The sun. [volume] (New York [N.Y.]) 1833-1916, 1906-06-10
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rivra supposed. In many uara, phan ne
picture IL shown IN an exhibition AMI -.
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for q FmEonard Ia likely 10 have m 'he
.--.t-N -.l.-- - III 1919 - "
painters 10 which Frpgonard belonged
lie Billet DouS.' representing y young
girl seated NJ her writing table and mn.
cesllng a love letter In % bunch of flowers.
In q delicate and charming work nv one
Of the hest French artists 81 hia time, IA
Ia also somewhat weak. especially In tho
painting Of the girls face, and IL seems
likely that both the exceptional charm
and the weakness are due to the artist
having felt that II he touched his picture
again he might spoil what he had lone
Whether by chance or design, IL remains
q delightful sketch, executed on a canvas
prepared with bistre. In many places this
foundation Is left bare.
Two other charming F~raeonards, stronger
II less dainty, are small, oval portraits n
Mile. Duths and Mile. Guimard. Both
these fair, languishlng beauties we're famous
dancers at the Opera, and Rosalie DuthA
was the mistress OF the Comte d'Artois,
afterward King Charles X. These two
little pictures were formerly In the collec-
ton Of Baron Arthur de Rothschild.
II there Is nothing specially characteristic
Of the most delightful painter Of the group,
Antoine Watteau, there is q -Jeune Femme
Endormie" that shows him as a flesh painter
Of great skill and delicaoy. His pupils,
Lancret and Pater. are both represented,
the former by a highly finished portrait
group of the Bourbon-Con family, and
the latter by a characteristic "Fete Cham.
petre." and by one or two other works
which, II well enough In their way, are
hardly quite In Pater's way.
The best Of several Matters, a really fine
example. is a full length fancy portrait of
the Baronne Rgoley doggy, represented
as Flora riding on clouds. As a conception
1t seems to-day ridiculous, this portly, rose
checked dame, with powdered hair and
pearls and low out dress, grasping a tulip,
up In the clouds. One fat bare leg emerges
from her elaborate toilet.
Flora, gracious goddess Of flowers and
the springtimel Flora, forsoothl But the
picture Is strongly and brilliantly painted,
In excellent condition, and typical both Of
the time and Of its most fashionable portrait
painter. The whole court Of Louis XIV.
sat to Natter, as did also the leading person.
ages OF the Russian court.
or some special interest as showing what
a famous royal favorite looked like as a
young woman Is a likeness of Madame du
Barry by the younger Drouais. Unlike
many Of the lady's portraits, this one was
painted from nature, and shown at the Salon
Of 1860, when the mistress Of Louis XIV. was
| 2s years old. She wears a garland Of roses
over her low white dress and has a wreath
Of roses ON her hair. Vivaoious, one would
say, rather than beautiful.
The exhibition as a whole is good, and
very we'll arranged. Certainly tho works
strike one as being highly artificial, even
when thus seen by Themselves, not in com.
pany with the productions Of other times
and schools.
In this the painters were faithfully
rejecting the spirit Of their age and country.
which Is already much. Chardin. vino In
his day did more, is not represented.
To be seen at their best these paintings
ought to be shown together with the ornate
furniture and dainty objects Of art OF eigh-
tenth century France. Without them they
lose half their decorative effect, and under
such circumstances what one admirers
chiefly Is their skill.
A reflection suggested by their manner Is
that these artists Of eighteenth century
France must nave influenced to an extent
not generally recognized the portrait paint
ers Of eighteenth century England-Rey-
nolds, Gainsborough and their contempt
raries and followers. Before long the
Indebtedness was repaid by Turner and
Constable.
THE LAGOON CORRECTED.