The Indianapolis journal. [volume] (Indianapolis [Ind.]) 1867-1904, 1895-06-21

inner self. You can see the conflict be-
tween soul and body in that remarkable
portrait"
conflict In mind when he did the portrait?''
No doubt he had IL in mind but could
not have expressed II in language. perhaps.
His gift Is TO express things In painting. as
10 others IL is given TO explain them IN Ian
guage His coloring is admirable. Just
look at his marines In a mist; that trans
lucent, ambient mist with which he envel-
ops water and through which he makes
things discernible as II through dream
He is another like Corot who has found
effects in nature which are a revelation.
which exist but which must be found out
a ey VINO mas the slit oil paen,
of putting IL down and making IL palpable
TO other peoples minds. Whistler is
What do YOU say of his imitators?"
Unfortunately tor them they viii never
be anything but buneling imitators: they
succeed only IN twisting their models In
impossible. meanin sless poses. The all i'm
portant thing is lacking. the spark. the
Bernhardt.. The painter did all he could to
Undue himself with Whistlers woman look
ing back. but the portrait is cold, p,eaning-
less Ii is also the ann OF several Amer
leans TO initiate Whistler, but they do not
succeed any better than Gandara. Their
women are only bundles of coniortton.:
they do not awaken any idea or sentiment"
Are you of the opinion of many critics
that Dannat has lost his art by painting
In MS new manner?
Il don't see that he has ever changed hls
manner: have always seen his pictures
sunused with that peculiar violet atmos-
phere. He may do IL more or less, but |
don't see that he has deviated enough
works to permit anyone 10 certify
have often been asked my opinion in re-
gard 10 Dannat, and l have always given
the the same a a he has at least the
IDENTITY studied Monet to such an intense
degree that he has ended by seeing nature
through that blush haze, and sees nature
Monet saw il. Beside his much
tested color, which with some reserve | dd-
m mir his Spanish women T are adniirable;
culiar personality. which. no doubt, he has
found in them. and which he portrays with
the same sincerity as his purplish atmos-
phere Dannat has too many sound quail
ties as a painter to be a mountebank: he
certainly does not paint to epater. as many
and sees things as he paints them"
Have you the same sincere regard for
SARGENT"
is immense. L wonder III you remember
Spanish picture he exhibited several years
playing. and one saw only the shadows on
the wall OF the dancers. The movements
OF those ghostly appartlons were something
wonderful, and IL gave evidence of Sargent
power TO analyze, divide movement Now
IL Is in the nature of people 10 see a COM
bination of movements grouped into one.
simultaneous photography does now gives US
some most surprising things In motion ana
attitude GIVES US something new Wh, &c tne
Sargent has that power TO a wonderful de-
gree; he divides motion as a crystal divides
light His color is also admirable. and
America has every reason to be proud OF a
painter like Sargent"
Blessed are the poor in spirit, says
art printing in one OF The Austrian papers.
and he quotes the text In reference 10 the
his corps of worshipers in France, who
consider him the Messiah In art, the Moses
in painting, without predecessor The
painter who stands alone. Such credence
ON the part of men only exposes their igno-
rance in the history of art. Puvis de Cha
yannes has pedigree; the wise know where
TO find his ancestors and relatives, and In
him discover their features, although az
times much disfgured. Puvis the original
genius. In the eyes OF his worshipers, Is an
impoverished descendant OF Corneins. Be-
sides he dives into the worst errors that
artists or this century are guilty OF, that
is. thought painting. Ii IS no longer neces-
sary to-day to demonstrate that abstraction
is the negation, the abrogation OF payable
art He, who feels the desire TO paint
rnoushtS ann not nI Gok pys ust de oe
has made a mistake in the art he has
chosen to express his conceptions.
Purviss admirers dream over mis- colors,
and the pallidness Of his landscapes and
skies, over all the soft lispings OF his tones.
with a mastery hand; but 1t is not artis-
tically correct; IL is an affectation. Puvis
has found the way OF reproducing the Sc
cret of the present fascinations OF old fres-
Goes which were painted in high co4ors. but
which the finger of Time meilowed down,
which changed the hardness of tone to
soft, delicate coloring which inspires poetic
reverie. He exchanged his robust, fresh
colors for deceiving water colors and lime
grounds and carried jugglery so far as
oftentimes To deceive the eye.
Puvis de Chanvannes's work for this year
destined for the Boston library, called The
Inspiring Moses Acclaiming the Genius, the
Messenger OF Light" is problematic land
scape with the pale faced meadows. ultra
marine blue sea and over them a wintry
sky Nine draped female forms fly toward
a naked boy, who. in each hand. is hold
ing an electric light. That these muses. do
not move with any self animation. but In
passive poses, sustain themselves in the air
like Giotto's ancient angels and saints. Is
one of the least of the pictures defects.
The killing one is that Puvis pretends, TO
convey in the painting the palpabe sum
total of several mental distractions.