New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-08-05

nay be. quality OF repose such as his most
romantic contemporaries seldom achieved ono
OF MS pictures is the remarkable "3onio,,-
I,--Sis1I Gourmet. II which he portrayed him
ser greeting some men on the highway ,rbare
- e1len' IN the composition, but it is move
--'N' very subtly suggested. The Sifters of
v neat IN which one Of the figures turns ,b,
Etsin n a sieve IS quiveriug with the yyona1,,s
'@N"'is- Yet the charm of this picture seems
@--i-ost that Of immobility when one cor,paras II
WIN work say, by Delacroix In short what
WIN NE careful rectitude of his drawing the
SCoFlety Of his color and the grave breadtb If
us style the man who in his time seemed an
@1-1sNic rlcter now figures very nearly as
severe conservative The spirit of his work II
: rue Is opposed TO all that we associate with
H-At epithet He saw landscape with the eve of
poet, and his pictures are never cold
II Is curious fact that the pcturas IN +bA
centennial exhibition which somehow give that
eAiiDlHoh us distinction are works more or less
e-oqoen1 OF the conservatism which has ALWAYS
P'@Seo SO large part in the history of French
painting The great name of the collection Is
me name OF Ing-es He, too, had his romantic
inspirations, and from the museum of his native
Town Montauban. comes one version of his
Roger Deiivrant AngeIique" from Anglers
comes his Francesca di Rirnini >. n remind nc
OF them But with Ingres the most lyrical and
passionate Of themes passed through channels
OF CAIN thought and classical preoccupation
"Alch LETT them sublimations OF pure form It
must De confessed that a tragicaI scene from
Lante offered 70 US as an arrangement of line
ana FORM Is not very exciting to the emotions
anc Il this exhibition contained nothing else nv
4nsres he would not be selected as The master of
mem all But q number of his portraits are
here, and that means that the exhibition is
f-cher oy number Of masterpieces. One Of
THESE IS q Nine. De SennCnes. q lady seated and
leaning slightly forward. Her dress is of dark
wine red the only rich color in the whole work
he color OF Ingres is always simple His line
TOO seems simple but IL has the simplicity Of
which only genius can hold the secret. Infinite
strength and impeccable precision are the salient
QUALITIES II this portrait, supporting the high
seriousness and dignity which are insepara HE
rom any conception of the noted classicist The
recent work OF French artists is opposed in every
cetau 70 the quiet power of Ingres. as the recent
work OF French writers is antItheticaI to the
solid methods OF Sainte Beuve But no one has
The weight N this exhibition that Insres has in
his eight or ten painted portraits and in the
thlrty-t~o drawings (mostIy portraits) which
Illustrate in a more personal way his linear per-
fection- No one. that is except Arnal1rv- r,1,,a1
whose Etude Eufant, a nude study is su-
perb IL draughtsmanship and delightfully."- pure
IN spirit Paul Baudry, who died in 1886 barely
twenty years after IngTes. was not unworthy OF
his tradition, and his portraits of Edmond About
and Charles GARNER. the architect of the Opera
House. justly appear in the same exhibition