects Of
light and local color, and indicate the wide
range of his technical power One of the
surest indications of his success is the fact
that his work viewed together is not mon
otonous. His feeling for color is pleasing.
Although the range of color in these oil
studies, taken as a whole, Is wide, in any
particular case we find the effect produced
by simple and direct means and with sure
hand. Especially noteworthy for its strong
drawing and character Is the Arab, No. 3S,
also the drawing and the management of
light in No. u, the charming general effect
of the figure in pink, No. 2. 1t Is interesting
to compare Mr.. Curriers' study of an old
man, No. 80, with Bonnat's well known Job,
the same model having sat for both
Mr. Curriers' water colors, made under the
instruction of Fleming, are of marked
breadth and simplicity. They show the
same bold treatment and free handling man.
ifest in Mr.. Curriers' more serious work In
oil. The standing male figure, 2S, is worthy
Of special notice for the drawing and pose,
also 80, the figure Of young lady in red, and
the mandolin player, full length. OF these
as of Nos. 1854 and 1855, the highly finished
water colors exhibited in this years Salon, it
by the studies in oil of the same date.
Passing from MIR. Curriers' work under the
immediate direction of teachers TO his in
dependent paintings in his own studio at
Paris there IS to be observed a significant
change in the emphasis laid on the different
qualities of piece of work. There is the
same careful purely technical skill but an
increased attention to expression and char
acter, the promise of success in which was
perhaps most obvious in the study Of the
Arah'c hQQd His fret indanan1anf fnk
ing after school work, that Of the young
Corsican girls head in profile, will bear the
closest examination. Mr.. Currier has evil
IDENTIFY drawn in this case almost to over re-
finement. The models face was one of
marked individuality and type of which the
portrait gives unmlstakable faithful evil
dence. Il is beautiful picture in itself, aud
not easily forgotten.
His next portrait, No. 81, is that of rath-
er voluptuOus head. The rich red back
ground and the abundant dark hair are in
excellent keeping with the sensuousness of
the dreamy face.
The best portrait in the exhibition is the
one which MIR. Currier next painted, that
numbered 677. We should not need to have
a high opinion Of its excellence certified as 1t
has been by the committee of the 1888 Salon,
who accepted 1t and hung it ION the line."
1t is especially worthy Of note for the fact
that 1t was painted without preliminary
drawing. IT'S technic is of mastery SIMPLE
strong impression Of directness with nothing
superfiuous or distractng. 1t Is full Of char
acter. The satisfied old man could serve as
type Of his native Southern France.
The following picture, No. 676, Deesse,
was likewise in the 1888 Salon. The subject
was chosen for its difficulty and as affording
the severest test of an artists ability. Mr..
| G. gives in it the sure evidence Of having
mastered the all-important task of painting
| flesh. To make background Of white was
| a hazardous tour de force, but 1t is brilliant
| ly successful. The modelling of the left
| knee is especially fine. In this
case, as in all the other work,
| of Mr. Currier the sentiment Is pure and
| with nothing of the debased feeling some-
| times observed in native French art The
| photograph by Braun fails to give an ade-
quate notion Of great deal of important
| detail.
| His latest work in the exhibition is No. 80,
| the Mandolin Girl The spirit Of the scene
| has been admirably rendered. We can al
| most hear the simple air which the un-
affected, unconscious girl is playing for her
| own delight.
The significance Of the present showing
/ Of Mr.. Curriers' work cannot fail to become
| known. 1t will be matter of deep regret IL
| an artist of his power should have to leave
| the State Of Maine for lack of appreciation.
HENRY JOHNSON.