Morning journal and courier., 1889-02-26
AT YALE ART SCHOOL.
Two Recent Lectures on French 4

Two Recent Lectures on French Art.
 Prof. Hoppin's excellent lecture on Feb. 12 commenced with interesting statements con- their studios which he had the pleasure of visiting, and went on to discuss briefly the query, t.Is artistic talent nationalg'' Following this he gave some reports of conversations among the artists which con- tained much of special interest to the stu dents present. Bougerot was represented as having far more genius than Boulanger. Remarks ensued upon the academic system of instruction, which was stated to be 8 broad one. Art in France is thought to be worthy of prominent place in national in- struction, and man in France is not con- sidered educated unless he has acquired some knowledge of art. To be an artist worthy of the name hard work, long continued, is necessary.
 Then followed fine critical descriptions of pictures in various European galleries, en- cravings of some of which were placed be- fore the audience to be examined after the lecture. French paintings exhibit freedom of character. Art in France takes histori- cal rather than religious form. French artists cannot excel in religious art, though France has produced great saints as we'll as great scientists.
 The closing portion of this lecture seemed unreportable, because of the glowing descrip- tions of pictures, and nice distinctions made in criticisms of artists and their productions. which need to be heard as 8 whole or given without mutilation, in order that justice may be done the speaker or theme.
 This also may be said of very much ot the lecture on French art given by Prof. Hoppin on February 19.
 At the commencement much was said of ~ zc r n His "Death of Cassar," "Guard of Louis XIV" ssMo1iere Breakfasting with Louis XIV" Zone of the Stebbins collection recently sold) were especially mentioned. Gerome's subjects seemed to be mainly from Orient life and scenery or French history. His not a natural painter. His paintings are such as are born ot his knowledge. There is in them no simplicity like that of the morning light which shines each day, or the evening shade which gathers round each days close. The design is perfect in the artists imagina- tion before it is put upon canvas. He is superior in archaeological knowledge. His picture is accepted by all It fascinates. He stirs us by his learning.
 He makes our thought by his manifesto tion. He is lawless in his subjects, but not coarse He verges upon the sensuous, per- haps even the sensual, yet we are forced to look upon his pictures as works of art, as we look upon Greek statues. He shows the penetration of 8 subtle detective who lays bare 8 crime. His moral tone certainly is law, his morals hard to make out. De Ia Roche was 6 much greater and more conventional artist. He never could have painted some of Gerome's historical pictures He gave the ideal of the classic style varied by his own genius.
 Here followed somewhat minute descrip- ton of the coloTing of French artists, which gave evidence of much knowledge of technic- al natl ard hav specially valuable to the students present. The question was then asked, What high lesson has Gerome taught by his arta Has he done any more than to strike on the sensibil- ities of those who view his picturesl His tone in many cases is decidedly low, pagan and immoral. This is the character of much modern painting in the French school of art. The lecturer then called attention to what the modern French school has done in relig- ious art. It has it's painters who paint mis- sals, windows, and the like, but the Catholic church has not seemed to have it's usual in-
 duenee on French artists. This was express ly true of Aug Scheffer, who was compared to Overbeck, of Germany. His "Christus Consolater' is equalIed by Holman Hunts "Light of the World" His picture of "The Temptation" is altogether void of Catholic symbols.
 Here followed another fine but unreport- able description of various paintings
 Among the crowd of frivolous painters Bougerot may be considered @ religious painter. His "Virgin" and "John the Bap- fist" were mentioned as examples of this, and his "St Cecelia," which was exhibited in the last Salon, as powerful picture.
 'sThe First Affiiction" was described, Adam holding the dead body of Abel in his arms. A man must have gone down into his own soul for the primitive emotions to least decent and pure. The religious art of the sixteenth century cannot be that of the nineteenth.
 Christianity in the first ages sternly op- posed art, but when it was seen that art was neither Christian nor Pagan it was taken up.
 A description of the "Good Samaritan" showed that while 1t was realistic it was painted with reverence. Other painters were now mentioned, Dore especially. He missed being great painter by letting his fancy run wild as designer. Allusion was made to the Dore gallery in London. He was dramatic scene painter, rather than fine artist. Muncacsy was also mentioned. He then spoke of the new departure of the French school; the military representations, landscapes and real life. But some style this new departure a decodance. France has been the leading warlike power, and that has nourished military painters. These painters felt the rebound of the cannon shaking the world, in their silent studios, but this could not make them painters of genius. 1nef6 are acres or eauVas, at Ner- sailles representing military scenes. Vergne and others of his school have been succeeded by artists of more genius and power. They seize with the eye of genius upon fecal facts, upon salient points. These episodes rise sometimes into moral impress sions, thus advocating peace by these terrible pictures of war.
 The picture which took the medal of honor this year was "The Dream," illustrating 6 scene from Victor Hugo. Soldiers dream of the land they love while they are sleeping on the field upon the eve of battle. The picture Is half real, half ideal; the home is pictured in the clouds.
 There is ample and pleasing field of French art-its landscapes; heIe the artist must woo nature, here is infinite variety. If there were nothing more to see or learn nature would close it's book and there would be be nothing worth living for. The landscapes of Claude Lorraine and Poussin never existed; they were ideal. With smaller painters the reps resentations were hard and dry. Reference was made to "Chataubriand on the Seashore."
 The influence of Turner is supposed to have been great on French painters, but it is far more likely that the Danish and Flem- ish artists had an influence. Here followed an eloquent illustration as the professor painted in words September gale which he witnessed on board ship in mid ocean, when the lightnings flashed, and the sea roared, and a sense of the power of the truly sub |
  art is weak to represent natures ssthetics.
 Then in like eloquent phraise he painted quiet picture of sitting by his window, ab- sorbed in reading, when a slight noise drew his attention to the golden shower of autumn leaves. No Peruvian mine ever revealed such torrent of yellow gold. Nature is a delicate painter. She paints the finest gold, the coolest grays, etc. Even the desert has beauty, and the sand dunes of Holland and Nantucket have their beauties. The Aattest landscape, where there is to be seen nature's play of colors, has beauty all it's own.
 Notice was then given that the next lecture Feb. 26 would describe the modern school of the realists in France. The future of art will be greatly influenced by this school, it's theory and methods, in one way or an- other.
 OUT AT THE LAKE. About Two Hundred Enjoy Skating