New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1889-06-17


struggle had injured his health and he died at mo
very moment when he would have at last been able
10 enjoy his glory.
sCorot did not hsSe 80 sad life, and never SUI
fered such anguish. With his little income OF 2'ooo
francs he passed bis youth sheltered from want and
was enabled to develop his genius freely. YET when
no reached the age OF fifty years he bad actually soia
nothing and was treated by every one as dauoor
who understood neither painting nor drawnH -
. common jest for people to say that no ui,"
his brush at the canvas, without caring ior w
result so that as i have Just SAID he was hoAa'
fifty years old and yet had sold nothins eA0.p, go
canvases which had bought but when ha" oo'n
forced to withdraw from public exhibition IN oruot
that they should not injure me. remenioor !
here, that q friend of Corots camo 10 oruor p
from him. believe the price was 10 DC 10y s
Corot with his everchoerful VII ana ha'un W.
bomme reped: Il really cannot refuSe you ny
nintnre tboeb II goes against the grain lftle nncs
my collection viii hereafter be ncompc sd with Ss
saio IT, vas success though the prices ebtaned
were very far from those ~hieh us WINS S
Barge was another great artist who S Sed pScr
hsased all his life by cTed nss 's 70 sen anything
a1a ms nser acupors without least talent enjoyed
senseless success In Hsnuisc tuning pronho' o''''
sr,t.d no the com prehension Of the PUBIC.
A FINAL REvERsIoN OF FEELING.
an 1878 during the Universal Exposition, or
eanised IN my galleries, in me Rue Laht'c an e@
bibitton retrospective OF the works OF these groa'
nainters, who were dead had there eighty Coro's'
srty Mllets, fifty Rousseaus fifty works BY Delacroix
and q multitude by Deoanps, Troyon' fromenhn ana
psubigny-all works Of the first rank Mon on tastA
1rn more numerous than formerly, vcro enthusiastic,
but the general public was not intcrestsd and not
10 me at that FL position of 1878 by one Of the best
known American picture dealers whS hst , nnce aid
never sell in New. York. They are not made for our
markell They wonld be Slsish in our cole a otSs;
schools Our collectors would not like that hind of
p.19g To-day n. vs %1 IaS Sh are dG paonsS
admirers Of those great ps1ts NOR r, a% tn every S,
Ss 9aSS Ssd or r SS signed BY Ties.
trious names without appearing to mako me ssst
distinction between them Thor pos thumous admir- ,hs,
Sn aI:s IN france s the y
not admit I s,s EssS Y, n1o 's asn h they
use the same rsllery and thu same criticism. tnat
used against M1i ana Ssl, m foy
allegations in spite Of Interested denais and IN sPN
q 50 many s IS. tnsS SCHOOL n"
number OF remarkable artists than u has AZ nc cs
time and at S neT apd psuSny and produce
veritable masterpieces. ,.,,n, y, this po,nt
me ten ySg % se direct SUCCESSION Of mc
of our new painters IN the men OF 1890 IN lo.o
ss do In o %sV DAY pasny asked
to introduce TO me young pa.'fr s 0 o 1e and ono
who produced genuine chrfs-docuvres. Tho following
day he brought m me Claude Monet MS paintings GS
ri ghtfned
with 20 much enthusiasm their boldness and hrir
strength that, oonndhg IN his 1udcmcnt' in@eHnpg
cough r2 suTht 10 me PisarTo and chen s,ry 1t
thus that became acquainted with the lmprres'ohs'
Dabigny dh not stop ser ecE on" ,sS snT ndcS
from that time he often took in payment for works
Of his that T. he ,Os sS III. m' r e c%sc Sy wSo on
works Of tho lmpress!onst school was Danoishy'
and ono denies that he was subtle conn nm, ,sro
Is any antagontsm between tho new schrn ana MA'
OF 1880 Il painters OF the latter sere u% mr.
understand and admire the Successes OF the iorner'
TIN; GREAT PROMISE Of TIE NEW SCHOOL.
