New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-06-01
ART AT THE EXPOSITION.
HOW A GREAT EXHIBIT has BEEN
WEAKENED.
THE WORLDS DEBT TO FRANCE IN THE ARTS
OF DESIGN - NATIONAL INFLUENCES
woMANs WORK IN THE GREAT
COLLECTION.

OF DESIGN - NATIONAL INFLUENCES
woMANs WORK IN THE GREAT
COLLECTION.
Paris May GA few observations may be added
to what csbed last Saturday about the Art Depart
ment Of the Exposition In falling TO repress the OBJ
vious inferory Of merely initiative art tho manage
ment have weakened great exhibit AS result The
exhibition has acquired an artificial magnihcence oy
tho profuson of huge scenic works, many Of them
as large the itinerant Munkacsys and Vereschagns
not possessed Of greater intrinsic mort but generally
superior In purely decorative quality and essential
dramatic strength How positively these so-called
historical and scenic compositions dominate the enre
exhibit may be coniectured from the fact that they
nearly half Of the whole number OF works exhibited
Bearing to true art the same relation that FroudeS
historical writings bear to history-havng In history
only the tolerated place OF the historical novel IN
Gctlon-havng dimensions without dignity, processing
vertableness but lacking authenticity and sacrificing
facts to the e1igences Of grouping color schemes ana
effectiveness. they arouse the Wild admiration OF
neophytes and win the applause OF those to whom
color and action, apart from any higher value IN
paint are awesoms. Many of the works primarily
designed only the decoration Of public ediccs are
wholly above this and hayo not been, probably
cannot be- surpassed in tho accomplishment of their
ends.
It is true that some Of the hugo Canvass arc
devoted TO ostensiby sacred or moral themes. But
whether great or moderate In superficial measure
the religious works arc not spiritual
They never melt the soul nor bend the knee. Even
when a Henner paints cruGnxion, he hangs upon
the cross a placid commonplace figure. His sebastian
is meek but not heavenly. There are dozen cruel
nxions or Illustrations Of the life Of Christ, In the
various national exhibitions. Not one OF them pos
sesses 4 spark OF divinity. Tho religious nemos
are painted exactly in tho same way as the pro-
fame themes exclusively from tho objective. Not
"a ha
artist believed In his subject felt for what It rep
resents a warmer glow Of hove thai for the hat on
his dazzling cavalier, the wooden shoe on the foot
Of his peasant Mythology still holds captive tho
sculptors, but the painters have preferred To lodge
their in modern life. Only thirty-two works arc
on themes drawn rom Hellenic or Roman literature
and these are generally employed with fine effect
The cattle painters The exhibition contains
no Successors TO Troyou, while sea and mountain no
longer Command devotees IN the art IN France There
is not one good mountain study, and only thrtIhVe
IN which the sea Is studied bUr It's own charms. In
none OF these 10 It's grandeur even Sttempted
TIE JOURNALISM or ART.
A striking feature OF the exhibition the space
given TO what has been happily called the Journalism
Of art the depletion Of transtoy but actual episodes
that enter into the notation Of progress Especially Is
this to be observed in relation 10 medicine
and surgery. Tho AnecdotSge Of the age
constitutes also fAvorits thematc material The life
Of Tbs time IS presented with vigor, nicely and truth
but as a rule from tho Hppsnt and yivarious way OF
seeing the serious
The landscapes are the most numerous after the
scenic compositions. They arr as rulo, suPerby
paintNd The treatment Of Hight from the front OF tho
subject is the principle which has Informed every
work Descriptive Of nature. The painter no longer
studies nature from within her secluSion That I'm
mortal charm OF Italian landscape OF u" highest |
class that spell which Gwoks IN the breast
to
Entland, and while the artist lived estab- |
nshed. IN spite o, natural prejudice, tho truest
andsrape school OF Frsncethe principle Of Insight
has fed from tho Landscape palntlnG Il the day. The
now principle is ouisicht The word Is As now A. tho
principle but # IL veridabie. whether he paint |
nature In the OF the dawn or the pensVcueSs OF
twilight vhshsr he seek her face In The passion &"
MONDAY tho tranquility Of the stars, tho French
painter must have hsr elose to bis eyes, he must
touch her with his hands, his Alps must sweep her |
forehead. lie gives landscapes, therefore, whose !
far turo by the VEN excellence OF iis artsanShiP
arDuses In moro delight than the theme its"lL. We
forget the great mother In the absorbing talent OF her
son. Tho popularity of even spurious torulS aud |
Rousseas Is better understood when dssecrns how
utterly fed IS tho pet from tho atEllers Of France
Farturr Il tho god OF the age. Passivy, beautiful IN
difference Of sentiment stiffness without TepoSe ar
~ uon instant and theatric animate those admirable !
landscape Their superlRtyeness wears ONES power |
OF appreciation 70 Tue very bono. munger aud t''lN'
for the older school become consumiHg !
Ono crosses tho threshold OF the gal /
lerics of Tho Louvre 20 rest ones spirit IN III" /
lands Of Claude Lorraine, half dozen OF whose
works possess moro than a thousand peIn air
achievements. There 10 In the French sculpture nor"
ur less OF this worship Of execution, but II Is not
SO despotio and exclusive In the painting.
Indeed many OF tho sculptures not so noble IN
idcly they arc admirable tn design That per
feet definition Of art, high maglnson Com6incd WIN
s,At laid duUu
amGro3 descrHes only in hat hS ar, Of Franz r.,
to be dead in trance the world over 10 ltcrligc
noarly all that valuable IN tho arts Of design a. they
are now prsctsed
THE INFLUENCE. or PARIS PARAMOUNT.
Next In uniformity OF excellence we'll as IN pr"
served indvldual!sIn, comes the art Of Holland It,
Influence Is struggling with that OF France In the
ttlo group Of German worlO pathetic In tho meaErc
moss OF their number and tho suggestion OF the cause
1f their nehiciency National representation but
assessing genuine and great virtue both in theme and
treatment scandinavian ART shows something OF this
struggle also but tho influence OF Paris Is paramount
Fully half Of the painters whose works arr In tho
sections designated sweden, Norway, Denmark
,wltzcrand and Greece study and paint IN Paris.
The evidences Of their national fealty not elmi-
mated by this influence They choose for the greater
part themes Indicating their respect for their own
AT Of Holland ases above influence Of the French
md while equal in factne, Is, In many Instances, SUI
Donor IN idealy. Belgium presents larger mum,
ser OF works than any other foreign country, and
While their excellence Is not 50 uniform, the art OF
he country must be rated fully abreast OF thot OF
Prsnoe in variety of subject, whllo It Is superior III
attic painting .,-
The English exhibit contains the most illustrous
ames since tho time Of Turner But II Is difficult
% reconcile IT'S landscape with the rich legacy ft
" that master and his cOmpeer The employment
4 C0nstable I'm his fathers bsIness-hat OF miller
70 doubt dlrr ted his observation AZ claimed 10 mo
tudy of clouds Az was his special duty 20 watch tho
banceS Of the windmill. In the days when he vas
alDtng IL might have BEEN said that given The same
uJsrape the Dutch artist would have made The wind
Mill the centre. and subordinAted his composition 10
I: the FrcnchmRn would made the mliler,s
tho cen re and introduced city gallant with
nduchve address and fashionable attire. and the Ems.
ish psIntrr would have subOrtinatcd the wind
NH and the family IN the beauties OF the earth and the
M slu - - at.H All tbIs tE changed The Dutch