The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1842-05-25
The National Academy OF Design-Biting
Criticisms.

| been sometime open 10 the public, and we have
seen no account of the works exhibited there We
may presume, that il would be very shallow cri-
ticisn to give preference TO that poetry that was
written in the fairest hand, would be equally so to
elevate to the highest place in our esteem that
which is finest colored, and most nicely finished, IN
painting. We desire in both 10 love tho beautiful,
and TO adore the true, and 10 give preference to
| that which has mind and genius in It's composition,
and feeling and sentiment in It's expression and,
therefore, in speaking of the works upon the walls
ofthere galleries, we do not expect every artist or
| every visitor to concur in judgment Did you
never hear of Mr.. Brownl
| We know the anxiety felt by artists-the hope
the dread-of the opinions of those who will give
bias TO the public mind and they shall have JUS
| ce administered kindly, too. We will not faggel-
late weakness that may day be strong, If treated
| gently; but we have conscientious scrupes
about giving cut to presnmptuous Stupidity should
| it cross path. Where is Mr.. Brown, the
| artist
No. I-"CurID."-G. Owe have seen many
| hns landscapes, and rich scenes of Nature by Mr.
| o. We are sorry TO see him leave path in which
| he has walked so respectfully 1t is too late in the
day for him 10 begin an academical education, and
to become master OF the human figure, the myster-
les of which have euded the skill of most of those
| who have made it the study of life This picture,
however, like every thing else that Mr. .. attempts,
| is not without a high degree of merit. Does any
one know Mr.. Brown!
| No. 2.-MARRIAGE OF PocANoNTAs.-J. R..
Such is the unpretending introduction of this pic
| ture-a work OF too much Importance to be passed
over without special and very critical examination
| differing, as it does, from the style Of every body
else, and possessing of the elements of art most
unattalnable by study and practice. The Historical
has always ranked the highest walk of art, and
10 succeed In 1t in any respectable degree the pos
session of extraordinary capabilities is required-un-
less the artist take up the trail and follow in the
path OF some one who has gone before him; but
| when we behold Z" the original thought the grace
Jul feeling OF mind imbued with the perception of
| the beautiful, and expression of its conceptions
IN compositions appropriate, as well as becomingly
| treated with regard to the design and coor'' and
we may add to the quotation, composition and ex-
preston, we may be assured that that painter can
| command success. To our mind the composition of
this picture is very masteriy-the groups well
arranged, thrown into separate ones, and yet so as
to form unbroken whole--the masses of light and
shadow are broad well distributed and in proper ba
ance so much SO as not to impress themselves upon
the notice OF the observer, articles at all. The
| drawing is good-the figures are thrown into every
variety OF appropriate attitude with or. ceful ease
and without one particle OF theatrical position
| ton The colorlng we cannot praise-iti is deficient
IN force and contrasts that Is to say, it is too hamo
NOUS tor so large picture; and whether this de-
feet has sprung ont OF desire for the attainment of
principle, or from delicate sense of the harmoni-
Gus, 1t IS unqucstlonaby lnjurious-we make allow
ance of course for the unmitigated abomnaton of
the white horse with blue legs that is waloping over
rcd ground with blue shadows, placed like the
small pox. by the side of unsuspecling health
| lnjuring II by contrast and making this tameness
more palpable. BY some contrariety of Judgment.
this picture, though occupying good place, Is niu-
dlciously hung; we want TO examine features where
mind is written, and expression sits: but if we go
close 10 1t glare interposes, and confines TO the
view OF part only; II we go across the room,
though we can see the whole with the naked eye,
we need telescope to examine the parts,
10 the composition and drawing of this picture.
we may add another quality il is fraught with ex-
preston. The story is richly told, and is embel-
lshed with hundred little digressions and pleasing
episodes In the left hand corner sits group, where
soldier is explaining to the Indians the manner of
performing the ceremony OF marriage among the
Eng lsh. Here In feature and action every figure
thinks; fine looking young sqnaw attentive to the
description, is laying down the shield, in whose
polished surface she has been admiring her own
good looks; and the warriors absorbed in grave
attention. Immediately. overhead, upon the scafiod
Is another group OF Indians, who show by their diff
terent expression the kind of dread natural in
such position; but the mngling o. wonder and
caution, as expressed in the look of the boy, he
holds up his finger To enjoin stiffness. while for
moment he ventures TO look down, is inimtable :;
is one OF those simple sparks of truth occasionally
struck from nature by Boz. We might go on, and
tell of fifty things of like nerest-the Indians pry
Ing into the mystery of the book-the teased child
| cngins to Its mother-the courtships, and every
thing to the end of the picture. We have said no.
thing OF the principal! personages-they must speak
Tor themselves; we have devoted too much time TO
one work, and must pass on, observing, that though
this picture excites little attention from its quetness
of tone, 1t developes incident and thought contnu-
ally. As painting, there better works in the
| gallery; as composition, few better any where
l Where Mr. Brown
| No. 3-"ArTuMN-VIEw FROM SING SING."-Robt
| HdreI-Ths is great favorite with the public,
ana ana des ,h ly 60 The Of Haye stand
gorgeous vesture with which nature clothes the no.
bic scenery of the Hudson il precisely suited to his
| rich and somewhat peculiar style of painting
| What's become of MIR. Brown!
| No. And three others by TiUamW, are inju-
| rious to others near thcm-and perfectly disgusting
in themselves, and should not have been exhibited.
| Why does not MIR. Brown finish his portraits!
| No. 6-"GRoUP OF CHILDREN. ID. Hunting t0n
| ". A.-There is always truth about this artists
portraits, characteristic of nature and such deli
cacy and breadth in his manner--gvlns the impress
sion of life and thought so perfectly, that we be-
| come too much Interested in the mind of his por
traits to think ofthe artist. This is very lovely
picture. No. l57, PORTRAIT OF YOUNG LADY," Is
rich and charming picture. forming at once aswee
portrait, and chaste and simple subject. Have
/ You heard of Mr.. Brown
No. 222 is A VENETIAN GRL"-Also by the same
painter, who appears in this to have made the at
tempt to surpass himself in the same subject here
tofore exhibited at the Gallery of the Apollo Asso
| citation We think il is an additional evidence
however, that every original picture is better than
its copy-ths is very beautiful, and more elaborate
but it does not breathe the same soul of ponsive
thought as the former. Did you ever hear of Mr..
Brown Z
No. 7.-"vlEw IN THE JUNG TwAu."-Living
| aon. This gentleman paints forciblc Landscape
| and is no imtaor As nature presents the bold the
| rugged, and the romantic to the view of his mind
| so ne gives them to his canvas-and with the vgor
of one who little regards the honey loving palate Of
| the public taste Do tell--where is Brown?
No. s." PORTRAIT OF l. l.. VARrAN--E. Mooney,
~ A.-and very good one il is but we do not see
the propriety of putting n. A. at the end of Names
the owners of which only do the mechanical bust
ness OF face painting. What's become of Mr..
| Brown
| No. 9-PoRrRAIr OF YOUNG LADY, p. Lar
| son.-This artist, who is young and a beginner.
| gives great promise 29S is also by him he ought
| sod IN ~