Pittsburg dispatch. [volume] (Pittsburg [Pa.]) 1880-1923, 1889-05-19

All Of the departments Of the great Paris
Exposition are not yet completed, and
visitors need not rush to the French capital.
There has been some trouble in arranging
the American exhibit, although that in the
art department bears favorable comparison.
A number of women have pictures on ex-
hibition, but no originality is shown by
them.
COPYRIGHTED By THE ASSOCIATED PRESS, 1sse.1
PARIS, May 1S.-Americans coming to
the Exposition need not make excessive
haste Although President Carnot cere-
moniously opened the Exposition on the sp-
pointed day it is, up to this writing, frag-
mentary. The steam which was turned on
as a formality was speedily turned of, ex-
cept for transportation purposes.
The great belts in the machinery palace
have not yet stirred lathe. Not one sec
ton of the fine art exhibition is
complete. Only two catalogues are
out-the French Decennial and the
British. Neither is satisfactory. Each
should have been included in the general
catalogue. So lar as present information
justifes an opinion, there is no good reason
why American visitors should purchase any
catalogue except the American, unless they
have special reason for doing so.
CAUSES OF THE DELAY.
Various causes are assignedfor the delay
in all the departments. The American
Commission alleges, so far as it is concerned,
that on the one hand the French authori-
ties have not furnished the labor
indispensable either in the prepara-
ton of showcases or the equipment
of rooms and on the other that many Ameri-
cans who applied for space and a con-
siderable number who shipped goods, have
not appeared.
1t may be necessary for the American
Government before consenting to partiei-
pate in another universal exposition to
secure the right to place capable Ameri-
can who speaks French and has
the necessary experience and tact
upon the highest board of direction.
If the averments of diseourtesy and in
justice, of vexatious disregard of reason
able comfy on the part of the French
mittee, as related to the repre-
sentative of the Assoc ated Press by
the officials, were frankly disclosed, an in
wanting in elements of grotesqueness.
This word of warning should be needed
by correspondents and specialists of pro-
fessiOns coming here expecting the equit-
able treatment enjoyed in our own country. =.
There are no complimentary admissions. 1t
is said that this rule applies unexceptionally
to all persons, native and foreign writers,
no matter how well known in their own
country.
IN THE ART DEPARTMENT.
The French art exhibit, nationally con-
sidered, is glorious demonstration of the
aesthetic instinct of the Republic
and overwhelming testimony to
the perfect friendship between fine.
art and the other intellectua1L
and moral activities of time Throughout
civilization. 1t is al age of looking at a Il
things intimately, without reverence, wit h.
out spirituality. In the more than 5, 90
works exhibited, the student will Ilot
find a new imaginative idea or
q new tribute to the old m oral,
or aesthetic institutions or ideas, how ever
dearly the world may have cherished them.
This is true not only of French art, h Iut of
all cotemporaneous art as grouped under
these resplendent arches.
The English exhibition contains most Of
the illustrious names since the time os Tur.
ner, but it is difficult to reconcile Hae land
scape art with the rich legacy left by,
that master. The figure pai nters in
the English exhibit show the com Ibined in,
fuence of Italy and France in col or, and Of
the last century of French paint ng In COM
position. The English have Nbeeu
thoughtful in not inclu' ling TOO
Hfa il
however, command universal attention.
The Gladstone of Sir John Mi i1Iars is an ir-
-eproachable performance, bel ng simple and
ree of any offense of ostentati On, but it fails
% satisfy those who have seer its subject in
lis hours of mighty effort.
AMERICAN PICTI JREs.
The American exhibit, it must be ad.
nitted, is entirely creditf Ible to national
bride if taken comparat lively and only
rom the artists way Of examining canvass.
There are in all 341 oils, the sub
ects being fairly divi ded among land
capes, figures, portraits, marine views, cat
lie and descriptive work S. The artists who
tudy in Holland and finish their work in
Paris stand at the hea d of the foreign resi-
Ients.
Among the most ,iotable are Charles
Iprague SPearee, the Harrisons, Carl
delchers and Walter MacEwen The
Americans who study everywhere and
aint at home ere not inferior to
hese in any Intrinsic virtue. So
ar as the present collection of
American works is a fair test, no better
FORK is seen here than Chase's. No more
uccessful portrait is exhibited, although
'argenrs compel admiration by their force
nd audacity.
There is no lar Idscape equal in sentiment
nd feeling to solitary work by George
mess. But with country of unsurpassed
cenery, with moral history deep enough to
ford that ideal perspective essential to art
nd with incidents to inspire legitimate
cenic ambitio n, the American exhibit may
e said to be devoid of national subjects.
WORK OF WOMEN.
In the Ere nch exhibit Of a total of 532
rtists in oil only q are women. OF these
My three can be said to show creative
orce. O'le is sister of Rosa
,onheur, another is Virginia Demont
,remont, whose artistic instinct,
Ike Bop.heur's, is direct inherit
nee. All the others are represented by
ortraits or still life or other initiative or
ecorati'Te forms Of art.
In total of 272 exhibits of sculpture, II
f the exhibitors are women. Only one
hows original creative work. Among
IA exhibitors of water colors, charcoal
ketchess, ,pastels andporcelains,2 % are women.
Among 700 exhibitors of engravings and
autographs IA are women. None Of them
xhihit original work.
MARGARET F. SULLIVAN.