The Memphis appeal. [volume] (Memphis, Tenn.) 1886-1890, 1889-05-19

PANS, May 1S.-Amercans coming to
the exposition need not make excessive
haste. The great belts in the machinery
palace have not yet stirred a length. A
movable railway which was laid all
through the grounds was taken up on the
eve of the opening to clear the paths and
add completeness to grounds, 1t has not
been put down again.
THE FINE ART EXHIBITION
is splendid feature OF tho exposition.
There is retrospect OF French art from
1870 to 1885, and centennial exhibit sup
Elementary to it which is composed of ex-
hibits of the arts OF France for ten years
and the living or recent art OF foreign
countries. There is also an exhibit of
monuments, designs in enamel, fine me.
tallc craftsmanship and engraving upon
wood. The French exhibit, as might be
expected, is brilliant The entire exhibit
ton, with the exception OF certain distinct
qualities in tho art OF Holland, is
evidence OF homage TO the supremacy OF
France. Tho French exhibit, nationally
considered, is glorious demonstration OF
the esthctlc instinct OF the Republic and
overwhelming testimony to the perfect
friendship between fine art and the other
intellectual and moral activities OF time
throughout civilization. II is an ago OF
looking at all things intimately, without
reverence, without spirituality. In the
more than 5000 works exhibited, the stu
dent will not find new imaginative idea
or new tribute to the old moral esthetic
institutions OF ideas, however dearly the
world may have cherished them. This is
true not only of French art, but of all
conlemporaneous art rs grouped under
these Respondent arches.
THE ENGLISH ExulmrIoN
contains most OF the illustrious names since
| the time OF Turner, but II is difficult TO
reconcile its landscape art with the rich
| legacy left 10y that master. Tho figure
painters in the English exhibit show tho
combined influence OF Italy and Franco in
color, aud OF the last century OF French
painting in composition. The English
| have been thoughtful In not including too
many portraits. Three portraits, however,
command universal attention. The
| Gladstone OF Sir John Mllais IL
an ireproachablc performance, being
simple aud free OF any oilcnsc
OF ustontaton, but II fails TO have seen itc
subject in his hours OF mighty effort. The
face which lights up like mountain at
sunset, when surprising intelligence Is at
work, Is here weary and depressed.
Ouless's portrait OF Cardinal Manning is
disappointing in wholly different way.
| The Cardinals robes arc made greater
than the Cardinal, whose thin aud majcs-
tic figure is best seen ia the tbreadbarc
soulanc OF his house, and the elevation OF
his character would have been better dc.
pictcd in the surroundings most familiar
TO his walks IN the interior OF orphanagcs.
Whistlcr's dramatic aud remarkable por-
trait OF Lady Archibald Campbell repre-
scnts the highest stroke OF portraiturc In
the exhibit.
TnE AMERICAN EXHIBIT,
it must be admitted. Is entirely credilabl,
to national pride, II taken Comparatively
and only from the artist sway OF cxamin
ing canvas. There are In all 3Il oils, III,
subjects being fairly divided among land
scnpcs, figures, portraits, marine views
cattle and descriptive and decorative,
works. The artists who study IN HOLLAND
and finish their work in Paris stand at th,
head Of the foreign residents. Among th,
most notable are Charles Spraguc, tn,
llarrisons, Carl Mclchors aud Waite
McEwcn. The Americans. who studl
everywhere and paint at home, are no
inferior 10 these IN any intrinsic yir
tue. So far rs tho present col
lection OF American works Is TAI
test, no better work Is seen her
than Chasc's. No moro successful por
trait is exhibited, although Sargcnl's com
hi. - "A
than Wyatt Eaton's Of Mira Glider. Their
Is no landscape equal Ia sentiment an'
} feeling 10 solitary work OF George In
ness. but with country OF unsurpassc,
, scenery, with moral history deep cnOugl
, 10 afford that ideal perspective essential q
art and with incidents 10 inspire legtimai
scenic ambition, the American exhibI
may be said TO be devoid O
national seli'rcspect Our artists ar
as vet unable 10 discriminate be
tween parish and nation. The
fear that they will become parochial
they dare undertake 10 be naliona
Every other country prOclaims 10 assem-
blagcs persons who gather here from a
quarters Of the globe that Il has q naiiona
story. a national landsoao aud mora
elevation. We show for the sculpture an
| llAlnIN VI uuf W.T. - hNAh'h n lNtNth
OF Gen. Sherman. For the moral an
G brutal side OF the same epoch "
Il have Hoycndon's John Brown" an
i for the Colonial period Walt,
d Maccwen's admirable "Siad House I
a New Amsterdam For another porto
IS OF our national history still less gloriuu
y there Is fortunately for our national a
x "Thc Quadroon," by George Fullc
:. the limt American painter who did NJ
find IL necessary 10 ALLEVIATE either h
heart or his brush, aud whose boautil
y work, modest and characteristic, but re
= In coloror aud sumpiuous In tone, vi
y make every American feel little boit'
" after seeing 10 the full The subject submit
sion Of no many Of ourtblcst men TO u
dominance In them, ~ well as In the crl
" OF oven the best Of the schools, Of u
20 grammar OF their art.
q American painters are the pccra OF Of
best writers, but there j. not among the
spirit OF lofty and courageous, scrcI
and living Amoricaniam corresponding
or the character given ~ our literature
% | LOngiollow, Hawthorne. Holmes, Whilli
and Lowell. Yet the very material viii
has stamped their productions ut once wi
permanent fame aud q national characi'
Is peculiarly suitable ior pictorial art
"a | MAugaUIT J.. SULLIVAN.