9.notbsr pertinent tact Is this: To day the painters
~ the new school arc welcomed and understood by
tho same group OF connosSeurs who recognized the
talents Of the 'men of 1880 before these became ""
fashion and cuously too, their detraoiors are the
same who denied with absolute conviction the genius
of their predecessors. For Instance, NJ Garc', VINO
Is considered to have tho best taste and the hghei
artistic knowledge in France, possessed splendid
collection OF the IN OF 1870 at time when they
were still unknown. That collection, which Sold
in part 20 NJ. Garet and in part sold on his account
contained hundred and fifty paintings and paste''
by Millet, among which were th0se now ociohshs
to Mr.. Quincy Shaw, Of Boston; tho 'Angens',
Ia BcrEerae belonging TO Mr.. Walters lie brrgcr,
belonging 10 Mr.. c;iOsOn lie Retour dI lsboureur,
belonging TO Mr. Bore tho most beautiful R0us seaAS
and Cofots and superb Daubgnys This same
NJ. Gsret is to-day one OF The srcstc;, ainifen o,
the new school, and he declares BOLDLY that thcse
Young artists are Of che rank Millet and
Cort. II, ..,,.. ,,,r,.o, o,h.- ANA.
tours M this matter. But l content myself with
me ntloning such as NJ. Haviland and 81 Rouar
Of the school of 1880 mixed with paintings Of tho
lmpresslOnist school and would citn also MI spes-
GER of New-York whose beautiful collection OF the
Darbiron school is well known and who has been tho
first collector in America 10 r"oTnnc ny Ph,chnSo
rrcssiOnst painters have not made. a. has bch 30
often said. a revolution In fr"noh art Ih"ir ar
vel-es nothing and is IN senso opposed 20 Msh OF
the preceding period They have simply continued
their researches along the lines lad by lSlanr" "a:
restraints which uhose painters had thrown Oh only
in part 49,, ,.o TITAN, -, None, f..
one OF the first artists who really worked from nature
n he free ar Al intimate Of Tray" on M hn sd
Troyon In all se latter part Of his ne and you may
be both interested and surprised ~ Earn mar many may
nlctnres bv Troyon are entirely by the hands OF
| houdin. 1royon considered BoIdn his superior ~
| landscape, and conpnted himself with adding tho
| cattle.
MoNET's opENAIR PAINTING.
aClaude Monet whose works possess such striking
marks OF grandeur and originality lives always IN
| tho country and paints only in the open air. His
retreat at Giverry is place OF pilgrimage. ~hero all
artists of love to TO study his genius and ,aho
counsel OF him. Sargent and Whistler artists "hose
| talent and achievements now undoubod arc boih
his admirers and his friends. Ino Sar,sts HI,
views Of Holland, Of Englsod and l,aiy hs 9shhS Vi
Seine speen ihs e.aG cdn r be least vsr
tons of light almost mpercepuble TO any one else
| are infinitely noted by his brush
| The life OF Renoir Is almost like that OF Monet
except that he Is obliged 10 betake himself To PARIS
| from time TO time to paint portraits. He has never
sxecufed these In tho cold and sombrc studio, where
| 80 muoh even fine light Is conventional lie pTefcrs
the open air and the full light IL was thus That ne
painted his masterpiece the superb 'DejouDer Boug
VAL exhibited in Eew-York two years ago. and which.
| sooner or later, will be found IN the Louvre Renor
has travelled long time in Italy 10 study the method
and the colorjng Of the primitive painters; His opin-
ion 10 authority all questions touching those schools
4 .nd he vain Of ne
sought by ali connoisseurs lie is equally devoted to
| a profound study Of Egyptian and Greek ar ana
| puyis dc Chayannes is the only painter now living
| whose knowledge of those subjects can be compared
| with Renoir's. . ,z. ,,,,. 49,,
bet and Of Monet has pushed farther than any other
| artist researches on the composition OF colors. He
| has created new theories today accepted by all In
| formed painters, End NJ. Chcvreul, he nlustrious
| French savant demonstrated scientifically the cor
| ~ q he