New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1895-06-30
THE CHAMP DE MARS SALON
,,r, ANcuo1,Y MADNESS OF THE YOUNG
Err FRENCH PAINTERs-I'ARr Dh
LA ST. sULPICENE."
Paris, June 10.

o,d accommodation, while old frie'ius -. -, In
new personalities few, ana n,os' .'noh or the
rovation do not exhiarate Is IL III. ,. ,oss,b,s
| organization that Is at fault? UT - ~
| ,,ot tho Salon bubble is ready 10 p"'''' -. u,,s
Whom the Socete Rationale des pe" " h,h,
| founded In 1890 and naugurated us spr,"s csanon
tion IN the Paais des Beaux Ar's ~ y, o IN
y, ,,rs T., was hoped by the public, as IL was "
$3.50, ~, TIC founders that the abuses wh'ch n''
~, ,ha hugo bodv Of the old Societe des Ar'is'e'
Frencais. exhibiting at the ola Saion' 'o. oro tho
the core should be renedied. MOI oh's =, ,ho
| medals and awards the Immediate 'a ras
| sacesson TO be done away with. nu, 'i'e I, h
| IN no taken out OF politics and mace '""pa 80.
| 49, ,o,co ~ tie members by lot. The WORKS VI ~
| admitted were to be fewer In numoer Wy
thousands and the aesthetic sense was " roc,
.u,,ed "a much possible IN the sen''", -.
,,,oa NJ No one present will forget inc pr
J impression OF and the high hopes rh'seu -, 49,.
49,, c,,o, % the Champ de Mars WIN 10
os boryinrs lin groups), with the "o'''.'
! Of the Sale de Repos and o'her III .,,,,,
,,r rest and diversion. IT was reay ,
- 80. ,ou many cre5table individuallties ."e'c
,o-. ,bon They were thus allowed to make ''i-'"
| ,. ,,, and how simple K seemed 10 arranso
! ,.,s :, rho host not the worst, possible way i'e
nresent Salon IL the sixth one OF 'h's S"''''
! therc soems IN America. 10 be t'""e" +,
,, ,,o, tho future anil nourishing OF ART -
assured BY the nero transpantlng OF 'n'S "
ton into American soil. 1t may be well 70 ''e'',o"
W.. :. 4, o-,,,csed severely in Paris itself ana 10
/ III
,o,,,ro Univ This "a Sc. The first answer fnuS' "'
an Irish one: How could II very "e'i W. ~
considering that II is managed by ar'S'S
7, Is the fashion for artists now, except ANIME
Tho very Youngest apostles or new id">' -.
their hair and trim their nails and try 10 i, '
Oh. eonor,I look OF things. but inside their i""'-
Iess frocl coats gray English SUITS '"e'
neramonts remain the same. f'Nen II '''s ~
nv some miracle transform themselves "'o Ho0'
,,r.ors ~ complicated social and adm'nistra-
u, ,rh. irksor,oness OF this side Of the SITUATION
ia becoming more and more fet by the hr''s'S' anu
+ nany OF them seem. In fact, to have recoVereu ','
,Irelv from the desire 20 III into the pracuca "o'
,ngs % society a desire which went with GER
tain phase OF modernism actually that 1901 'he''
% cou,orrn I'm dress TO the ways OF the smart SET
and now they wish for nothing so sincerely as the
possibility to return 70 "hoie-hedr'''' '"'i''
life OF artistic creation. Moreover 1t Is wen KNOWN
/ 49,, rho socist4 Rationale Is not select as IT
/ nigh, be Pique played much part as ho'eN'
b ,rd,ono,,on IN IT'S founding. This founding was
due 10 a chance meeting OF artists at care All
present we're OF course invited 70 sign Inc u"-
worthy works OF art that In this way crep' H.
! no, 90 noticeable at first have OF course gone vi
/ increasing year by year. Just az the elements OF
dis,ntegra ton have made themselves felt more ana
! more.
