New-York tribune., 1901-12-15
ART EXHIBITIONS.
FRENCH PICTURES Al THE UNION
LEAGUE CLUB-oTHER LOCAL HAP
PENINGs A PORTRAIT OF
BISHOP PoTTER-NoTEs.

Seventeen French paintings go to make the sec
ard Of the monthly exhibitions this season the
T-,on League Club. Seven artists are represented.
me belonging 10 the eighteenth century and the
.s+ n the nineteenth. It is an interesting little
collection and especially in one striking contrast
that II illustrates. The Venus a the Bath-Por-
trait OF Nine. de Pompadour.' by Boucher. is an
excellent example Of that cynical spirit and essen
+iaUy sophisticated elegance which controlled
most of the art Of the eighteenth century. 1t
stands for q world IN which simple humanity
counted for little. in which men and women were
+rsnsmogriaed into figures Of inimtabe artificial
itv and charm. It is shallow. and delightful A
few feet away large paintings by Edouard
afenet are hung. Christ and the Angels" and an
.F5cce Homo" Here too II consider the work
f-oru & certain standpoint, there is shallowness
That IS 10 say. Manet had 10 business TO touch
religious subjects: and when he did meddle with
-bern as in these two compositions he had not
grain Of spiritual force put into his representa-
tons OF them. But, all other counts, he is far
from shallow. In these pictures we get humanity,
II we get nothing else; and. indeed. do get a
great deal else. We get a technical breadth. a
weight and sodity OF form, poignant vitality
which show US how far French art has travelled
from the beautiful but frivolous masterpieces Of
the eighteenth century. These two religious de-
signs may lack the religious note but their realism
.s magnificent There is a touch that recalls
Teiazquez in the painting of the head OF the peas
snt-lfke figure standing 20 the right in the 'Ecce
Homo; both pictures dinaly recall the big can
z-ssses OF Zurburan and RIbera In Spain; but over
both there is thrown the distinction of with
an individual style. and especially with a strong
grip upon the problems Of draughtsmanship and
modelling before him. Manet did not draw with
the point, TO say; he gives Us veractous form
through a bold treatment Of his subject IN the
mass These are not pictures TO live with to
enjoy for subtle and lovely qualities They are
examples OF mastery painting. TO be hung IN pun
liz museums for the edifcation OF students and
artists
Much the same comment might be passed upon
The Souire's Daughter huge landscape With
figures by Courbet The composition is not espe-
c;sIlv engaging: the figures though necessary TO
I'll out the scheme are not in themselves at
tractive and the landscape IS without charm
But OF the other hand. the work is technically
very interesting and there is something par
-icularly fine IN the vigorous mana cement OF so
spacious e scene The five examples OF Delscroix
have the value OF exhibiting him in various moods;
they include religious, romantic and Oriental mo-
lives All are characteristic but none in the group
calls for special notice unless ii be the 'Tasso
a picturesque interior, which brings vtvidly to
mind the wave OF enthusiasm for the romance OF
literature which passed over French art in the
earlier decades Of the last century OF the six
figure pieces by Corot, the best is La Cigale,"
captivating portrait Of e seated model IN a red
bodice but all these Corots repay study speci-
mems OF that side OF his work which the pre-
erninence Of his landscapes inclines the public TO
overlook There is a good but unremarkable In
cantatfon Scene by Dtaz, and the collection is
completed by a large picture Of Jean Bremond's
Amour Tainquer.' luscious In color, and once
adequate in technique and dign1ed IN style, though
somehow tinged with the meretricious quality
which associate with the academic fatuities Of
NJ BouEuereau.