New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1912-12-29
DEGAS
Mr.. George Moore on the Mas
ter and His Fortunes.


Not in many a long year has Paris
known a sensation in the world OF art
equal to that created by the sale of a
Degas in the Rouart collection for
SS7,O This picture, THE Dancers at
the Bar" which NJ. Durand-Ruel
bought for the collection OF Mrs. Sears
in Boston, has proved almost as excit-
ing a theme as the missing Mona
Lisa" 1t is, of course, the price rather
than the picture which has caused all
the talk. 1t is a fine picture. NJ. Jules
Caretie is quoted as saying that the
late NJ. Rouart cherished the work with
so much enthusiasm that he had 1t
chained to the wall, and refused to let
Degas retouch It, Yet it is little diff
cult to see why the world should go
mad over the thing. There are other
paintings by Degas which we can mag
inc our living with more joyously, the
marvellous Portrait of a Lady" for
example, In Mrs. Gardeners collection.
But a record is a record, and this one is
undenlably impressive.
1t impressed the London correspond
ent Of 1.-The Manchester Guardian" so
he concluded to go off and talk about 1t
with the one man in England who, in
his opinion, had the right to say, when
he heard the thrilling news, II told you
So" This man Is Mr. George Moore,
IL tatn mi
Impressionists twenty-five or thirty
years ago, had his portrait painted by
Manet, knew Degas well, and thence
forth, in season and out OF season,
cried I'D the works OF his old comrades.
Not only in his Modern Painting" did
he advance the claims of Degas and the
rest, but in private conversation he
pointed out to collectors that these
painters would prove good investments
as time went on. He also urged the
purchase OF their works by public gall
leries. But when the Guardians" cor
respondent asked him if his advocacy
had had any results he could not tell
him of any. The interview proceeded
as follows:
Would Degas now enjoy the prosperity
which the sale of his picture at such
price must bring?
What prosperity can man over eighty
enjoy, without kin and almost blind? He
could take his outlet and glass Of wine.
What more? He could not even ENJOY
his own work"
Had NJ. Degas many Of his pictures
In his possession, and was there any
A. To-, h. thaf hn hlH nj q
of his works stored away which, accord
ing to the terms OF his will. We're TO be
destroyed after his death? DID Mr.
Moore know Of that romantic legend?
II think he has a number or his WORKS,
but do not know about the romantic
legend"
Mr.. Moore kindly gave me some remi-
niscences OF Degas. lie was not, as some
had said, a man with bad temper
He was a man whose work was his life,
and he gave UP everything even his
friend. 10 its claims. once he said TO
Mr.. Moore: Il have achieved my lonell-
Moore suggested, you should say rather
by the sweat of your tongue" Degas
had. indeed, a sharp tongue. once, when
Manet was complaining that he had not
attained the fame that was his due,
Degas said: Why. you are as well
known as Garlbaldi" But Manet had
quite as sharp tongue. Degas, visiting
Manet's studio one day. complained OF
his eyesght and how he could not see
anything. Manet said; Then why do
you come here? People. should not Visit
studios without eyes To whistler
Degas said: MY dear Whistler, you be-
have as though you had no taleht az
ALL" Another anecdote, for the point
Of which one must know Whistler's lie
Comte de- Montesquieu,' that exquisite
dandy of the Paris world Of the tlme'
was now Montesquieu once pressed De
gas To leave his work and come 10 pan
hill" the painter said, glancing around
at his studio. In his later life Degas
collected works by lngres and ne
amassed a fine collection, having scouts
and agents all on the lookout for lngress
works Manet had small picture or a
pear stuck on his studio wall without
stretcher or frame. but it was a master,
piece, and Degas acquired II; lie Pla ecu
lection. Mr.. Moore questioned Its posi-
ton, surprised that NJ. Degas should have
placed It there "Eh, WELL SAID Deeas,
lit is there just TO show you how the
fall OF Jupiter can be brought about by
a small near" Ingres's Jupiter" In
deed, was not very great example.
Speaking of the thoroughness OF Degas
IN his art MIR. Moore told how one day In
Degas's studio he found that his painting
"Semiramis' had been destroyed: Degas
explained that he had represented semi
rarnis" surrounded by women, but AFTER
thinking the conception over ne saw that
and so the picture was hopeless. 1T had
been poisoned" he said. IL was or this
picture hung beside a much praised work
bv Gerome, that Gerome made some ais
paraging remarks. us IL not Turkish
enough for you, NJ. Gerome?' asked
Degas.
HAS NJ Degas many of his old friends
beside him TO share with him the bitter,
sweet pleasure Of seeing that the world
has como up TO their art?'
There is Monet of course said Mr..
Moore. "but | doubt IL they see one an
other very often now. Monet Is the only
one OF his contemporaries who still has
the happiness to have his vigor ana 10
paint we'll Renoir Is very feeble ana
suffers from paralysis. He still paints
but can only paint horizontally, as he
cannot raise his hand for vertical strokes.
All his best friends have gone. AT the
time OF the Dreyfus affair Degas became
deeply embroiled and quarrelled with
nearly all his old friends. Now they are
nearly all dead, and he Is an old man,
without kin, and the approval or the
world can mean little TO him.
Mr. Moore knew Of no Degas pur-
chased by an English gallery, but
apropos Of the subject he told an in
teresting story Of an attempt I'm which
he had been concerned, twenty years
ago, to get the Manchester Corpora
ton to buy Manets lie Port De
Boulogne" A Manchester connoisseur
had obtained 1t from a London dealer
for $3.50, and he offered 1t to the cor
,,orotion az that prica Mr. Moore was