New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-10-25
RECENT ART MAGAZINES.
THE GAZETTE DIES BEAUx ARTS AMI
1.-THE PORTFOLIO"


Rpe and applied arts at the Universal EAposi'ivi
French painttng IS discussed by NJ. Paul Mantz the
toreign schools by NJ Maurice Hamel, the exhioiuoh
OF drawings of the past century by the MARQUIS oo
Chennsvures sculpture by NJ Michel, ana appheu si'
BY Henry Hazard and L. FaliEe lhcso a'uoi'e
represent the careful estimate OF specialists anu 'neir
va,ue Is self-evident OF Baryc's drawings NJ de
Caennev,,res writes: Hero is the master IN all MS
van,ns for study observation, indication and instant
in,epretatton 1t is made of nothing : that old lion
IN repose under his royal name, these tigers touchco
with thousand spots as by Japanese arust, anu
these supple serpcnts whose verebrae and unduiauhg
lines he has marked with crayon full OF color and
life that one seems to the vevcty skin over the
ouiyering skeleton and these other lions which make
ms think without willing il of the most beautiful hons
Of Rembrandt that the Louvre show" The speciai
drawings referred to were those shown ON he eraiu
stairway of the Palsis de l'Industrie. Doubtless
some Of BaIye's first hand drawings made az 'oe
Jardin des Plantcs win be shown at the coming GA
hibition in this city.
In his discussion Of the American Jewellers An'
slversmiths' work at the Exposition NJ Balho' :"
the August number, devotes himself almost 'h'A'''
to tho exhibition of Tiffany g. Co. NJ
The house which best sums up this s,rsnso' We
ouctins novel character Is that Of Tiffany. IL mo
remember that in 1878 it brought us n9 forms some
hammered work. crackle work. ana ma a. piargest
and noSest examples has finally spreasa TO an c .no
minor trade of Paris and Vienna; Tiffany az TO 70
with their great ssom bs eShboD as great from
the last Have they suceecdedY PUBLIC or op and
says no. R e1Ps Sn2 men Of the world and Of trade
saw no. and l. persist m finding Desuliui, nd some
curious tns aa.e think with me- Their work Is not
louis XIV this time it is comonanV,i VI ,ooTc The
sor,n which n Is not easy to define MI -hVole' ,his
bis VI The art department readily SAYS that ms
the %ssracenc' style while sh1uG i more Dot AFRAID
eau ca had nun. 1t is wise and almost uncSnsco o,
COMBINATION of all that Mr. Moore ana , MS
a IDsaps and from themselves in the last thirty
wears There is little of every thing some s6IS 70
nciSapS some japanese moiodme, some eHnea
work some repousse work, some engraving; ~
va y,aried natines But these are only means. ~
an tbem into practice it necessary 10 ma , an
Unnamed form Mr. Moore has composed IT, s wiIlv
nrneipe Of architecture There no dry point nc n3 ~
any moulding His models ,: are and ,hf soWers ike GER
IAN Jananese vases of round and tul oulnes IN tho
But instead of mounting sHch ~ iU tbn reposseur
potter's wheel 1t is the hammer OF Ine he cbisel
yybich heats them ont the silver cles
dcOes them and the fSn Ss have "a e anayzed The
ornaments are taken from the Indian dofa ft n the
collection Of the mos, is6SSTue 60 complete that the
eve cannot unrsve the interlacng Ihey sau MV 3;
or horn, they ncr'T scales OF 81 Which we give
he desirn is with another vase. entirety maae III
be goldsmith ought honestly to Tecognae t ina,
these workmen artists and thai Wna'eTsr ye es
hove lear
h%To tse Japsnese or the Indians that they obtain
ihis they do in manner absolutely remarkable ana
pcrectb rcs arc the onposito Of his theory This is
Ia him naiuTasm. which inv9eS handciaI., 10
the poweressness of the artist to do better
hates the mysterious Indian, the t neI Grent
tom He has for these hafsavages the superb dis
dan Of Louis XIV for the Dutch nagots Between Tsp
workers returned the traditions Of the eigheenth
century these sculpOrs who OVER their zoos 10 d
strafpp OP
these new Americans. who dissolve in silver me
Juice of mysterious plants to modify IT'S aspect anu
color, the public Will choose
NJ. Havsrds study of furniture in the October
Gazette closes with the familiar complaint OF lack OF
true invention The skill of handiwork is prodigous
The creating impulse remains asleep, and then they
complain that our artistic influence is less preponder-
ant IN Europe than IN the last century. The contrary
would be surprising lndefatigable inventors as
we We're We are become, in forty years, ingenious
copyists and why initiate us, since the original modes
are there and all the world utilize themf II for
many years remained In the realm OF taste the
legislators of Europe. TO borrow Voaires term, IT is
that at these privileged epochs French art, nourihed
on actualtes, had the precious merit OF expressing
clearly the general preferences OF those for whom IL
was destined and II IS tho condition that 1t must ful
anew If we bold that France is 10 continue 10 be the
arbier Of Europe"
The principal plates published in the last quarter
are Mile Louise Breslaus clever dry point after
her study of figures against the light Guerards etc D.
Ing after CorOts painting Of the bridge OF ST. Ange al
Rome, and Desboutin's admirable dry point after
Isracl's Toeis of the Sea- These are accompanied
BY several full page hcliogravures and more than the
usual number of minor Illustrations
In the October Portfolio Mr. Hamorton furnishes
suggestive example of judicial criticism, which de-
serves the attention of artists and Of the nonprofes
sional students of current art. Mr. Hamerton recalls
the recognition of intellectual ability In art which
he says-speaking probably for England-began about
the middle of this century But as criticism became
more Intellectual there complaints of the
nindlessnsss of art To these complaints the artis
might reply: "The fine ART that seems mindless tt
you with your literary ideas, has required for Us
production a considerable exercise of mind in ways
that you know nothing about The picture that ap
pears TO you simply silly, because you are thinhnt
OF the mere title in the catalogue, may have cos
much thought in the attainment of pictorial QUALITIES
such as drawing, color and composition
"This defence would undoubtedly have considerable
weight with every one who able TO appreciate
the purely artistic elements in art He would %
aware that apparent frfvOhty of subject may &c
along with the most intense and earnest application
of the artists mental powers though he makes
no appeal 10 those of the public. Criticism ough
always TO accent artistic merit as an evidence O.
mind . But now comes the question whether modern
art does generally exhibit the peculiar KIND OF menta
activity that is to be expected of a painter Tit
answer Is that much Of IT does not. The mental &C
tivity of painter is shown first in the selection
a good pictorial subject. and then In the labor o
invention. His thoughtfulness shows Itself in th'
delicate and subtle art of composition, and in th'
re1nements of style. Instead of that, the tendency
modern art. especially in France, is to present SOM
fragments of ordinary nature taken just as 1t happen
without any thoughtful care either about selection
or about style. The artist cares for something, o
course, and that is clever execution which is no
BY any the same thing STYLE
In word large number of the younger artists
are painting studies a large scale, and studies
Of the simplest and most unnteresng subjects which
mn nccasion for thought Of kind