New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-11-10
THE "MEN OF $780,"
PAINTINGS TO BE SEEN AT THE EXHlBl'
TON OF MAsTERPIECES'-N NOTES
ON THE ARTISTS.

hundred terpiecesp like tho exhibition heiu !" iaP
few years since. The collection viii renec' gao
opinion OF amateurs that tho mas.erPN0oS -
modern art are dua IN France alone. Moreover III
will represent one small group OF French pah'er'
group consisting only OF Delacrox, Miiiet' '"'o'
Housscaui Dupre. Daubgny, Diaz, DecanPs anu
Troyon In England, Germany or husfrla an eNni"i
ton ambitious IN its purpose would ihciuue 1'o
works Of Constable, Gainsborough, lurher VI
MllaIs, Leighton Alma Tadema, or haui-
bach, Ploty or Lslbach Makart. as the case might
be. But for a dozen years Americans nave De'h
devotees of French art worshlppng often pnhy, Se'
with basis Of sound reason; since we must Io"n W
the French masters for the best understanding Vi
painting painting. the most intimate hno"'euso
Of technique Yet of the French academic masters
like Gerome, Cabane Lefebvre. will DO rcpresen'eu
in this exhibition. The men whom this eAmoiuoh
honors, outside OF the academic pare
recognized only finally and reluctantly. They were
classed rebels and they are known as tne "en
OF 1892 a rebelllous year. Let US understand INC
meaning OF the term.
II this year which brought the uprising IN
behalf OF popular rights that deposed Charles X ana
place. Louis Philippe upon the throne OF France IL
therefore year f1ll Of Significance Tor 'hosc
artists who literally fighting for popular rights
in art. They had suffered from the tyranny OF inc
Institute which represented the classical IDEA IN us
extreme and IL was natural that the rcvoutionists
in art should bear the tide of evolutionary year.
Nevertheless If we look moro closely shall find
that this term has, in reality, fully as much senn-
mental as actual significance. For the year le3o
Witnessed neither the beginning OF romahtciSh anu
naturaism the triumph of tho artists VINO s'oou
for the new principles. II was GeEcaut an artist
unreprescned IN this exhibition who was the leader
the nltiator Of romanticsm. IL was his portrait u
chasseur charging, in the Salon Of 1872, which was
the first public expression of the life, energy anu
passion for which the romaniiclsts cmthd3d -
was his famous Raft Of the Mcdusa' exhiDltea IN
1919. which the first formal declaration Vi inc
principles Of the new school, Nevertheless Oer''
caul's early death and comparatively limited proluc
non left the leadership Of IOmantcism in the HAMS
Of Delacroix But IT was in 624 not 1880, that the
actual revolt began with the exhibition of DelacroN
"Nassacrc OF Sco,' followed three years later Dy 'e
"sardanapaus" which has been seen in Ne"-forN |
II was In 1881 that the romantcsis and naturaus.9
appeared in force at the Salon, DelacroM WIN MS
Iberton scheifer romantcist in his earlier years
with his scenes from Faust and Rousseau, Diaz ana 7
Barge. Or we may turn TO the naturaistc move
ment In Landscape and find that Its origin ana actVe
manifestations preceded 1880. Georges Michel Dorm
1863 thirteen years before Constable may be called
the leader IN the abandonment OF the Claudo an"
Poussn traditions and the redscovery Of natural Sue
landscape By the aid Of the old Dutch painters Pali
Iet was another leader seeker after the real poetry
OF land cape but these artists not commonly ~
cluded in the group of 1880. Perhaps these aruS's
might as well be called the " men Of 1824' SINCE Ill
that year romancsm asserted itself at the salon. ana
the French artists saw the often-cited exhibition OF
Constable Lawrence, Bennington and other thgNsh
nainers II Is frequently claimed that this exhibition
caused the naturalistc movement. 1t was stimulus
no doubt probably the best expression oil art lucas
only vaguely felt but these ideas had already FOUND
some expression in the art Of France a. in the literature
OF France Germany and England II may DO asked
whether the group commonly called the " Dlen OF
1897 includes all who deserving Of remembrance
and the answer must be that Gercault, Michel Huet,
and even Marilhat and Roqaeplan deserve |
share Of this honorable remembrance. Finally, the
idea that the year 1880 brought actual freedom 10 inc
artists Of Paris be dismissed as erroneous Louis
Philippe kept the conservative Institute In power anu
the men of 1892 driven from Salon after Salon
instead of occupying places of honor until In lo4O,
Rousseau Dupre and others withdrew nom the vain
attempt and sent nothing until the free SALON. was
ipaugrated Ia 1e4S.
The paintings by the men Of 1902 which VIII
be seen at the American Art Galleries, may not DC
masterpieces in all cases, but the collection will
undoubtedly furnish the best single opportunity which
New-York has had for intelligent study OF |
remarkable group of painters. At the head Oh tniS
group are DeacroiX, hneal descendant OF INC |
great colorlss. a of distinguished intellectual
force and profound feeling Miet, master OF truh |
I'm linear design often beautiful cooris and always
man of deep sensbility and thorough sincerity, |
and Cor0t, a true poet in his better works. an |
unc,asinc student of subtle aerial effects and
nrec,sor of the modern research into the cineneh's
of light and air those who have read DeiacroA
letters will need other assurance Vi MS HhPl'i'
devotion to his art. and those who have studlea
Delacroix abroad, have even looked through inc |
pages OF Robaut have gained some understanding OF
the wide range OF his powers. He was a mah OF
thought OF ideas and Of feeling. well as crafts
man. distinction worth remembering al uhe
when craftsmanship prevails. Bad drawing Is ono
of the traditional charges against DeaciOM' al" y
may be said again that his chief and ofteh MS only
aim was expression in color when nc chose h'
was an admirable draughtsman In large free manner,
but 1t was never pretended that his drawing possessed
academic ACCURACY There Is always B0ngueIcau ior
those who prefer the academy The coming eNhlDHloh
will otter two superb examples OF D,lacroAs treat
ment Of sacred subjects One is the Jesus on inc
Sea of Caee." boat filed with agitated figures
and flying draperies, scene of confusion ana teiror
contfasted with the calm presence, and SET
against a background of deep green The
"Crucifxion" with its vivid color accents and back
ground of gloom, Is the dramatic expression OF
tragedy In both the coloring expresses the
feeling of the scene, but 1t Is The coorlng OF an
artist who felt the force of the scene which he
ordeaycred to express. In the "Convulsionisis OF
Tanciersp the picture of frantic dcrvishes, leapng,
concerning themselves, tearing their flesh In their
mad course through the street. the colorng Is not
graduated up TO centre, but tho telling ho'es OF
rod bue and yellow are arranged Hreguaily here
and there as II TO express the intense, irregular
octo, NJ the scene. There will be other examples, |
~, hrnIlant little Gaour and Pacha," which Is an
earIv example, the Rebeeca,' which has been de-
,shed I'm The Tribune, lion and tiger and some water
co,nrs These pictures should help to bring about a
-, erstandlpg of an artist who revived the ira
d,,ions of yeponese and Rubens in this century.
In paris last summer Corot recognized the !
- -, Erench landscape art. Those who visit the
,o.can Galleries will tho great ST. sebastian"
which represents a certain recognition of conventional
49, IN the figures. while the picture was really
ra,nted for tho landscape. the vista where the de-
nartinc exocuuoners are seen. and. most of ALL the
beautiful arch of foliage above This is remark /
h,o exapnle and VIC trust II may be accompanied by