The sun., 1890-07-20

(peluchel sohooi is trancesoo Ninea, colorls
Of the frat class, full Of real artistic instincts
but lacking in culture and measuring success
by his BANKERS balance-a man, in short. VIII
tents himself Instead with painting 1cn'
scenes that belong to no age or century-Erant
gentlemen. cavaliers drinking in tidy. we'll
kept collars. with rosy barmaids or demi reps
womep hal naked In occupations In whicl
clothes, a mode Of painting full OF sensual sug
! gestion. And II Is always the same old tale
Sometlmes the pictures are large, sometim@o ne
small but the subjects remain unchanged. Bu
they sell, they sell. | am told that Munich, lo
I sxampe Is among the artlats best customers
Monr2'tul truly and The more 80 that he conl[ Sr
seen at his studio little pochdd.s o
HnS5sGHp9s ns, ree exquisite Srotb.r n ,syort
Of the lower middle class and OF, the
illustrated, papers, Is less coarse perhaps
! In suggestion than Nnea but quito as unreal
and even more monotnnons In days gone oy
he exhibited M some portrait, which t ah9wTet Tet
rcd Cardinals. bufr-clad soldiers. and So forth:
| It Is an endless painting OF satin and silk and
! count for nothing and the idea for still less.
Cont has splendid studio. full OF bric-a-
brac. His accessories are therefore TO hand;
the result is suoh as one sees. He VInea, and
number OF others. will not even name all,
tho 6andicralt OF their art, without either In
tSectna culture or n9etif invention 1t is
'H As f1 have M said said historical icSi paintings have
been practically abandoned BY the younger
Tuscan painters. There Is no demand for
ors Then. too, modern artists are following
out tho dctum OF Goethe, which tells tnem to
@ erostns ting at ali ronts They have e "G Turned 10
that Immediately about, around them. and
sFs sSsknE to dr nSye he S
manner mro of which in France france Bastien Lopags
and the two Bretons are tho chiet representa-
n1y Si daiunct they II y are n doing te gse on nay arGe
scale Tho scale seems to me a mistake, rs
surely we ought to learn from the old Dutch;
sent a small idea or theme is a false note;
which is arrogant AMI hence oifends s,,sd1 aId 4
RSn' thsn Is due the WoF WoFS prodaced oiS 'Y THe
french have s"T the fashion IF WSse (hHss
becomes OF these vast machines. as they are
called in paristnn studio slang. is question
slderiPG how small, almost microscopic. are
French apartments, where can these pictures
ever be hung? Is, Il true then. aiteE all. that
about the Intentions of nature with regard to
the tno arts namely, that pictures are pro
serve long afterward for tueli
Francisco, dioli Feriqni simij and 10
brothers Tommaskt take leading place.
Francesca Gioll Is perhaps. the most elegant
ami varied Of his gr9un Retainipg the rurest
10 translate them to modern nations, and his
studies OF the Tuscan peasant life are full Of
gentle poetry and sentiment. Where he fails
lacking. too. In that non che which the FRENCH
call rer1e. 1t is curious that coloring should
pecaiy thai they should err In the direction OF
too low scale. Perhaps the yery brilliancy
OF the nature around them. which thoy
eyes. makes them err In the opposite direction.
Ferropi,, like Goli. has no grand conceptions,
asks OF art the Inspiration OF the most simple
impressions There is no research. no artt-
fees. no hidden mechanism no tricks, no
mannersm. His art lies in his mode of draw
ing, which Is ways correct, graceful amiabe.
His color is clayey and his types. often un-
nature a great deal OF air ana life In his pic
lures. In, Pisani'S, gallery is one OF his best
works that gallery II ,,,,S %hich .,,l may ,hs BE-
in its, day made Juror but that remained
unsold, nevertheless. In wide Tuscan
sitting, while youth reclining In cart is re-
counting tale, probably OF the Bocoaccil
is absolutely urpictorial. That he understands
tho pensants he was himself peasant and
but his norizon Is limited BY this peasant train
ing and culture, and while he has in him un-
Iaostionqby the rough l! material fer great
heights nature destined hm. He is not very
successful, / am afraid. He now. too, teaches
IL
tures than formerly.
Simi, too, might 6ave been great artist but
for that ,need to mako money, which drags
promising. A pupil Mnd friend OF ,Bastien
Iepage, 10 whose company he visited spain,
inspiring himself at the fountain head OF that
most modern OF all Older artists Velasuuez. no
came homo with righteous horror OF tho
school 4c peiuche, desire to DO great things.
nder this influence he painted large picture
of two figures In an olive garden. Cir! stand
Ing and a man lying on the ground, It looks
it is full OF Of sunlight and truth. Needless
in he he gallery ieS Pisani, He then tried serious
Shirt" b. Thomas Hood. This was ndJudGed
too sad by the public. lie has now thrown up
the sponge and paints what may please tho
ants ut play and SO forth. 4 native Of serra-
are. there Is someth ing sculpturesQue ln his
painting, owing perhaps, to his having, lived
lent GuIte worthy Of Holbein in character and
treatment is the double portrait Of his parents
which hangs in his studio, and which attracted
yoar, This is really IL powerful piece OF work,
OF the same solid character and mode of treat.
q wnlas, in which he makes that Prince look
like his great ancestor; Henry VIII.
The most educated and versatile among
artist who not only paints but thinks, who also |
writes and Expresses himself on art with
lime that he was 90 be the great man OF the fu- |
ture II lie has not realized all that was hoped |
Of him. 1t arises perhaps because he so ire
1uently changed his direction. being now an |
Impressionist OF the first water. now q most |
minute designer. having, In short, already had |
four distinct manners Of treating his art. Like !
most OF his confrrres. he Is indifferent to |
Just paints what ho sees. He !
s an Interesting artist certainly, always sug. |
Hestiye. and he is on tho right lines and |
Is anxious to guide and lead his fellow wOrke |
along with him. but as yet he has painted no |
great work himself, and perhaps will never do |
80. His very versatility hampers him from |
lndinR road and pursuing il undaunted. lie |
s q seeker. and q seeker he will perchance re- |
main to the end. His critical power. his artIs- |
ic sentiment. are ever upDermost In all he |
Ioes, but 1t may be the former is even little !
90 lucid and shackles the latter. To large
,XteHt, art should tie unconscious.
My space Is running TO close. and have
rot half exhausted my iheme. | should have
iied. for example. 10 treat at length OF Clio
Ianni MuZlioli. n skiliul imitator OF Alma
radema, who. Ike his master, tries 70 rovivo
I'D Roman days, and docs this with grace
which is lust tho quality TINT the Dutch painter
90 often lacks. In his treatment Of marbles
md stuffs the Italian pniLter must cede
o his northern rival In the beauty OF
IFS types, especially his female types. no
distances him. Loss learned than Tadema. less
Il al archTollRist, Muzzioli Is sometimes hap
,ier in his themes. In that they have often
more of a human Interest," Raliaello Sorbi, too,
leritg word. that faclle artist who may bo |