FINE ARTS IN 1890. 



311 



(wood), Henri Nicolas Dugourd (lithograph), 

 Louis Valere Ruet (etching), Emile Louis Der- 

 bier (wood). 



Section of architecture : Medal of honor, Gas- 

 ton Fernand Redon. First-class medals : Lucien 

 Fournereau, Alexandre Marcel. Second-class 

 medals: Leopold Joseph Ridel, Hector Jean 

 d'Espouy, Henri Louis Laffillee. Third-class 

 medals : Alphonse Conin, Louis Marie Cordon- 

 nier, Henri Toussaint, Jean Laborey, Rene Mo- 

 reau, Henri Schmit, Emmanuel Rene Le Ray. 



Francois Louis Francais, the landscape painter, 

 one of Corot's best pupils, who received the 

 medal of honor in the section of painting, ex- 

 hibited two works, " Vue de la Sevre, a Clisson " 

 and "Matinee brumeuse environs de Paris." 

 He received first-class medals in 1848, 1855, and 

 1867, and a medal of honor in 1878. 



Munkacsy's " Allegorie de la Renaissance Itali- 

 enne," a vast canvas about a hundred metres 

 square, is intended for the ceiling of the Museum 

 of History and Arts, Vienna. Within a portico, 

 surmounted by a cupola resting on rose-colored 

 marble columns, are grouped the great Italian 

 masters of the sixteenth century, with Pope 

 Julius II, in a loggia above the rest, examining 

 architectural designs. From the top of the cu- 

 pola, which opens to the blue sky, descend Fame 

 and Glory, the former blowing her trumpet, the 

 latter holding out the palm, the victor's reward. 



Henri Levy also exhibited a ceiling, entitled 

 " La Liberte," for the decoration of one of the 

 rooms in the Hotel de Ville, Paris. The City of 

 Paris, personified by a woman, draped in a violet 

 robe, stands on a barricade, surrounded by the 

 dead and dying, lifting one arm toward heaven, 

 offering her slain children to Liberty, who is 

 seen advancing in a chariot. 



Jules Lefebvre's "Lady Godiva" represents 

 the deserted street of a town of the middle ages, 

 down which an old woman in a gray gown and 

 white head-gear is leading a large gray horse, 

 upon which is seated a naked, shivering woman, 

 her eyes cast down and her arms folded mod- 

 estly over her bosom. 



Henri Martin contributed " M. Sadi-Carnot, 

 President de la Republique, a Agen," an official 

 picture showing the President in his landau, sur- 

 rounded by half a dozen officials, with some gen- 

 darmes keeping back the crowd. 



Bouguereau's "Les saintes femmes au fom- 

 beau " and " Petites mendiantes " exhibit his 

 usual purity of drawing and academic finish. 

 The second picture shows two young girls whose 

 native elegance is in strange contrast with their 

 ragged clothing. 



. Detaille's " En batterie," nearly life-size, is 

 one of the best works of the year. A battery of 

 the Artillerie de la Garde of the second empire 

 is driving up through a cloud of dust and 

 smoke. The commanding officer, on a magnifi- 

 cent black horse, reeking with foam, turns 

 slightly to give an order to those behind him. 

 Both man and horse are full of intensest life. 



Gerome sent two small pictures, both inspired 

 by his Eastern recollections " Abreuvoir," cam- 

 els drinking from a stone trough, in front of a 

 wall covered with polychrome decorations, with 

 their masters seated beside them eating their fru- 

 gal repast ; and " La poursuite," a lion pursuing 

 a herd of gazelles. 



Jean Paul Laurens's " Les sept troubadours " 

 represents seven figures in long crimson robes and 

 hoods, seated under some fine old trees in a gar- 

 den, discussing the statutes of the Academy of 

 Floral Games. 



Francois Flameng sent two military pictures, 

 "La halte, Infanterie de Ligne, 1789," and 

 "L'Armee Francaise marche sur Amsterdam, 

 1796." 



Jules Breton's "La lavandiere" is a robust 

 peasant woman walking briskly along the bank 

 of a stream, carrying on her head a basket full 

 of clothes, which she supports with one hand. 

 "Les dernieres fleurs" depicts a young girl in 

 a rustic garden, white with the first snow of the 

 season, cutting some belated flowers. 



Ulpiano Checa, a pupil of the Academy of 

 Madrid, contributed " Course de chars Ro- 

 mains," a circus filled with spectators witnessing 

 a race of chariots, one of which is overturned. 



Benjamin-Constant's " Victrix " is a nude fe- 

 male figure, with the artist's usual sumptuous 

 accessories a lion's skin, an Eastern carpet, etc. 

 His "Beethoven, la senate au clair de lune" 

 shows the master at his piano playing his com- 

 position before a few friends, in a room lighted 

 only by moonlight. 



Richemont's " La reve " is a scene from Zola's 

 novel of that title. Vibert's scene from the 

 "Malade imaginaire" is a delightful piece of 

 humor. Poujol's " Dans la tourmente des vo- 

 luptueux, Dante apercoit Paolo et Francesca da 

 Rimini " is a representation of Dante's lurid con- 

 ception of the mass of spirits swept away in a 

 storm. Le Quesne's " La legende du Kerdeck " 

 is the picture of a man enticed into the sea by 

 nymphs. Bissori's " Apres 1'operation " is a 

 medical subject, with the doctor feeling the 

 pulse of the patient. Moreau de Tours's " Les 

 fascines de la charite," another medical subject, 

 depicts an experiment on the nervous system of 

 patients in a hospital by Dr. Luys. Luminais's 

 " Rapt " is a powerful picture of a man on horse- 

 back carrying off a woman behind him, the 

 horse seen foreshortened. 



Portraits were exhibited by Carolus-Duran, 

 Paul Dubois, Bonnat, Jules Lefebvre, Henner, 

 Alma-Tadema, Munkacsy, Loewe-Marchand, Ma- 

 chard, Felix Barrias, and Aime Morot ; and 

 noteworthy landscapes by Harpignies, Yon, Du- 

 four, Pezant, Bernier, and others. 



Among the best sculptures in the Salon were 

 Falguiere's " Femme au paon," a marble statue 

 of Juno, a splendidly modeled example of a per- 

 fect female figure ; Lemaire's colossal bronze 

 statue of " Duguesclin," constable of France in 

 the fourteenth century ; Roulleau's marble group, 

 " Leda," purchased by the state ; Fremiet's 

 equestrian statue, in plaster, of " Velasquez " ; 

 Henri Cordier's " Eve," a finely modeled nude in 

 plaster; Denys Puech's marble group, "LaSi- 

 rene," a fish-tailed siren carrying a youth on her 

 shoulder, purchased by the state; Felix Char- 

 pentier's marble statue " La Chanson," an em- 

 bodiment in a splendidly modeled figure of the 

 abandon of song, which, as well as " La Sirene," 

 won a first-class medal; and Louis Levasseur's 

 "Le premier ne," a carefully studied plaster 

 group of father, mother, and child. 



More than a hundred American painters and 

 sculptors were represented in the Salon. Among 



