The morning call. [volume] (San Francisco [Calif.]) 1878-1895, 1891-05-17
VANISHING DAY
AT THE SALON.
The Refused Partisan Artists Organize a
Third Salon.
Baroness Althea Salvador Tells How This Great
Institution Of Artistic Paris First
Came Into Existence.
Special Correspondence OF THE SUNDAY CALL.

PARIS, April 80, 1891.-This year we have
TWO, even three. salons, because the juries
OF the PalaiS de PIndu STRIFE and Of the
CHAMP de Mars have been extreme in their
severity. The refused artists have decided
to organize third salon. and this may be
the most interesting of the three. The pub
Tic has not been alarmed by two salons, so
That third will not do more than excite
curiosity.
Only at the end OF the eighteenth century
ala the salon take its modern form. Ia 1871
the Royal Academy of Fine Arts was abol-
ished, and the National Assembly invited
all artists to exhibit their works in the
Louvre. No rewards were promised. as
medals only made their appearance in 1899.
In 1903 the institute was crsated, and then
Napoleon charged it with the organization
Of the salon. This change pleased no one,
but Napoletn's orders were always obeyed.
AT the end Of the empire there were pro-
testatIons, and under Louis XVIII these
protestatiOns caused various improvements
During Louis Philippe'S reign the salon
was abandoned TO the four sections Of the
Academy of Fine Arts, and, according to
journals of the time, attacks against the
jury were sometimes brutal
In 1913 the salon was free, because the
jury was suppressed, and then came into
prominence Couture, Rosseau. Cogniet. Rude
and David dangers. In 1850 two juries
were named-One for the choice of works,
the other to distribute awards. Two years
after there was but one jury, and, in 1857,
the institute again superintendent the Organi-
cation of the salon. In 1880 was founded
the Society of French Artists, with com
mittee of ninety members. and since then
the lamentations have been great as IN
years previous. Painters and sculptOrS have
never been and never will be satisfied, and
the great subject of discord is the question
Of awards.
This is vanishing day at the Palais de
Plndustgie, and one Of the great advantages
Is we are obliged to see 500 pictures less
than last year.
THE FIRST PICTURE NOTICED
In the first room is LA Voute d'Acer," by
Jean Paul LaureDs. 1t is an enormous
canvas representing Louis XVI on the
steps of the Hotel de Ville receiving from
Bailly the tricol0r; the echevins or alder
men have formed OF their swords an arehed
roof. The composition is superb. The
King. in pearl-gray, occupies the center OF
the canvas; he has just stepped from his
coach, and the guards, by whom he is sur
rounded, have difficulty in keeping back the
curious crowd. Behind the King are five or
six persons of his suite, clothed in colors
that make strong contrast 10 the black
costumes OF the ecbevins grouped on the
steps. Beside Bailly stands La Fayette in
uniform, and the surrounding houses are
thTOnged with spectators. The artist has
given page of MIchelet for the writer re-
iates that the King was much astonished to
see all these swords unsheathed, and Mich
elet himself finds in this steel SUSPENDED
over the royal head prophecy for the dark
future.
Near this great historical canvas are two
landscapes by Isenbart, considered by many
the best III this salon.
benjamin COnstans exhibits fine portrait
Of his wife. Benjamin C0nStans is an artist
much loved by the public, but his reputation
depends greatly upUn his Oriental scenes.
Hcnner shows us two anvases-PleureuSe
and Pleta. The first represents a woman
nude, lying on the ground, her face covered
with her hands Henner alone is capable of
painting such splendid shoulders and such q
perfect form. He is often accused Of Ieav-
ing important details in shadow, but when
the artist has painted the essential it is a
part of his art TO leave what remains vague
and underlined.
Chevillard's Musical Rehearsal in Con-
vent is fine composition, well treated.
Checa'S Attila has qualities that should
have given it much better place in the
salon.
MILE. JUANA RoMANI
Has a Magdelen holding cross, and Ju-
dith bearing the head OF HoOpheTnes two
works of which she may well be proud.
Mile Romani is very original in her I'M
preston of color, her manner Of painting.
Her treatment of stuffs is marvellous, and
one great critic SAYS that this artist should
have place in the first rank.
Before speaking Of American artists who
exhibit this year at the Palais de PIudustrie
/ must mention the greatest picture in the
salon, the clou Of the collection. II is the
Fall Of Babylon" by Georges ROchegrosse.
Il pupil OF Jules Lefebyre. Not often do
visitors tn the salon see work OF this in
terest, this power, work worthy Of the
most profound admiration. The scene is
laid in the magnificent palace on the walls
of which has appeared the handwriting,
Meme meme, tekel upharsln." In tile cen
ter is broad staircase, on the left are
masses OF nude figures dimly Illuminated by
the dying torchightS, and on the right
masses OF figures no less nude, no
less voluptuous. Here is the throne
Of Baltnazar, composed of twenty
three steps, and opposite the statue of
NebuchadneZzar. It's pedestal represents
conquered nations, and in the corner is The
emblem of power. Above the large door in
the background is Rhaman, god of thunder,
and The door is guarded by Krubines, bulls
with human heads. Above all is the great
shadow OF lsrani, angel Of death.
Among American artists is Mr.. Julius
ROlshOven of Detroit. Mr.. Rolshoven is
first among the pastellists, and he exhibits
study Of the nude, a woman reclining on a
couch. A green pillow is placed over vel
low drapery, and the entire couch is covered
in white. On the background that is very
dark are seated two persons, evidently CON
versing about the pose of the model, and the
ensemble is a very effective study Of color.
Edwin Lord Weeks of Boston shows