New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1847-03-31

schools of Art--Theg general aPPrecia-
tfonof Turner's Pictures-Bo al
Models in Wax-Music-Con at
The Conservatoire' The Opera
Duprez--L abba che Ronconi-Gr isi
-Porsiani-'se de- as perfo M
eddy the New.York and Paris ope-
rss-Mario-C oletti-G rdini-F avor-
ite Operas-The writer's trial Of
the 'Letheon'-Its Effects.
II needs not to speak in this cursory manner Of
the treasures of art pictures, sculptures, engray
;ags and the other riches which France lays open
.ofreely TO the stranger in her Muses.. Any ex-
animation worth writing of such objects, or account
d the thoughts they inspire, demands place by
itself and an ample field in which to expatate.
The American, first introduced to some good pic
,ures by the truly great geniuses Of the religious
period in Art, must, if capable at all of mental ap
inclination to the life therein embodied be too
deeply affected too full of thoughts to be in haste
TO say anything, and, for me. bide my time.
No such great crisis however, is to be appre-
hended from acquaintance with the productions Of
the modern French school. They are, indeed full
Of talent and of vigor but also meo- dramatic and
exaggerated TO degree that seems to give the
nightmare passage through the fresh and cheerful
day. They sound no depth Of soul, and are marked
with the signet Of degenerate age.
Thus speak generally to the pictures OF Hor-
ace Vernet enc cannot but turn gracious eye
they are so faithful transcript of the life which
eculstes around in the present state of things,
and we are willing to see his mobiles and generals
mounted on such excellent horses. De la Roche
gives me pleasure there is in his pictures simple
and natural poesy he is man who has in his own
heart well Of good water where he draws for
himself when the streams are mixed with strange
soil and bear offensive marks Of the bloody battles
dhfs.
The pictures of Leopold Robert find charming.
They are full OF vigor and nobleness they express
nature where all is rich, young and on large
scale Those that have seen are so happily ex-
pressive Of the thoughts and perceptions Of early
manhood, | can hardly regret he did not live to
enter on another stage OF fe-the impression now
received is so single.
The effort Of the French school in Art, as also its
main tendency in Literature seems TO be to turn the
mind inside out in the conrsest acceptation OF such
a phrase. Always art is art, only by presenting an
Alleviate outward symbol of some fact in the int
nor life Bot then it as symbol that Art seeks
to present aud not the fact itself These French
painters seem to have no idea of this they have
bot studied the method OF Nature. With the true
Artist as with Nature herself the more full the re-
presentation the more profound and enchanting is
he sense of mystery We look and look as on a
Hcwer of which we cannot scrutinize the secret
lie vet by looking seem constantly drawn nearer
TO the soul that causes and governs that HE But
in the French pictures suffering is represented by
streams of bood-wickednes by the most CHASTITY
saw movement in the opposite direction 10
England it was in Turner'S pictures OF the later
period II is well known that Turner, so long an
idol Of the English public paints now in manner
which has caused the lveliest dissensons IN the
world Of connaisseurs. There are two parties, one
Of which maintains, not only that the pictures OF
the late. period are not good but that they are not
pictures at al-that it is impossible to make out the
design or find what Turner is aiming at by those
strange blotches of color. The other party declare
that these pictures are not only good but divine
ths. whoever looks upon them in the true manner
viii not fail to find there somewhat inehably ana
admirable-the soul of Art. Books
have been written to defend this side OF the ques
'ion
Ihad become much interested about this matter
Is the iervor of feeling on either side seemed to de-
note that there was something real and vital gong
on and, while time would not permit my visiting
other precious collections in London and Its neish
borhood | insisted on taking it for one OF Turner
pictures II was at the house Of one OF his devout-
,st disciples, who has arranged everything IN the
ooms 10 harmonic with them There were great
many Of the earlier period these seemed TO me
harming but superficial views OF Nature Ihey
we're Of character that he who runs may read-oo-
ious, simple, graceful The later pictures were
ute different. matter mysterious looking things
hieroglyphics of picture rather than picture ITSELF
sometimes you saw q range OF red dots, whlcf'
tier long looking. dawned ON You as the roofs oil
streaks turned out to be most al
uring rivulets If traced with patience and devout
we. Above all, they charmed the eye and the
thought. Still, these pictures. 1t seems to me- can
not be considered fine works Of Art more than
he mystical writing common 10 q certain class oil
illnQS IN the tultcd CtatSo ee.' ~ ~N'a~~
ng A great work Of Art demands great thought
,r thought of beauty adequately expressed
Neither In Art nor Literature more than in Lie can
In ordinary thought be made interesting because
weldressed. But in a transition state, whether oil
Art or Literature, deeper thoughts are imperiecty
expressed, because they cannot yet be held and
treated mastery This seems to be the case with
Turner He has got beyond the English gentle
mans conventional view of Nature, which implies
4 Aaae sentiment and q very cultivated taste; he
las become awake to what is elemental, normal in
ysture-such, Tor instance as one sees in the work
ng Of water on the sea shore. He tries 10 repre-
tent these primitive forms. In the drawings OF n
anesi in the pictures Of Rembrandt. one sees this
Grand language exhibited more truly. IL is not
picture but certain primitive and leading effects OF
light and shadow, or lines and contours, that capt
sate the attention. see picture Of Rembrandt's
IT the Louvre, whose subject / do not know and
have never cared to inquire. cannot analyze the
group, but understand and feel the thought It en-
bodies. At somewhat similar Turner seems aim.
ng an aim soopposod to the practical and outward
tendency fthe English mind, that, as matter OF
conrss fha kcrttx, avaflGed and