248 



FINE ARTS IN 1902. 



Louis Jean Muller, The Squire's Song (etching 

 after Dendy Sadler) . Second-class medals: Kmile 

 Ferdinand Crosbie, Portrait d'une Princesse Bona- 

 parte (wood, after Ingres) ; Arthur Jules Mayeur, 

 L' Amateur de Peinture (burin, after Meisso- 

 nier) ; Leon Salles, L'Abreuvoir (etching, after 

 Detaille) ; Louis Huvey, Les Bebes (original 

 lithograph); Jules Lerendu, Portrait de Vieillard 

 (lithograph). Third-class medals: Marios Ber- 

 nard Labat, Victor Mathieu, Hose Maireau, Ed- 

 mond Jules Pennequin, Theodore Auguste Tru- 

 pheme, Georges Fouquet-Dorval, Georges Garen, 

 Pierre Frederic Barre, Louis Trinquier. 



Among the noteworthy exhibits was Jean Leon 

 GerOme's La Rentree des Felins dans le Cirque, 

 representing the return to their dens, after a 

 human feast in the amphitheater, of the lions and 

 tigers. A few spectators still linger in the seats 

 above, though most of the ranges are empty. In 

 the arena are scattered human corpses, and at- 

 tendants armed with whips driving the gorged 

 wild beasts into their den, the mouth of which 

 opens in the background. In the foreground one 

 maned lion seems disposed to dispute the keeper, 

 who has his whip raised in the attitude of stri- 

 king. 



Edmond Detaille's two contributions, large 

 decorative canvases for the Hotel de Ville, Paris, 

 represent, the one Les EnrSlements Volontaires 

 sur le Terre-plein du Pont-Neuf, en Septembre, 

 1792, and the other Reception, par la Municipality 

 de Paris, des Troupes revenat de Pologne 

 1806-'07. 



Edmond Richter's SalammbS represents the sis- 

 ter of Hannibal standing before a mirror, with 

 Taanach kneeling with clasped hands beside her, 

 a scene from the famous romance of Gustave 

 Flaubert. 



Alphonse Lalauze's Marengo 14 June, 1800, 

 represents the cavalry of the Consular Guard, 

 under Gen. Bessieres, charging impetuously the 

 Austrian dragoons. Bessieres, in the fore- 

 ground, with saber uplifted and shouting, is lead- 

 ing the grenadiers upon the enemy, seen at left. 



Cleopatre a Tarse, the principal contribution 

 of Adolphe Lalire, is a scene from Plutarch, where 

 the author describes the arrival of the Egyptian 

 queen at Tarsus, on the Cydnus, in her magnifi- 

 cent galley with silken sails and silver oars, sur- 

 rounded by her women clad as Nereids and 

 Graces. 



Pandore, by Charles Amable Lenoir, represents 

 the mischief-maker at full length in flowing 

 robes, holding the fatal box in her hand. This 

 picture belongs in New York. 



Maurice Henri Orange's Boulogne 1804 repre- 

 sents Napoleon, mounted, talking with another 

 mounted officer and looking out upon the arm 

 of the sea that separates him from " perfide Al- 

 bion." Behind the two are other mounted men, 

 soldiers, artisans, etc., and a long row of vessels 

 nearly ready to be launched for the conquest of 

 England. 



Gustave Wertheimer's Le Rival represents a 

 desert country with a stream winding through it. 

 On the bank, in the foreground, are a lion and 

 two lionesses looking across the water, on the 

 other side of which is another lion, the rival, 

 looking jealously across at the favored one. 



Le Colonel Roosevelt il Cuba; Prize des Hau- 

 teurs de San Juan is the long title of a picture by 

 Ernest Jean Delahaye, which tells its own story. 

 The future President is standing calmly on the 

 heights, a target for the Spanish sharpshooters, 

 pointing with his right arm at the entrenchments 

 of the enemy. He is almost isolated, being nearer 

 the Spanish line than are his men to him. 



Bouguereau's chief exhibit, Les Oreades, illus- 

 trates a passage from F. Humbert. As the shad- 

 ows are dissipating and Aurora tints the moun- 

 tain tops the troop of joyous wood-nymphs 

 who have spent the night on earth return in long 

 procession to the ethereal regions where dwell 

 the gods. A confused mass of nude and wingless 

 Oreads are passing upward out of the shadows 

 of a wood, while fauns and satyrs, gathered in 

 the foreground, gaze in astonishment at the spec- 

 tacle. 



