ART GOSSIP.

Hawke's Bay Times, Issue 1615, 29 September 1874, Page 373

ART GOSSIP.

VERDI'S NEW REQUIEM MASS. " At the Paris Opera Comique " (writes the Paris correspondent of a contemporary) "every where every person who could obtain a place for love or money, crowded to hear the Requiem mass of Verdi. Never was a work pronounced to be a success with greater enthusiasm. It was a pleasure to witness the joy of the composer, and his eternal smile in so ably directing the orchestra. The pearl among the pearls, is, beyond doubt, the Agnus Dei, full ot grace, harmony, and religious tenderness, and brilliantly rendered as love and prayer ought, by Mmes. Stolty and Waldmann rather German looking names. The former has a perfect dramatic voice, full of purity and sweetness, and attacks the highest notes with ease. She is not beautiful, but . rather strange-looking. Mrne. Waldmann is a perfect Marguerite, with a contralto voice, exquisite and penetrating. The tenor Capponi was something like a failure, he was so timid; and Mairie, the only one of the four singers known at Paris, has the look of a cavalry officer and attacks a morccuu with the vigor and energy that he would a rectoute. The Requiem is Verdi's masterpiece." "the tichborne trial." The London correspondent of the Otago Guardian writes:—All the world is going to see Mr Lincoln Aldridge's picture of "The Tichborne trial," just completed. At the private view it is said the art critics were unanimous in their commendation of the painting as a work of art. Of the correctness of the 65 portraits contained in it there is no doubt, and the various expressions on the countenances of those most concerned, at a most interesting moment of the trial, are admirably given. The critics therefore, having assured us, who are not critics, that the "drawing is correct, and the 'grouping' as it ought to be, the canvas being filled without conveying the appearance of overcrowding," we are at liberty to admire. But indeed we, who are not critics, might have been inclined to excuse any want of the last-mentioned artistic requirement; as it must be by no means an easy thing to prevent a very much overcrowed Court from looking overcrowded on canvas ; j and extremely tired Judges, counsel, witnesses, and jurymen, are not likely to group themselves with much view to picturesque effect, a thing which we know the worthy Mrs Proudie found it hard to accomplish with regard to the guests at her semi-religious conversazione. That the picture has made the reputation, and it is to be hoped will make the fortune, of a young artist of undoubted genius, is a more satisfactory thing, than that it has brought out the cant terms of praise with which these selfconstituted critics assume to stamp works of art—and for which no one really cares very much just now. It may be just said that the picture of "The Poll Call, "by Miss Thompson, was stamped by the admiration of the public, and the approval of undoubted taste, before the "critics" had a word to say about it. "THE ROLL-CALL IN THE CRIMEA." The Otago Daily Times correspondent writes :—" A lover of art finds himself troubled by embarras de richesses in London at the present time. Besides a good many smaller and less note-worthy collections, there are now three valuable exhibitions on view. The first of these is the annual exhibition of the Royal Academy, and comprises about 1,500 pictures, besides some 300 or 400 pieces of statuary. As a whole, the exhibition is more barren of interest and of striking features than usual; though containing many excellent specimens of the pictorial art. Only one, however, has created anything like a stir. It is entitled " The Roll Call in the Crimea," and is by a Miss Elizabeth Thomson, an artist new to fame, and who is stated to be only 22 years of age, though her photograph represents her as a good deal older. The picture is not a large one, and is hung in a bad light and inconvenient situation, but it is nevertheless always surrounded by a dense crowd. Its name sufficiently indicates its nature) and it will suffice to add that alike in conception and iu execution it is a masterly production. As Miss Thomson is likely to be heard of iu the future, some of your readers may like to have an idea of her appearance. She is tall, and somewhat dark, with a profusion of hair, a broad forehead, large eyes, a somewhat pendulous nose, and prominent lips. Though not handsome, Miss Thomson's face is pleasing and markedly intellectual." dore's pictures. The same writer says:—" But the collection of paintings which has created the most widespread interest in London is the Dore G-allery, and consists of paintings by Gustave Dore alone. They form a wonderful monument of industry and genius, and though the hypercritical delight to call them crude and coarse, the general verdict is that they form perhaps the most remarkable collection of works by a single artist ever exhibited in London. Dore's magnum opus is an immense picture, measuring 33 by 22 feet, representing Christ. leaving the Praetorium. The number of figures in the picture is very large, but each one has a distiuct individuality, and is finished with scrupulous care. Dore is not happy in his conception of the Saviour's face, but his portrait of the Virgin Mary is wonderful, and the figures

