New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1915-07-07

lew pOiHNh tSNo Wv
/ serious interest. " -,
In the French section. which / saw
lust on the completion OF the hanging
and where I had chance 70 Euth
over the paintings destined for Mo
I retroactive exhibition in mat pa
tion's separate pavilion, 1t was eIees
that all the commissioners eouio 90
WAS 10 mark tine. They have msde a
little salon OF the official sort' us
Characteristic names those OF So..e0
Simon. Besnard. Caro- De!yaIiIs'
Mensfd, Agnche, Flameng, Dinet'
Blanche and so on. Some Of these
names spell brilliance. There Is. for
example, Besnsrd. Then. Of course,
there are works by DeRas. Monet and
the other members Of their group, and
in the Retrospective collection OBJ
served paintings by Legros. Henner'
Clairin and numerous other eelcon-
! ties. As hints. so TO say. OF later
phenomena there are some examples OF
Maurice Denis. Bonnard and Odilon
Redon. The show is a good one. in its
way, and ii is put before US with so
gallant a gesture, it is so much for US
to receive from France at this tragic
moment, that | would not understate
it's excellence by the smallest shade.
Yet il cannot be regarded as rendering
full Justice to the present state OF
French art. What it does. rather. is
to give US some brave glimpses into
/ its more recent past and a mildly in
teresting. necessarily partial, view OF
! its condition to-day.
J Tho Italian school, affirming itself at
the fair in it's best estate, discloses
no new talents of any imposing calibre
7 ho oftlf
/ the same surface cleverness that has
marked it for years. Ettore Tito, the
! Venetian, is still their strong man,
! the leader that he has approved him
! self in other international exhibitions.
He is not a man of genius but he is
wonderfully well equipped, technically,
and he has good color sense, dealing
effectively in rich blues and yellows.
His picture Of a religious procession.
which | remember seeing fifteen years
ago, has lost nothing of its force as q
conventional but well painted compost
/ ton. He shows a full length Of his
wife, standing by the window with
night light studied in the background
1t is q handsome decorative piece. In
a rout of centsurs, in nude nymph
| frolicking on the widest Of blue seas,
Tito-evidently the Tito Of his latest
! eliminating point Of brio and dexteri-
| ty-recalls the swinging brush OF Ru-
! benz. He has no rival in his own land.
! But the men who surround him IN the
| Italian section are clever.
Camille Innocent, painting a grace
! full girl in her room, with something
of the golden glamour Of the late Gas
! ton Latouche, is not only a facile
craftsman, but is on the way to some
! good effects of indoor light, The three
members of the Ciardi family, gifted
group, exhibit Venetian and garden
scenes painted with more sensitive
/ touch, with a more poetic telling, than
| is commonly to be looked for in the
/ Italian school. The work of NOmel-
/ lini admirably reproduces the subtle
atmospheric vibrations associated in
France with the art of Henri Martin.
Brantale's funeral procession passing
/ over a bridge in windy weather is done
with capital spirit, and contains some
quite exceptional grays. | may note
| finally the lovely flower subjects OF
! Carlandi, the tender landscape senti-
ment in the pictures Of Casciaro, the
| startling realism with which Luigi Boz
/ zano portrays a Roman arch, and the
/ delicately individualized plaques OF
Renato Brozzi, impressions OF animals
/ in very low relief. The sculpture gem
orally, though distinguished by the
usual mechanical sdroitness OF Italy. is
superficial in quality. The predomin-
ating virtue of the painters is GER
tain nimble workmanship, reinforced
by light, pleasing taste. While 1t Is
not a great exhibit, it looms surprls-
! ingly we'll in the wide perspective of
the fair.
Sweden presents a series OF rooms
more beguiling than | had supposed
they would be, in view of the rather
discouraging character OF the well re-
membered scandinavian exhibition in
New York two years since. She makes
the most of the open air. The snow
scenes of Gustav Fjaestad, the wild
birds and fowls of Bruno Iiljefors, may
not be masterpieces, but they illustrate
an attractive decorative ideal and a
considerable degree of technical power.
! The rank and file are not so well
equipped, but they show the same zest
/ for nature, and their paintings have an
infectious vitality, if they have nothing
else. Carl LARSON, the painter OF chill
dren and the gentle humors of domes-
/ tic life, has a room OF his own-and
/ this time the Scandinavian Boutet de
/ Monvel seems to me to give better ae-
count Of himself His graceful line fol-
/ lows in r lovable manner the simple
facts Of Swedish life, and his unassum-
/ ing color schemes match their naivete.
The quaint grimness in the fairy sub
jects of Ossian Elgstrom is TO be OBJ
served with appreciation. He very near
/ " rewards the search for something
new and brilliant which one pursues IN
+ this section.
The man who does actually crown
| that search is John Bauer, another
/ illustrator of fairy tales. You won
der when you come upon his marvel
/ lous little drawings whether he IN
vented Arthur Rackham or was invent
ed by that amusing British drafts
man; but you have no doubt at all as
to who is the artist of the finer fibre.
of the deeper, more poetical. more mys-
ferrous spell. | think if |, could choose
one picture from the Fine Arts Pal
ace TO make friends with for a long
time it would be Bauer's tiny hut,
nesting in the snow beneath the
shadow of tremendous mountain ana
menaced by most fantastic goblin.
I The scene is Of faery wonder and ro-
nance all compact. | like it best of
all the twenty-odd designs he shows,
but there is not one in the group with
out its imaginative charm. From a
certain point of view. il is a case in
the Swedish exhibit of Bauer first and
the rest nowhere. yet. as | have said
above, the rooms are really entertain
ing. They have been generously
filled. There are sculptures. drawings,
engravings and etchings as well as
paintings. And though these register
no specific triumphs they manifest,
taken together, a healthy vigor, signs
/ Of the ardor which sooner or later de-