MARKED DEFECTS OF THE NEW SALON
Now "a 20 the visible defects OF the new salon
! n y those arparent 20 the naked eye unequppei
/ with any special knowledge OF all the red tape
which no French institution can do without, ana
| the tangled knots into which the impatient a''-
! ,s,s have managed 20 get 10. ones con-
sc,ousness OF them varies with ones MOOD anu 'he
| rim. OF tho day and ones physical condition. but
/ "a M, this again the fault OF the place? why Is
there so cruelty much TO see? Why Is the ight so
/ harsh and the galleries So long and so ho', ana
I the pictures individually so s'rdent ana col
,,lvov g, discoriant? The pictures are collective
! n because
/ long and the pictures too many-rnany more now
| than In the beginning. Not -. Luxe himself
aided by Apollo the god OF harmony. could hang
| ..v~rn, hundred modern canva-.a az to produ'"
| a harmonious effect. They are strdent or az
| gresslve IN tone because they must be so TO at
.ract notice and also because the harsh hght IN
evt,ablv has a tendency 70 force the note Wv
not mean that there are not other forces al "o'N
AZ well or that all the loudness OF 50 much moo
ern painilng Is due TO the harsh Hight IN the salon.
I'm. II f. a mos, unfortunate circumstance. when
viewed IN connection with other Influences Tor "''
tho pcrnicous habit Of exhibiting every year. me
general stralnng after effect. ana the necessity
real or fancei for emphatic utterance. More than
ore talent that made It's mark with niue"
promise has been ruined In this way
The Champ de Mars Is. OF cours'. not entirely
representatives,. Many 81 these tendencies may
be mere weeds. born OF the hcthouse atmosphere OF
the place not hardy flowers with their roots III
the soil OF contemporary lie. Others are more
represented ~ the followers than by the masters
thus an acquaintance with Impressionlsm that Gii
not include Claude Monet could hardly be called
adequate on the other hand. 1t may be said that
any movement that makes itself felt In the salon
must In its way be- characteristic and rrepres'ibe
Let us now try 10 what these movements
fads fashions are,
STRAINING FOR NOVEL EFFECTS
In pa,ut,ng there IS not much tina, is novel The
general movement stu continues full OF fermenta-
ton unrest. indccs.on. feyerish attempts at hrh-
ing something that shall fire the jaded I'M
agination OF the painters and attract the crushed
attention OF the public. Among these essays there
are some which ought not 10 b. allowed TO cross
the Atlantic. which ought at least TO be stopped
as peremptoriy at Fire Island the cholera
bacillus. II they try to insnuate themselves
"a saloon passengers with hgh-sounding names and
plenty OF press clippings one notices hrst very
queer on prng realism and I'm lie sece ronanti-
cism. wogd which Will DO as well IA any othcrl sup
pose for the tendency toward painting something
. ! which We do not see with our eyes alone. Now.
when this Is done with conviction. there i not 4
word 10 say, ON the contrary. there Is personal
note about II that makes II very valuable. to say
the least. But no mechanical combinations ever
succeed In dipping one long There Is 100 ihuch o,
this In the Salon the only hing 70 90 Is TO see
the ridiculous but IS thnt what the panler
hargained forY Tncs" ar" some OF me t,t'hp'S ;;
ioapy nudes in pale green woods, weak Visions %,
the sort OF which there = iop much In America tlI
de CONVEYANCE between story or legend OF
white-rvbed. sometimes pagan and naked) maj
shall show the authors invention; and realistic IL q,
or other violent combna,ons snen a. NJ. "sr 1870
soldier dying the foot of the cross where Christ
IL hanging crucihcoD. This has some vigor of
execution. perhaps OF thought. and must therefore
be classed among the melancholy signs OF the
times. Another OF these mistakes - "A huge canvas
which bears. | am sorry to say the nam. or Roll
II belongs the city OF Paris ia called LES Joes
de Ia Vie: Femmes. FTeurs ct MusIue"; represent.
lot OF women nearly all without scrap OF
clothing, In "A surrounding OF flowers and land
scape The music" Is represented by four or i've
men fully dressed Here the contrast IL reversed
the figures are painted In n realistic way land
scape tries give a certain Vatican dreaminess
Except for sunlit babies in the centre OF the
picture that still show the old Roll the Who'll,
think Is empty IL Is large.
Then there are Dubuie's Heures de Ia tres Saint,
Verge" a whole roomful OF water coors oil
scenes from the life OF the Virgin. There Is
thing. however. In France uhe word first cam,