of Mary Magdalene, Caiaphas, and Annas are also very striking. His next most noteworthy work is a large picture representing the dream of'Pilate’s wife. It is principally remarkable tor the extraordinarily bright light which emanates from the cross, which is seen in the heavens in the background. You will be able to form an idea of the brilliancy of the light when I say that it exactly resembles in intensity the electric light now in use in lighthouses, I cannot enumerate the other pictures, though each of them is fully worthy of a special description. It must suffice for me to say that they include paintings representing subjects both sacred and profane, historical and mythological, as well as some admirable landscapes. Dore’s delineation of angels and of the nude female figure is particularly skilful. In conclusion, I may say that at the Uore Gallery there is to be heard none of the chattering and laughing which enliven the halls of the Royal Academy ; but a deep silence pervades the room, scarcely broken by a word, even in a whisper. Moreover, I saw more than one lady in tears. This will give your readers some idea of the power of this artist, whom some think it a proof of superior wisdom to affect to despise.’’ THE CHINA MANIA. The Press correspondent says One of the crowning follies of the rich is the ceramic mania—the acquired, and in many cases simulated, taste for old china. Whatever is beautiful in form, design, and coloring will always afford pleasure to a refined eye; and that a work of art possessing all these qualities should command a high price is only natural. But when, as at a sale of old china the week before last, ten thousand guineas are given for three small Sevres jars, the line between the justifiable gratification of a taste and reprehensible folly is overstepped. The Bishop of Manchester, I recollect, in a speech a month or two ago, fell foul of this folly, and remarked with virtuous indignation that a lady had lately given for a couple of old china jars one-tenth, of what the whole nation had subscribed to the Indian famine fund.” THE INFATUATION OF ART. One of our correspondents in Paris, (says the Pall Mall Gazette) writes “ Airnee Descloe was buried on Tuesday, and it is needless to say that most of the dramatic authors in Paris and the first actors and actresses followed her remains to the grave. Alexander Dumas pronounced a touching oration over her tomb, taking on himself much of the guilt of her death. He had persuaded Aimoe Desclee to renounce the provinces and to come to Paris, She expressed the fear that she would be unable to stand acting the same piece night after night in the presence of a critical audience. In the country she never played the same piece more than four or five consecutive nights, and the people put up with her eccentricities. She yielded) however, came to Paris, and played for a year ; then she wrote to Alexander Dumas that she was worn out, and that she would only return if he declared she was indispensible. 1 She had just played Frou-Frou for a hundred nights—that pretty little Parisian soul, born in a peal of laughter, evaporated in a tear.’ Alexander Dumas soon wrote to Aimee Desclee that she was in dispensible, and she returned to the Gymnase and played in ‘ La Visite de Noc-s ’ and I La Princesse Georges.’ The first comedy was only one act, and yet she threw so much of her being into that on leaving the stage, she had invariably to throw herself on a sofa and remain there for half an hour, just as Rachel used to do after a tragedy. Again she wished to make her escape, The manager came with a new engagement, and she wrote to Dumas, 1 1 shall only sign if you positively order me ; in fact, you must hold my hand* I shall finish by entering a convent.’ And she went on to complain of her life as an actress. She seemed, as Dumas said, to cry to the public—' You wish to see how one struggles for life ? Well, look at me. I am called sometimes one name, sometimes another, and yet it is always I, I the woman who hopes, who loves, who suffers, who complains, who combats, and who exhausts herself between the ideal she wishes to grasp and the. reality which enlaces her.’ In alluding to the effort of creating a rule, Alexander Dumas said this was not to be done 1 without leaving behind a portion of oneself.’ ‘Do you remember Talma,’ he added, 1 uttering a piercing shriek on suddenly hearing the death of his father, and murmuring a few instants afterwards, “ Ah! if I could find that cry on the stage.’ And when he found himself face to face with death, and looked in a glass, after examining his haggard features, he said, ‘ How unfortunate not to be able to play Tiberias with such a face as this !’ It may be said that this was frightful, that it was monstrous, but it is thus. Genius is a fatality like anything else, and cannot. he. eluded ’ ”