New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-01-29
THE sTEBBINS COLLECTION.

OBSERVATION-DISCLOSURES -FORTUNY-DAUBIG
The eighty paintings which form the collection OF
Mr. James II. stcbbns exhibited In tue American
Art Galleries under the most favorable conditions
Tho abundant wall space has permitted The isolation
and draping of each picture, an arrangement which
helms the study of special examples and also con-
tributes TO eject Mr. Stebbnss collection Is IA
n,ilar 10 the amateurs OF the city and the general
pubic have been able to form some idea of It's scope
from recent discussions OF tho superb catalogue
This is collection Of cabinet paintings represents
Ing the accomplished technique of various French
and Franco-Spansh figure painters, whose reputation
In most cases has been earned by their consummats
executive ability II would be unfair 20 quote the
dealers phrase OF ssable" or POPULAR as sum-
marking these pictures for that phrase is often ap-
riied to ~alnings which the present collectors taste
would repudats This collection represents painting
Ia mode, but It win be seen that the collectors
Judgment and expcrience have justified the mode,
OF least from his point Of view. There are ihose
who hold TO artistic, paintings. nothing. bat their
creed Is narrow one. Even II this collection
shows little painters painting beyond the Fortuuy
and Daublgny It offers. nevertheless, remarkable ex-
hibon Of finished design and often Of design which
is the expression of apt IDEAS Mr. stebbns has Illus
trated admirably the results OF two centuries OF
academic training supported by paternal Governmefk
Nowhere has this system been maintained so long nd
so thoroughly In France, and tho conscqaenrs
is an inheritance OF discipline which has justified tia
well, so far as the mere doing Is concerned OF
this transmitted doctrine Of discipline Gerome. as We
know, has been a conspicuous exponent, but Gcrome
has shown himself satirist archaeologist and historian
as we'll as painter. SO far mere painting is con-
cerned 1t may be questioned whether the science
shown I'm many of these pictures is not often under
rated. That accuracy OF line IS vuigary over
priced have had too much reason 70 know. but
cn the other hand the thorough training and patiens
study which are behind the work OF the French aca
demic painters form substantial foundation which
can be Ill ignored. Those Of US to whom the moral
Is inapplIcable must recognize the special per
lection Of work done by Messoner and Gerome. even
though the message OF the artists seem COMPARE
lively inconsequenfaL
Yet those who know Cerome at his best
have learned to expect an idea behind
brush which has been often welded Ike the pee
Of JuvenaL Every knows the cold cynicsm d
the Il Slave Mart" the dramatic contrasts indcsth
with so much repression in The Duel After the
Masquerade and the satire implied IL the painting
Caesar murdered among the trophies of his conquest
Sometimes Tho painter becomes brutal, never symra-
thetic but HIS keen satire rarely misses its mHk
The Cray Eminence" in this collection Is In e'ery
way fortunate example, and the Mo!Iere offer an
other cold automatically exact illustration q n.y.
pocrisy and hardly suppressed malice. In each ease
The story may be read ats a glance. The Supreme
arrogance Of the Grand Monarque as he turns to the
discounted courters, who, according to the lte Mme
Campan, had refused to share their table with the
comedian Moere,-the dissembled wrath Of these
gorgeous satellites and of the attendants upon tho
royal table, the suppressed rage Of the Archbishop.
and the cool, hafdefant, halfhumoroDs expression
of Moliere are all set forth with singular vvidncss
and precision The artists treatment entirely dis
passionate His satire is the logical outcome OF
merclless scientific analysis. Gerome's art may be
properly called objective, but It IS certain that his
figures fill their parts Their surroundings are De
pIcted with equally painstakng fidelity. SO far as
mere execution is concerned, tho accessories arc as
important as the figures, for the brllsncy Of the
clear red the gold yellow and blue Of the splendid
costumes which the black Of Molicres dress serves
as a foil. The table napery and the ford decora-
tions Of the Versailles apartment furnish effective
bits Of still life painting, extremely clever of IT'S kind
This picture painted in 1852. is preceded as regards
the time OF action by the Gray Emnence," painted
in 1874 The latter takes us back 10 the first quar-
of the seventeenth century, when Richelieu, nd
Louis XIII. the true ruler Of France. Here
another demonstration Of tmeserving hypocrisy In
the figures Of the courties and priests bringing De-
fore the baretooted CaDuchn the familiar OF Richeeu.
he descends the stairway and scoylng at his back
Nothing has been lost in the stud OF
the splendid group Of couticrs, or OF mo
arrogant humility and felgned indiferepe Oh
the sombre figure the capuchn's sad colores robes
and cord The scene is laid upon the grant stair
way of the palace Of the Cardinal, whose GINS are
bIazoned above the landing, and the ACCURACY OF tho
architectural designing alone deserves passing man.
ton. This picture is the larger OF the two and
probably the better known, but 1t would rot DC easy
to mako an unmpeachable choice. Germes place
will DO with the great colorists pr with the
masters of personal design with hesympatheuc
painters but in his better work he has accomplished
what ne proposed 10 himself, and such rudton, vast
industry, science and command OF resources will never
be so, common that they may be safeS ignored. Ok
such qualities these paintings furns admirable IL
all zfo II
apparent in the work of Gerone's recent years
So far as industry and sciene are concerned
Messoner might be placed before Serome, II IL were
worth while 10 compare two records OF phenomenal
activity. But the comparison IS not necessary, nor.
is Il needfu 10 insist upon the Intellectual nferorty
OF Meissoner's art. The Gaue LOST dated 1868,
is of the many painted In one sense for the sake
Of painting like the pictures of Meissoners masters,
the old Dutch genre artists The scene Is high
barraek lighted on the left, With two
soldiers seated al the card table and two Others
watching the CANA The picture tells the familiar story
OF approaching triumph and anxious presage OF de-
feat, story rad with all of Meissoniers enspness,
yivacity and pint The pIctlre represents an ex-
celent period In Melssoner's art and the execution
worthy illustrates the master OF the Innnl,e nd 81,
colorng somewhat forced. Perhaps the same mghs
a smS Sa Of q nauro painting executed with compare
tive BREADTH The water color Captain OF the Gsari,
srs, "a altonsh the likeness to the bearded Messones
OF recent years Is but slight 1t IS an expressive
and Characteristic figure which the artist has set before
us and Aere as in the black and white study OF armor
the OF the medium arrests attention The lat
ter which recalls Jacquemar Ia its absolute truthful
ness night be taken Of the minor triumphs OF
discipline In art
Foe painter-llke quality alone We might readily
give precedence the examples of Fortuny Dau
6gry and Troyon 1t was in 1862 at Rome ths
FoItuny consented a caprice and experiment %
resume for time the fe-slze scale of painting,a
method he had not employed since his studies ior
the Battle OF Tetuan.H The result was this lEgo
portrait Of the wife OF the Secretary of the Spash
Embassy at Rome. The subject IS represented sand
Ing erect and even apparently inclined slightly lack
ward. The hair and dress are black, the face ana
hands Of creamy white. The figure Is well relieved
against background Of gray and olive green Inere
Is white at the wrists and throat and coral as'vhhs
down the front OF the dress furnish relief BON the
lustrous black The right hand lightly holds iola Q,
eye glasses attached by gold chain. Thes, various
details aud the lights and reflections impaE variety
and vvaclty 20 the broad surface o oack, =
surface in itself remarkable for the exIresson .,