ART AND ARTISTS.

Otago Witness, Issue 1956, 20 August 1891, Page 42

ART AND ARTISTS.

Madame Berteanx, the sculptor, has made tap her mind to present herself as a candidate for the chair filled by the late M. Chapu. at the French Academy of Fine Arts. Madame Berteaus obtained first medals for sculpture in 1864 and 1867, a sesond medal in 1873, and a gold medal in 1889.

Vidal, the blind sculptor, is one of the wonders of the French capital. He has been blind since his 21st year. To be a sonlptor it is generally supposed that one must have the "mechanic's eye "and the artist's taste and perspicuity. The latter faculties Vidal has to an exceptional degree — even more acute he believes than if the former were not lost to him forever,

Two famous paintings have just been put on to the market recently by the disposal at Christie's auction rooms, in London, of the renowned Bolckow collection. The one was Turner's "Walton Bridges," the other Hogarth's " Gate of Calais." Both were purchased by the London piofcure dealers, Agnew and Co , the first for £7600 and the second for £2800. Meissonier's "Signpainter " went to another London dealer for £6400.

Mrs William F. Coles, of New York City, has given to the trustees of the projected cathedral of St. John tbe Divine the 12 tapestries representing the life of Christ, which were bought for 75,000d0l directly from the Princesses Barberini, of Italy. A writer in the the Churchman says that these tapestries were once owned by a nephew of Pope Urban VIII, and that their transference to America was a piece of good fortune " unprecedented in the history of art." The price paid by the Graphic for drawings is remarkable. The average price per page is £25, but distinguished artists receive more than double that amount. One of the artists of the Graphic is known to earn £5000 a year for his work on that paper alone. Some of the more elaborate numbers of the Graphic cost as much as £10,000 for a single week's issue, and even then they do not pay. The jubilee number cost that amount, and £40 was lost on the transaction, despite a truly enormous circulation. Men see more in landscape to-day, perhaps, than ever they did, but they see only one side, and nearly every picture now is tinged with the deep melancholy you see in Millet, and which is born ultimately of realism, which is prose. Natnre, as the old gods jsaw it— Nature joyous and happy, full of the glory of colour, and stretching out to be kissed by the sunlight,— is hardly perceptible to us nowadays, certainly seldom reappears in pictures in which the " feel* ing" is almost uniformly one of sadness, or danger, or storm. — Spectator. The most startling picture of the Champ de Mars Salon this year appears to be the "Chez le Pharisien" of M. J.Beraud. It represents the heure dv cafe, at the close of a stag luncheon party. The men are all very modern, mostly middle-aged, prosperous, and inclined to embonpoint. Something, however, has happened. The men have all started to their feet, and are crowding to the end of the table, where a girl, dressed beautifully, but a la demi-mondaine, and her fair hair arranged in the latest fashion, has apparently forced her way into the room and oast herself at the feet of one of the guests, who sits at the head of the table. This guest is the Saviour. The other guests, in their fashionable frock coats, jewelled scarfpins, and patent-leather boots, show no surprise at tbe Saviour's presence. One of them even turns away to light a cigarette. The others look from Christ to ifche girl, and then from the girl to Ohiist, curious only to hear what He will say. The presence of such a picture as this in one of the National Salons of the year has given great oSen^e to all the religious element of the population, and bas provoked no end of acrimonious discussion.