| Show 11 r F ART AT TilE TUE PARIS tIu I I Special Corm ParIs Prance Sept the least leat In the art rt exhibit i iare are th the portraits b by livery one of note In In In In In ar arts bat hi been by him aad his portraiture h harou hu arou u universal III veI admiration lilt Ills works are not only models model of oC exactness but of penetration of oC and ot of I till Ills 1111 series of portraits of are h lie has bu him In the last lut twenty year yea ot of his bli lit life more than ten n limits and nd In cich canvas II I a trait Tb There is II always the seine m countenance bearing tile the of a mask muk the same me lold eyes rea beneath their hea brows brollI but bUI each eeb picture bel bear a char of oC hit hi mental condition at atthe t tilt the time In the dust t the man satIsfied with his hh wor work and aad la in the full tull posses Ion sian ut of power as al uncontested as sti u preme agala the father of a family I temporary repose In the coun country I If try ill In the ot of those thOM dear to him later the flats disappointed rail fallen Into the mt most tying disgrace lAter the feeble with sunken cb cheek lu fixed lye und and dt debility In hi his In eyelids It 11 I ii ii tin a more truthful In and more mono analytic lo fo history of con cun German could be writ ton ten wIthout reference to theis of oC the period hIlt Lenbach b has done Jon for Cor he hat al also dune oon for Ute the German tnt for Moltke for tor the thi ruler of oC Au iii for tor th the I In short hort for all Ih the men merl of oC his 1111 ul at wa with the same am I insight and skill Tb collection of hi his portraIts at Parts Includes lul painters f musicians line of oC Moth Irk f Each h Mar bean distInguishing charat tiel tie Te The to too Is II beyond cm only onIt neutral tl tints I In Il hi ot of men meni the shades are monochrome Dark browns golden soft loft browns brown predominate II lie everything In the lie clothing that cn can detract from Crom the interest In I tl countenance where tb the lIht I ii cn con concentrated In Iii h It of women t th arlt I Ia not 1 so The do does not nol demand attention as AI In the tle r f famous men Th re reI I ii r play for tut the imaginatIon up p for arrangement of draperies It and these are not alway always One ml misses elm pilette and there Is II even en at Ime times pretension Lenbach a also I Ully fall In bl his u us ot of coIO colors wb when he leaves he I is apt tu U IO lois One portrait I It II is true ar I Is a ft good combination of oC black mik milky white and Ind dark r red Another of ofa a young woman om n Is II treated In had of old I gold bleek and gray relieved II 13 a 1 blue rIbbon at the The hd limIng Oi on the hand band f ma b be saId tu Iii II a litte little for the of oC the observer but ther there I Is no and th the harmon oC mit the I is not disturbed In the he hall hand a young wih with a dl dug ap apIta Ita In bd bad taste tute In me Ii tarlet scarlet velvet waist Whose whOle color colon do nut blend at al all wih wIth the tire 1 of oC he her drapery or the white hair 0 of the animal The caine ame rosy may b be saId Id ot of a Jt little girl In the robe J red In these thel portraits Lenbach takes occasIon to himself lf far Cur the quiet ulet of oC Ill his a of 10 lie hll ha a alion for fortie tie brilliant for tor the shades of f mother of fa toy the vivId and f vt harmonious colors that on ona a ii I wIng In I It I said that that he henn nn Iia 1 in hIl his studio a glass la cas case ot of but butI I al ammi that Ihal hi his Ie eve In I the he inter 0 sf f 1 rk ret rests I constantly upon thom ln Hilt his hiM to rival nyu them I ii rust 11 is II between them ano sari hl his nn an ab s all the mort more tho hi UM iii I Is ly hy nature a designer The hl instinct for colOr he be ac It must mut lie he style Itle II followed with con by Kaulbach nephew t tit illustrator wl were I f I tinder Indr the second Il IlI Ito ItoI I It i excellent In portraits of f t I l I ITI it I 4 e us f the tints t 11 Ii 13 11 Iu successful te with I of lib hi Mork ork Rt at t tr hi hiI r I I 1111 mitt ln accentuate lr thil this on onI p I I I mal loan ate I I draped r C I II t I a J M I Ii h a ot of fur furI I ii h it r or of lul lull r rei the other a girl I I 11 I background nC if nCI I I tT L h v 10 n than or BerlIn or orS S 1 II Influences I tiun art rt The stud of modern II C the of lIght lIht and rl re I 11 that thatto If to I ii cale nel flew hat its I its orIgin In 1 J i Irla irin aal and or this school m I Is tho the bei best 11 Lin I I also alII was a born In but the thet t I iti hs of lie he two tIO arlt are arc slit H Stuck with Ih the l nm and the ardent ardnt force of oC I a man d t younghe II Is ani only Whether pr er hi his subject b be religious or mo I 1 the treatment I is mt In this mythologIcal ther there I Is a certain humor Mermaids ermald and centaurs play piny lt at hill hide stat siek little fauns Caun engage In iii combat knock lag together their hard heads had 11 the on the a tn son of man carries carrie on ona a lively flIrtation with iii a little siren 1 lila 18 however shows ho a miss sense ene of oC color The Id Idea I Is well con on once the action free and natural Un ce dr a sky Iky covered with hea heavy Ira gra clouds beside a woo wood darkened by time the approaching twilight danco dance howlIng reeling nur figures Ther There I is truth In time the and the composition I Ic good llin In 1 a photograph or oran oran an r flue work would have character and life but itt In the original the lie actual merit disappears by the coloring There are reds redl so 0 glaring purples purple 10 so brIght IndIgoS 1 so hard In a so 0 ou oil that one cannot hI help think ot of the descriptIon applied to the pro Iro productions of the work ot of a drunken brom broom There cOllI could hardly be a greater con contrast than that bet between this his work ansi anI oat by Carl Marr In the lime lal lint Night Ight ThE The angels anel resemble thoe ot or Bump Burnie Jone Jines mud nr the hat has b by hut but time grace and the II is ibm artists 0 n und amid Ih the t is II |
