New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1847-04-21
National Academy Of Design.


state and tendencies Of among be treated with
only hssty criticism.
We have not space for detailed examination Of even
the striking pictures though such examination
might not be without profit On the works Of different
artists both In their general and particular features
1t would also be useful If not always agreeable to dwell
but this must defer for the present 10 speak Of the
exhibition collectively.
The first thought going through the saloons Of the
Academy is Of surprise at the number Of very poor
pictures that exhibited. There many which
would do credit to sgn one scarcely
believe that they admitted to their places the
walls by the wen.inforned committee who have charge
OF that matter II looks much like indiscrmi
nate reception of all corners, matter what their
claims than udicous selection Of those worthy the
honor. The standard of admission should be higher.
But leaving aside those pictures which from their
treme wretchedness exercise bad influence only
upon comparatively small portion of the visitors
what shall say of those which form the main features
Of the exhibition which in short are the exhibition Are
they of high low order, and what tendencies pre-
vail in themi These questions Of interest not only
to artists but to the public who enjoy art would be
thought to enjoy it nelgenty and would demand the
best did they but know what that was
For the public taste two parties directly RESPONSE
pie much they may delight to pictures have not
received sufficient education of the by which this
delight is received to trust implicitly their i'm
pressons They that the artist ought to pos
sess ruer judgment than they do and to that judgment
they commit themselves If the work be striking they
ready take for granted that 1t is true to Nature
at least in accordance with the rules of which they
perhaps suppose to be something different from Nature
and above Nature. Thus in community like ours,
where long familiarity with works of merit has
fined and developed the perceptions Of the public the
artist easily finds admirers for everything and his
faults become confirmed by the very trial which ought
TO correct them. On the other hand even from pro
fessed connasseurs very little really judcious criticism
reaches the msjority of those who visit our
hibions. Those who really know what is excel
lent too often content 10 express their opinions
to their friends not caring to oppose general ten
dency among artists, or 10 attempt the enlightenment
of public for which they do not feel any pro.
found respect while those who seem TO speak with
authority frequently the mere echoes Of what
should never be echoed but condemned and If possible
corrected
To speak plainly and to to the point once. the
prevailing features In the pictures Of the present exhibit
lion superhcislty and extravaganza From first 10
last-wh but few exceptiOns-there are indications OF
a low estimate of art Of hasiy observation and most
shallow perception of and of the employ of
tricks and clap trap rather than sober and studous en-
desvor after truth in execution We say this not in the
saying it, and because would fsin say 1t to good
purpose Let us look for moment at each OF these
three points.
In regard to the estimate which the artists of the
Academy put upon their art II appears to us of quite
inadequate character. Art is pastime, legerde
main, ri1e of the day hour. Ii cannot be WORTH
ly cultivated except by those TO whom Is great and
absorbing reality. To create work which shall live,
which shall be creation and not mere piece OF man
uR dexterity, requires deeper sentiment and more
efforts than boy makes In whsng sgenue-
IN I'm whole
soul Of the artist should be stirred TO ts deeps Nature
is when in farof region OF the Ocean che heaves
up new Continent Art must be prosecuted with sin
cerity and serious devotion il lie only dsllied with
not served The practice Of 1t must be like the practice
of a rebgion-a spiritual necessity when cannot De
do the priest should into the temple reverent and
pure of all impulses the sacred sense of his duty
For Art 10 new and higher creation in which man and
nature appear In more intimate sympathy and ne 10
whom Art Is augh lower than this, who regards 1t as
thing beneath and not above himself who makes 1t
vehicle OF amusement or OF pecuniaIy pIoh ceases
to be an artist He prostitutes what refuses TO be pros
tituted turns himself into a dabbler, and loses
what noble aspirations and artistic power he may
once have had This is eminently Of painting in
which science cannot supply the place OF integrity and
elevation Of soul The musician having once gained the
requisite culture may perform by rote the graDdest
works with some degree OF perfection but the painter
must still create az well as embody his creations.
OF such a supreme reverence for the profession we
find no great traces in the pictures of the Academy
Art seems there TO be regarded as convenient com
than as an imperious aldemsnding though most gen
erous mistress We do not feel among them the spirit
of Art so much that of artsanship The exhibitors
make too much trade of their noble calling and this
the primary reason why ney 90 not produce nsner re-
suits.
Next. something is to be said as to the mode and de-
gree in which Nature has been studied and understood
IN the making of these pictures As Nature is the basis
and medium of all human life so insieh, into Nature
the first requisite Of the artist Unless he have inns
and transfer to his picture so that Nature snail
~. L. ar nuyn nrn
he fails The passion the character or the action TO De
only be through its
But the harmony between the spiritual iset
and its material embodiment-the appreciation OF wnlch
ON the part of the artist is the only ground OF truth 10
Nature in his work-cannot be understood at glance
Il requires long patient and pious study Goehe has
been laughed al by superficial persons Tor making his
spend some time in studying sheep and IN striving
10 enter into It's but he was right In IT, never
theess and those who laugh at him do lille credit 10
themselves The artist must learn 10 know all things IN
thar way He must have insight into Nature animate
and nanimse. such as is not TO be gained by merely
opening the eyeds. He must enter into " IN all JUS
parts and seize lite very he cannot represent
u II he do less than this there will not be unity in his
picture for the most dexerous handler OF brushes ana
coors cannot depend upon his eye alone to give mat
unity He must work like Nature from central primer
nes or ne will only csrcature her and initiate her
Now what we mean when we say that the pictures OF
the Academy generally superficial that lhey are
destitute of such genuine insight Ihey copy tne sur
faces of things from gsncing st those surfaces but not
from an of the interior characters and re-
stions of the things themselves The portraits espe.
ciay evince this fault They seem TO have been dashed
of at few sttngs. Some chance looks at the subject
are enough for the quick fingers 10 follow and IN week
Or so the lucky nds his picture done and ready Tor
he exhibition Now Of al things portrait cannot De
made in this way The human face the last perecuoh
J, Nature the object which art can attempt can
10, De represented by trihpg or thoughtess hands
What costs such infinite pains in the making the wise
,rtist will not think understand save by sympathetic
md profound observation or to copy without isooHoa'
md careful efforts.
But perhaps the most grave because the most preVs
ent fault of the Acsdemys present exhibition "hs'
We have called extrsvsgaRce in execution Every msn
eems TO paint merely catch the public eye ana lne
rifs which picture shall be most gsudy and gsring
VII painters call tone almost wholly lacking out eve
ythins IL made prominent as masses OF wne paint
,sn make IT, There 10 effort TO be true to Nature 10
Ieep within the limits OF the means at the srtsts com
nsnd but every musi have some striking particular
his picture matter al what sscrince ksch Tears
return sobriety and the attempt at what Is solid
est he should be passed by unnoced indeed tar has
his prostitution Of art tor the sake OF notoriety been
srred that 10 the fact that the exhibition looks bet
er by lamp light than by daylight, Then, the want OF
one is made up by the yellow glare OF the gas fact
hich the artists have evidently not been ignorant Of
BY day too there s complaint that the rooms are too
much lighted false the prevailing chskiness OF the
exhibition felt be As If good works could have
much Of the pure light OF heaven Is that healthy
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