Louis Beroud's Le Martyr de Saint- Antoine rep- 

 resents the good saint, bearded and in monastic 

 robes, with a cross in his hand, pulled hither and 

 thither on a flowery hillside by a laughing bevy 

 of shameless nude nymphs, who appear to enjoy 

 the martyrdom more than the martyr does. 



American exhibitors in the Salon of 1902 were: 

 Inez Abernethy (Arkansas), George C. Aid (St. 

 Louis), Carroll Beckwith (New York), Henry S. 

 Bisbing (Philadelphia), Lu Blackstone-Freeman 

 (New York), Frank M. Boggs (New York), Ben- 

 jamin J. Bowen (Boston), Theodore A. Brewer 

 (Cincinnati), Frederick Arthur Bridgman (Tuske- 

 gee), Edwin D. Connell (New York), Cacharme 

 Critcher (Virginia), M. E. Dickson (St. Louis), 

 William Dodge (Virginia), Gaines Ruger Donoho 

 (Mississippi), Mattie Dube, Edward Dufner (Buf- 

 falo), Frederick M. Du Mond (Rochester), Ferdi- 

 nand Earle (New York), David Ericson, Mary 

 Franklin, Edward Fulde, Delia Garretson (Ohio), 

 Sidney Gorham, Frank Russell Green (Chicago), 

 Mary Shepard Greene (New York), Peter Altred 

 Gross (Allentown, Pa.), Mary Gulliver (Norwich, 

 Conn.), Eliza Voorhies Haigh (New York), How- 

 ard Morton Hartshorne (New York), Nina Rose 

 Hartwell, Herman Hartwich (New York), Eliza- 

 beth Case Harwood, Chester C. Hayes, Laura 

 Healy (Chicago), Louis C. Herreshoff (Provi- 

 dence), Felix Hidalgo (Manila), George Hitch- 

 cock (Providence), William S. Horton, Henry S. 

 Hubbell, Margaret Kemiston (Boston), Anna 

 Elizabeth Klumpke (San Francisco), Daniel Ridg- 

 way Knight (Philadelphia), Elsa Koenig (Phila- 

 delphia), Elizabeth Kruseman Van Elten (New 

 York), Charles Lasar (Pennsylvania), Ossip L. 

 Linde (Chicago), William Gushing Loring 

 (Massachusetts), Walter McEwen (Chicago), 

 Frederick Macmonnies (New York), Ruth Moore 

 (New York), Gustave Henri Mosler (Nw York), 

 Mine. Willy Betty Newman (Nashville), Adeline 

 Oppenheim (New York), Mabel Packard, Jules 

 Pages (San Francisco). Lawton Parker, Charles 

 Sprague Pearce (Boston), Mary Smyth Perkins, 

 William Sherman Potts, Isabel Ross (Buffalo), 

 Albert H. Seymour, Freeman W. Simmons (Cleve- 

 land), Henry O. Tanner, David A. Tanzky (Cin- 

 cinnati), S. Seymour Thomas, Mine. Harry Ellen 

 K. B. Thompson (New York), Lionel Walden, 

 Bertha Mary W T aters (Connecticut), Susan Wal- 

 king (California), Edwin Weeks (New York), 

 Coggeshall Wilson (New York). 



Paris: Salon of the Societe Nationale. The 

 officers of the Societ6 Nationale des Beaux-Arts 

 for the year are: President, Carolus-Duran; Vice- 

 Presidents Section of Painting, Alfred Philippe 

 Roll; Section of Sculpture, Auguste Rodin; Sec- 

 tion of Engraving, Charles Albert Walt nor. 

 President of Section of Objects of Art.. Mine. 

 Charlotte Besnard. Secretaries, Rene Billotte, 

 Jean Beraud; Treasurer, G. Dubufe. 



The thirteenth annual exhibition, opened April 

 20. comprised 2.443 numbers, of which 1.203 wore 

 paintings, 557 designs, drawings, etc.. l.Ki engra- 

 vings, 223 sculptures, 224 art objects, and 80 ar- 

 chitecture. 



The president of the society, Carolus-Duran, 



