New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1893-06-11

AS IT Is the Exhibition will plss without opening
tie eyes Of the majority OF Americans to tia
existence Of Pradilla, Galleyos, Reyna, BarbudoI
Madrazo, Domingo, Rico, Villceas-in other words.
to remarkable group of masters. Instead. n
| will leave the false impression that Spain. the
one nation upon which curiosity is sure to be
centred, has now school of good painter,
Galore has some interesting work in III, Spanish
section which is not, indeed, wholly worthless
But it is a severe disappointment. Inquiry has
elected no satisfactory explanation of the condi.
| ton Of affairs. 1t is said that therc was somo
trouble in connection with the action Or tho
native commissioners. The details have yet TO
be ascertained. The other nation OF the South
having space in the Art Building, Italy, produces
an effect no more edfying than that Of the
Spanish exhibit and unfortunately it is not posi-.
BILE in this case to fall back upon the recollection
Of as many absentees of ability. OF the few
who might have given the section standing In
the Exhibition Micletti, Montalti, Fabre and Tito
do not send anything. On Boldini and Luigi
Ross, both Parisianized Italians. and on Sig.
norma Blanca DELI Oca OF Verona, the burden
Of the Italian section practically rests Bodini
especially shines resplendent amid his less gifted
compatriots. He has three portraits which place
| him alongside tho foremost stylists and technical
masters of the entirc European exhibit.
Style and an accomplished executive habit are tho
| characteristics for which it Is natural to look
first in view of the pictures here, the immensely
important question of idea having. OF course
little interest, except when one or both Of the
two cOnservers are present in the picture. In
the English section there is STYLE there is some.
times executive power and there are ideas. France.
to whose genius ski)ful technical method y
native, has also many stylists, and though her
oft of a aley2fino orIer fhoU
still indicate active observation and thought
Spain, as we know, has artists in whom all these
virtues are gathered together, but for reason
has neglected to send them to Chicago. Italian
art, as a whole, is in a state Of decadencc, with
amazing talent manifcsing itself in a few sporadic
cases, of which an Inadequate proportion Il Illus
tIatcd In this exhibition. HE northern artists
have ideas or least interpretations OF the scenes
in life and nature about them to communicate to
the world. but in channels Of communication they
are not all equally well supplied Holland, UNIQUE
in her art as in everything else brings to Chicago
a STYLE a method and phase OF experience. foP
which it owes nothing to any country outside
its borders, and in each respect 1t has charm;
of art which is thoroughly fine, the Dutch eX'
hibit ranks with the highest. Belgium, with
climatic condi.ions-cOnditions OF such lmpor.
tance in the determination OF temperamentIho
far removed from those e Holland. nevertheless,
takes from her peculiar racial tendencies turn
away from the artistic qualities Of her heignnor
There is neither style nor skill IN the p.S,%
Franz Courtens, and Of their strongest hgutc
painter, Jan Van Beers, who is really produos
Of Paris The mystic gen nnsd Of to stay More%a
in France, Burne-Jones In Enga ana AlDn lr
Ryder in America, has no work on the wan" in,s
The condition of the Belgian scnooi Is one iI its
which u will be interesting to inquire Az ~
very doors. in Holland .he heritage OF RemprandS
is bearing fruit. Within its doors ana win sucn
a man as Ferlat among ITS modern CeacI pns
tha
and Van Dyck ~. ;.s ,.oo on.
Insularty in art is pulling On us a aaee ,bo1 1
idea is not attractive. for il may mean more ,,n
slf-centred endeavor to put into aT'istlc ior l,,
GOOD for France. 1t has been bad for England ~
has been the salvation Of Holland. IL mas h9l Dea
the salvation Of either Germany or Austria; he as
two nations have taken much space III tlie aIV
Rnildinc. Germany has seven galleries ana AUS AUS
tra has FIVE For the purposes TI ' cansered TO-
CctEer There are few points OF departire De.wern
them for the fundamental ideas OF the TWO nnicn
the same in their arr ipauence than 10
Germany She counts among her painters nun,
kacsy and his pupil Brozik besides Eugene Je..e'
andscaPst and Ss VINO 6oa paa6 has Known
paris The German exhibit is 1eutonic 10 .,Ie
very core This means that it has, broadly speak.
ing colorists that in the hlgne;. IL Earned bit
nor naturally endowed. There are two Germans
at least who would reverse tins verdict ~ sPn,'p
of
Mcneil stand ont as possessing what most OF their
artistic countrymen lack. The resi- OF tne . ~
hbtors in the German section ana All tIoee III .."
Austrian except the four mentioned JUS. nov CIV
onoraiiv dencndent upon a strong sense OF charac'
fer and a careful technique TO make t,eir en,nti
In anecdotc art the TWO sections are Only ~. III
have like Germany and Austria, remained uh-
atIec;;sd by the valuable IDEAS bearing upon teen
noue current in Spain France Anrica, a anh ~.
some extent in England: They have NOT Lich A..
somrces nj home and their exhibits IN .ne . atS
Building are of little consequence kussla, v,ant
certain facility based TO consin'r"o''e an'
on contact with France and with coioris'lc an all
nba.s attributable to its Asiatic temprra men., h "s
Two rooms with pictures that are lh'eies'il. .h
not fine She, too. takes minor place az s,,t
Far do Poland and Can .iaas illustrate crude
late ~ nanting in their country. 1hough IN . h
ono direction Of energetic brushing 'na' nav" ',hnss
elements Of f hst'er ,E w%rE Of Ensand prove Them
",ivas members of a singuary colorless scnoo..
Sweden has sent a collection OF surprlsihgimi,
tse pictures n AnHeT1 R H%r residence r in Paris
and sympathy for the ideas OF the impressionH;sS
and .lnministes' A number OF Other S s;r i'm.
artists have also been touched ,hrouoh Zorns in
emonre even probably. and the three r rooms
tber nation stand for an advanced ana '''i'"'
movement. 49,, II, u;,., a,ton,ion "a the
torn@n nations first will fEd its reward III VIZ
aprrchonson Of as ENCOURAGING nr!I,r I'LL. n,ho, IN
encc in the American section a. ~ u.; ~ onr
,he bnilding. Nowhere could gortcation ol 1 ,hs
' o,' srformanca be NOR" offensive than IN t,s
1 W. IF fine arts But nowhere Is terp,rs
more justified. II has o,sn
surmised that the American srtso woSr Is
N''i T.o,cb This is wholly controvert'd by ing
70 foc ane The American exhibit is with points Of al.
ference and contact and with certain m'st, cot
Which il would he idle to deny on an ss Of the
n, with that of France. II ia so by vlr'n o, ~" ~"
nss ~,, Of large number of pictures which ar
pnroliw American Fortunately we can he chaIsstt
Wl,h iem nno the naiuters are missed. and 81 Can.
nn ner nn@ ,h" scmlptors BUT with the Spares.
handful Of exceptions the painters Of Of A% snSs
have lent themselves without stint 70 t Nf tba ma
o. ;on a" lain Lainrgr is the only exhibitor wnose
w%stsr $arscnt Ahbey DswGs n W,rr.on o% n:
Martin. Abbot Thayerr, Alexander hd Rrnsh' Cox,
IVY M alNi iui.sLenck these ar. all men whoss