New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-21

long ago by exhibiting Magdalcn at the fee,
of Christ in modern diningroom surrounded
by we-knONn Parisians. Here he is prepared 10
shE American e eSeae on thc heaHts
OF MOntmarte, and groups around the loot OIL thc
cross a number OF den2ens from the Paris, whoS"
roofs arc indicated in the picture II Is oruinl,
disgusting work. devoid Of the faintcst sclntlhl
of the feeling and reverence whlch sometime
make religious realism acceptable. as in tn" pictued
forts of L'IIcrmtte. Duez and Blanche, comes
from the morbid IaUiication OF the modern
spirit pervading contemporary French art, !.
IL q result of the same straining for eject w,icn
is responsible for such picture as thar IN WIG"
Moreau de Tours has shown two morphine LENDS,
womcn-undcr the influence of IN" drug Ail I
Agachr in a design which he calls VANITY; the
portraits of man and woman. breaches a
sermon on the subject which is itself morniu'
His art is hectic. II is no healthier in an an
nuncaton' Of his. which hangs near by. IMAM
in the Vanity" which intends to be the SYM
boil of human fraitv Now here in the french
section does the sacred art ring true Im% re-
arc cxccllcntlv we'll painted. but their sSnti-
ment is artificial The poetic impetus. which
lies not far from the religious, when II Is Gr
casionally manifested. fails TO carry the art:t
70 any adequate conNiA'ing expression OF NJ
ideas 1t VIII lend q tenuous charm to tne
Henri Levy. for example, to me commission OF
a Death of Eurydicc.' or Madeleine l-emairr to
the painting of such subject AZ The FAIRIES
Car it abandons them both before they nave
ACCOMPLISHED anything. The former gets what
oomf"rt ne cav out of the viqor of his style and
Madame Lpmaire makes mp for her lack Of larry
like unrealitv by reality ina! Is NJ lcds' VI
extreme elegance and feminine charh
THE GOOD SIDES OF MoDEENITv.
I'll. modorritv whose most unhealthy work
;rcs arc -ypifcd in Bcraud. and to which IN l's
loss otTensiyc pha~s the superficial, though oh"r-
wiso Good work of Madeleine Lcmaire ana IRAN
ccis Flcmene is due, is also the spring iro'h
which two fructifyng streams flow through con
temporary French art. The hrSt Is thal WIFI
t,tcs coGrizancr Of the daily life of the time ana
hv kecpinc in touch with the popular mn', by
rcnroducinr the scenes and events when sWiH
tie latter maintains a Genuln" u" p'lWec ~ 'aV
40 tl,ctc the middle and the uncduca'"d cla-Srs.
Tho second is the stream which is directed ny ,'
rules of competition in French acaueiiics i' =.
studios through channels OF STUDY caicn,a .t tfo
lift both painters and public mo III HHs r,;u",
ontcr circle of culture. Th, literary ihs'ih;u
which rrigns almost supreme IN thglIn.' ,i H. ~
Paris given the second place. hut IN I.,a nrv inch
as active What is vice in one country becomes
n virtue in another. Whether the frnch ar'I :,
Las sincere belief in what ne p'i,'b has - sTch
belief But al any rate he uses the natcrlal AZ
land in the past and present OF his own CON-,
Try aud that IS the nam POM, iic', nict,,re
Of miners on strike. The political canlassnS
of the Boulangrr faction is celebrated m u si,op
SINGING class in a French public school, anu
Iwillrr SHOWS group of chiidrea AT their iesSon'
in an institute for the llnI. In. sup 5Ji ~ Of
la,c" canvas by Ernest Bordcs j. the l1ieihs Oh
mass Of metal in foundry. Adolphc Blnc', III
The Lovers chooses his models IRON among
the blou.cs If the back streets. MI 'h'se nirn
pictures are worthy not simply n'caus, .,''i i,, ~
forth the life of the poorer class; 1i. ahiIitv
they do that and do it with nrt,'l Eroncmcn
And the ambition OF these " id"aWahc ; .i
does not stop at civil life Ihey pr'ng W..
doincs vi tie soldicry home TO the coh-ciVu>i,
of thc rcnne bring them in historical com
positions such those OF cam, Dr'aiir, va, ,ho
lcron and Guignard or IN al.,rac'n o "' an ~,
and Land sucn as NAV be- found in the works OF
Carrierr -Bclcusc. touturier ana haFiI;' ,h me-.
In the historical and ILLUSTRATIVE n'aI '.' n %o
tiviiy Of the French is. III IN" hrrt PHI, pnI
tluo,lvc of Il great quantity of such "ec''uS "''
records as il i we'll for the public TO IN" III a
gallery, and in the second place, oil nucn s"""
CONSTRUCTION Novelty and proiundity oil com
po,ltion are not characteristic al the ''IA'''''
PAINTERS Of the salon which Is rcpr'S,h'c" q
Conqucror"; l.aurens. in Christopher Coiu,n
in,. and i,cnjamin-C Onstant IN Il composition
/ also devoted 10 tho discOvcrcr OF America, az"
the only painters in this direction WHOSE woih
| ar, conceived with noticeable point But VIVA
iiy and lucidity are common. The sound discipline
Of the schools is appar,nnt IN 'nc mnrs by
| (imont and the Saammbo' of Sinbalhl. i"r-
haps it is too apparent In these prr'rra,louiS
con positions the spectacular tast" OF 'h' I'm" 49,,
| is fully lratiiicd, and they SAVIOR OF tid' IN
ecnuity which has earned the title oil ihacHll
| Tor the regular Salon canvas. That, however
cannot obscure their zeal merits, tho-" OF Iht'lli,
| ecncc applied TO themes worth III" trouni" ans
| craftsmanship that. for all It's snegc'ti'hS 81
formulate and routine, ls sill decidedly KNOWING
sufficient and as good a. can be drawn from d
school 10 have such merits means a great
deal Others have also been touched upon
The presence of q number Of unconventional ana
strong artists has lccn noted, and ti"r" are por-
! trait pairters like CarOlusDuran, G'rVcA ana
| Weerts with number of other men, lls>o',
| Hell and ROchc2ro>sc whose work i interesting.
| Nhy. in the face of this IL III" French r'ctl III
Oh" Of the greatest disappoin'n"nts III the Art
| Building? Er"aus" numbers of III" nation h"Ht
| men have abScntcd themselves. E"'ai>" those oil
the higher grade who have seat works hay" IN
most instances responded in a nies1rIly or care
| less manner to the needs Of the occasion. Hen
ner. for example, sends three panels OF which not
one is in his best manner i'ccaus", except Tor
a few pictures by Point"in lon, Pclonsc,
| Montenard aud Billotte, the section might caslly
icavc IN" impression that the art Of Landscape
| painting had died ont in the land which produced
/ (orot and Rousseau. B"causc IN" men who's"
works corcr the the walls are men lik' 'ou9ucrcau
Athletic, Fcrrcr. RXens, Eonnat, Sinib.l'ii,
| Franc lamy, Morcau de Tours, jules Ireton,
Adricn Dcnlont, Maenan, Fouric, Ross"t-Grlngcr
and Henri Levy. Some are celebrities. and all
arr. men who know their craft. They are not the
men who were chiefly expected. who ar" known
to he a. work, and among whom the vitality Of
. mporary French art Is most generously
T. cd