New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1900-03-11


Octave, PIP. Nv, 81 The Macmillan Company.
When Lady Dixie first became interested in
the French art of the eighteenth century she
found great difficulty in obtaining the general
information which she desired. The works of
the Marquis de Chennevieres, the two De Con-
courts NJ. Mantz, NJ. Portals and others taught
her much but nowhere could she discover
clear survey of the field. SO she has undertaken
to provide this herself, using not only the books
of the authors just mentioned. but such manu-
script sources as are available. The present vol
ume devoted to the painters, is TO be followed
by others on the scuptors architects and en-
gravers of the century of Vatican. If she ends
as she has begun she will the hearty graft
tude of art students at least in far as they
want facts. She follows a good system. Her
book opens with an account of the Royal Acad-
envy in France this being an Indispensable
prelude to the main part of her story Then
she takes up the decorative painters-Le Nome
and De Troy Boucher and Fragonard- passes to
the painters of "Fetes Galantes' Vatican.
Pater and Iancret-and continues with notes on
the painters of familiar scenes-Chardin, Bau-
douin and Greuze-clOsing with a chapter on the
masters of pOrtrature and with brief sketch
of the Landscape men. She exhibits the artistic
life of the time, showing how it was related to
the court and the social movement The per-
sonality Of each famous painter is lightly but
sufficiently sketched and the works of the whole
school receive historical and critical treatment.
The record is full of interest
A curious paradox is presented by the artistic
period of which Lady Dixie treats. From the
start the Academy was largely identified with
the State. Every artist cOurtier. AN
Academician could not leave the country says
Lady Dixie. or undertake any work abroad
without special permission from the Crown"
The models, too, came under the tyrannicaI rule
of the institution AS time the pre-
tensions of the Academy grew more and more
offensive. Down to the very days of its dsso-
luton, in the storms of the Revolutionary epoch
the Academy was imperous and reactionary. a
milestone around the neck of French art. Yet
it among associated, whether they
liked it not with this pernicOus Academy
that an art was developed unique in history for
certain delicate charm, style too fragile. too
exquisite, would think. to endure for mo-
ment the trammols of any official tradition. 1t
is in her analysis and Interpretation of the stu
alton that Lady Dixie leaves wishing for
more of the ability which she reveals in her
marshalling Of historical data Her book makes
for instruction. it does not make for delight and
the truth is that the French painters of the
eighteenth century offer an inspiration on which
a book completely delightful could easily be
based.
The Court and the Academy were enamoured
of routine formue, interference. intrigue, a
thousand Irrelevant things. But, fortunately
both interpcnetrated by the supreme infu-
ence of the time, kind of decorative elegance
which everybody from the King down, desired
by instinct. not by virtue of any official edict
The age was in an aesthetic mood. Civilization