New-York tribune., 1902-04-20

MONDAY light coming from above paehes 'iie
superbly modelled faces Of the three "oiie
There is vigor and veracity in every hhe' Be
side this remarkable work there is oeisn'io
group of Breton fisher folk dancing IN 'iiiase
inn and "Causerie du Soir." family seated at
table by lamplight, near broad Wlnoo" us
closing a seaside view by twilight
Carolus Duran exhibits the largest ana most
ambitious picture of his career foho"i'ls ti.e
example of Franz Halls or Van DER fheis'
the Partisan master. who is essehtlatS 'i'1
representative of the graceful iuXurlahce anu
the refined brilliancy of contemporary rleii'n
fashionable society. has painted ne SIZE"
group of himself surrounded by his Whoie lam
ily. There are sixteen figures altogether In
the centre stands a bright radiant snIhhs
little girl in cream satin. with her hahuS
clasned about the neck of large greyhound,
also standing There is delicious space ana
warmth OF atmosphere and full measure Oh
l,stro1Is richness of color. CaroluS duran
stands erect while half dissimulated is proiiIe
statue Of an ancestress The labor or years Is
concentrated on this canvas which CaFoIus
Duran was busily but tenderly caressing with
his brush this morning when 1 took notes OF MS
picture.
The finest descriptive panel in the salon IS
lie Heureuse" by Albert Besnard Ii Is mar
monious and poetic. There is lake, the waters
of which are deep blue afar and wine Color
near the shore. Blue mountains are IN the pach-
ground over which is radiant amber SKY Win
feecy clouds. A boat with a male hgure III
scarlet raiment draws near the happS lsl'iu
4 female figure in white drapery welcomes the
newcomer with open arms. On the sward Is a
profusion of women, here and there are green
neacocks and a sumptuous repast is in waiting
II is blending of mythology with modernltE,
eyokinC symbolism wherein it becomes obscure
and disappointing The effect Is also marIeu
by the unsatisfactory grouping or the ngureS
and the exaggerated treatment OF the unoulat-
ing waves circng around the boat 1T Is hot
a work that seeks to impress one with the hlsh-
est purest emotion. but leaves the observer an
solutely cold, for the idea really conveyed Is
that Of a gigantic and capriciously decorated
faun On the other hand. see Besnard at
his best in a strong, solid lifelike portrait OF
NJ Denys Cochin, a small canvas that hangs
near his vast and greatly overadmired decorative
panel.
The picture likely to hypnotic the public Is
La Machine (Modern Machinery, by Jean
Weber 1t is a large work, superb in color ana
superbly drawn. A huge dynamo is In rapld
motion On steel cylinder is perched nude
female figure whose red hair stands on END oy
the force of electricity, while the ponderous
flywheeI is crushing to atoms hundreds or
human bodies the victims of industrial trusts
and commercial syndicates. while a river or
blood flows beneath. This apocalyptic machine
picture has an irresistible fascination, in spite
of the repulsive subject and the artists baneful
nisconception of modern civilization ana
progress Modern Machinery is to this years
Salon what Jean Beraud's scarlet Christ at the
al
istic atrocity, but every one gazes at it, every
one talks about 1t. It arouses anger and indig-
nation but Vebers most caustic critics admit
that among the younger generation Of French
painters there is not that can equal him IN
warmth and brilliance of color.
In large decorative panel Dubufe has de-
lineated the apotheosis Of Gounod The arrival
Of President Loubet at the Brobdingnagian ban
quet of the twenty-five thousand mayors. held
during the exhibition, is put canvas by
Gervex who has painted portrait which hangs
near by of Prince Victor Napoleon in his library
at Brussels. The imperial portrait is surmount-
ed by the Napoleonic eagle, and on a table is the
bust OF the emperor. Prince Victor, by the irony
Of the hanging committee, is regarding the
colossal feast of the twenty-five thousand
mayors of the French republic, who welcome
the chief magistrate and present sort OF
There are characteristic works by Roll. by
Blanche, by Aman Jean. by Prinet. by Thaulow,
by Tournes, by Lhermitte, by Bimotte. by
Guignard. by Carriere and by Dagnan Bouveret.
The English painter who carries off the palm
is Lavery, with his picture Of a charming little
girl, clad in white, about to go to her first Com
munion. Sureda, the Spanish colorist, has de-
nghtful pictures of cigarette factory girls.
Americans may feel justified in feeling thrill
Of pride they look at Sargents picture of a
young In the attitude of singing, which
was exhibited last year at the Royal Academy.
Sargent's portrait Of the Wertheim sisters and
his portrait OF NJ. Delafosse are the most brill
liant portraits in the Salon Whistler's five small
studies Of female ngures rivet attention. Mel
cher's portrait Of Mrs. Hitchcock, standing be-
fore olive sideboard, holding a china delft
horse in her hand dressed in black, with Irish
lace bright red flower in her hair serving as
an effective key to color values. is strong and
sincere. The portrait OF American child in
a pink gown is bright and pleasing.
Among other American works are two deli
cately painted portraits by Cecilia Beaux
studies OF moonlight seas by Alexander Harri-
son, charming nude by Frieseke, a panel of
Breton peasants by Elizabeth Nourse in her
best style, characteristic works by Eugene Vail
by Van Weyden, by Humphreys Johnston, by
Walter Gay, by Miss Kate Carl, by Eleanor
Norcross, by Childe Hassam, by Florence Este,
by Mrs. Macmonnies and by Mrs Lee Robbins.
The finest portrait in the Salon Is that Of the
painter Ger6me by Dagnan Bouvert The un-
covered head IS bathed in mellow light and
Gerome is represented wearing the green
palms Of the Academy. Dinets Oriental pict-
ureS are all perhaps finer than his works re-