Year: 1871

fbiOty'o Henry vtA1s ana ADu0 DOlcyus
An incident In the courtshlp Of the much-married
English King furnishes the subject OF Piloty's his
torical painting at present on view in Goupns Gal
lery. The moment chosen by the artist Is that IN
which the slignted Queen, passing through the gal
leries OF the palace, catches glimpse OF the King In
tender tete-d-tete with Anne Boleyn. In order to
the requirements OF art the artist Is obliged to
assemble his characters in one vast hail. but he has
30 arranged his personages that some Of the sub
sidiary figures oct kind OF screen, without in
any way interfering with the unity OF the compost
tion. Much dramatic power Is displayed in the ar.
rangement, and we gather


THE MOTIVE OF THE INCIDENT
at glance. Although the painting OF the heads is
wanting In finish, the various expressions on the
faces OF the assistants strongly and appropri-
ately rendered. But Pilotys strength lies in his
color and certain vigor OF composition rather than
in correctness Of drawing or finish OF expression.
In the work before US we see gorgeous wealth Of
color lavishly laid on, until the canvas seems TO
glow with the glare OF FURNISHED gold, under the
brilliant lights OF the banquet hall. When the mo-
mentary eolouissement has passed, and we examine
critically the work before us. there comes feeling
OF the insuficiency OF mere color, no matter how
brilliant to satisfy all the requirements Of art 1t
is, indeed, seldom that we meet In picture such
manifest


MASTERY OVER COLOR.
Here are tints quiet subdued, and deep and bril-.
iant but under all circumstances lorcible and ricn
The paint has been iaid on boldly, almost roughly.
ana though but little attempt has been made to
nish yet we feel at that the artist knew tho.
roughly the value OF every touch Of his brush on
that great canvas. Whatever could contribute TO
enrich the color OF this painting has been carefully
introduced. Gorgeous costumes rich textures,
golden ornaments combine to produce the most
brilliant effects, till the eye Is almost weared by an
ernbarrds de rcheSSe. Though striking and efIec.
tive, the scene Is


WANTING IN REFINEMENT.
reaches to yulSarty. hls unpleasant feature IL in
creased by the defective figure drawing which dis
plays complete indifference to proportions.


The composition OF the scene Is well imagined.
The main group upon which the chief interest
turns is formed by Henry and Anne Boleyn, VINO
from which tney have turned extends, laden dOwn
with the remains OF the late feast. Music has evil
bandoline rests All empty chair next to the Lady
Anne 1t Is critical moment IN the history Of their
and the nose of the sdy who is leaning towards the
KING, tells US that she IS lending no unwilling to
the prayer Of her royal sutor. Henry holds the un-
placing ring on her finger. Nothing could be bet
Ter imagined than the action OF the group hut un-
n the e 81 say ~ Of @
the way Anne Boleyne inclines towards the King
that the hour OF concession has come, and the SEN



PALE WITH THE PALLOR OF PASSION.
and the closed eyelids. tell US that the die is cast.
such q Ounce but he can read the incident passing
before him. Using the liberty OF his folly, he bends
and touches he sng Of the S to
and at the same time casts provoking glance Of
comprehension in the direction Of the group On
the left OF the picture Queen Catherine passing
through the banquet hall leaning on the arm OF =
couruer, and has just caught q glimpse OF the
lovers, who are SO absorbed In pleasant world OF
their own that they obvlous to what Is passing
around In the look OF indignant inquiry Of the
Queen we see how Trs deeply wny.,,s PRIDE
is hurt, and how much her queeny dignity is taxed
to retain her composure. Perhaps the artist might
there ID visible too much OF the passion Of the
woman and not enough OF the impossible haughtiness
Chprchman, in his crimson garments, interpOses
and partly conceals the King from the view Of his
T~S so ss s al Ssen s
Of the sagg asB 81 ssay clad
Churchman In composition the central group
containing all the important characters OF the scene
N ne aDs IS a
terly. All the characters have been brought to-
gether so as to preserve the most


COMPLETE UNITY,
and yet each Of the component groups retains an IN
dividaal interest-an appropriateness OF action 10
guilty lovers, absorbed in their passionful an,icpa
lions, happy In their dreams OF pleasure. contrast
SrcSy Sn ee and enss 81 o
groups well rendered III the pose or the figures
seems startled and somewhat aDashea at the Queer
discovery, and the two figures in the orange tinted
garments VINO appear 10 be scandalized by what IS
passing, are very well painted and are


FULL OF EXPRESSION.


They aid most materially the moral lesson OF the
scene as well as ITS dramatic effect The most
poorly conceived figure in the composition Is that
Of the courtler, upon whose arm the Queen Is lean
Ing. Nothing could we'll be worse than the draw
ing OF man. There Is neither


KNOWLEDGE OF FORM
eerased. ana Yet the inquire is weak. All the drapa.
TIC interest OF the painting Is gathered into this
central group, the remaining ngures simply filling
10 the plot as the nuge corbeiue OF flowers on the
table, or the gold ornaments introduced for their


GoRGEoUsNEss OF EFFECT.


1t Is due to the artist TO say that we easily recOg
sorry groups, which are carefully kept from inter-
fering with the unity OF the composition. The artist
has thrown all his force into the representation OF
the banquet, which has been prepared with more
than kingly magnihcence. II Is such scene as q
great colorist loves TO paint and the opportunity
has been seized TO introduce crowd OF figures
habited In the


SPLENDID COSTUMES OF THE PERIOD.
Flowers have been distributed with pleasing eject,
and while they increase the richness OF the coors
they serve at the same time to tone down the
afrord relief TO the eve fatiaued by rchly coored
drapery and brilliant light enects. Defective draw
ing Is the weak point OF the picture 1t Is mpossi





and not to feel regret that an artist possessing 80
much talent should be wanting in the power 10
draw correctly. Not one Of the figures possesses
even decent proportion but present a strange mix
ture OF


ExAGGERATIoN AND WEAKNESS


Piloty seems to entertain sovereign contempt
for beauty OF form and grace OF movement. His
men are burly and Ill shaped and we miss all grace
OF movement In their action. In the painting OF
Henry the artist has reproduced the conventional,
lusty King, and seems to nave taken his model
Oden Time,n but in justice to Gilbert we must say
that the German has by no means improved upon


HIS MODEL.


The Kings legs look nat In the painting, and there
Is but little Indication OF the thews and snews
which the monarch was remarkable. Anne Boeyn
Is drawn as rather matronly looking person, with
soft and somewhat nabby


PINK AND WHITE FACE


which Is decidedly not beautiful While we admire
the intentional pose OF this figure as suitable and
expressive, we think a little more IN the draw
ing would have given US the same effect without
interfering with the stability Of the figure in which,
at present, there Is disposition TO glide on the
chair. Certainly, II Anne Boleyn was not hand