New-York tribune., 1900-09-30

a sentiment profoundly touching is interpreted
in these works. by a man whose emotion has
somehow been communicated to the painted
canvas, filling 1t with mysterious life.
The member of the triptych .devoted to
Death is overheated to its color it shows
the artists brushwork, at its worst. The poor
mourners waiting with rude sled for the body
that is being lifted in it's shroud out of cot
tage half buried in the snow, images OF
sordid woe. The whole thing is ineffably dreary.
And yet there is something fine about it,
stark impressiveness. the accent of a painting
formed out of grave reflections and executed
in the nObly austere mood that is fOstered by
cold mountain tops 1t is a testimony to Segan-
tini's possession Of something more than falls to
the lot of most artists that in even forbidding
picture as this he really stirs the imagination.
holds the spectator though against the will of
the latter. In pictures like his "Jeune File
Soleil' he can be admired with scarce a reserva-
ton Here in this study of peasant girl knit
ting in the grass, while the sheep under her
care stray her in the sun, there is nothing
forced, there is nothing mystical puzzling
there is simply the truth of Nature. stated with
precision and enhanced by the artists style. 1t
is impossible not to regret that Segantini did
not conine himself all his life long to some such
motives as the one so successfully treated in this
with his flock, the woodcutter bringing home his
fagots the peasant at work at any simple task.
or the goats of the Maloja standing in the sun.
he produced work of uncommon breadth and
beauty He never attained absolute fluency.
There is hardly one of his paintings which one
cannot imagine he would have enormously inn
proved if he had gained greater freedom of
| touch if he had achieved more spontaneity. But
! Segantini was true artist if not a great one
| Though he not genius. the novelty, bold
ness and sincerity of his work gave him place
! apart, an honorable rank in European art and
a position of commanding Importance among
his countrymen. He, Boldini, Tito and Michett
! give serious significance to part of the great
exhibition which would otherwise inspire only
| the most languid interest.
There is cleverness, of the sort common in
| the Salon, in LiOnelo BaIestrievi's Beethoven"
| picture of young men and women gath
| cred in a studio and listening to one Of
| the company, seated at the piano. The
artist lives in Paris and has profited by
| the conventional teaching OF the schools
! Giuseppe Casciaro's eight landscapes in pastel
| are pretty though shallow specimens of Nea-
politan facility. There is tolerable landscape
work in the canvases of FiIlipO CarcanO, Of
Milan and Oreste Da Molin excites some ad-
| mration for the swing and vitality of his "Tete
| de Jeune File" The ''FloTaisOn Nouvelle'' OF
| Cesare laurent is a creditable performance in
that it discloses certain independence of treat
! mert The three nude figures it presents in a
springlke landscape drawn with charming
| delicacy. After the four major men and these
few plausible companions of theirs, however,
| the Iabors of the rank and file seem singularly
unfruitful. On the whole the average is
pretty low. and is especially distressing in the
poverty of emotion it suggests. To stray among
| the miscellaneous painters in this section is to
| be bored by superfciality, by such meretTicious
| cleverness as that of Signorina ROmani-whO
| simply repro 5uces in her "Angeque'' or
| "Saiome" the tricks of her Partisan master,
! Roybet-or to be amazed at the mistaken
ambitions of a man like Aristide Sartoris, the
painter of two huge canvases. La Gorgone ct
les Heros' and Diana dEfesO." The last men
! toned works pitiable in their inadequacy.
nr1,o ..Innn hIrfec with mass of men and