New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-05-15


are so nenry lost that you might suppose II " 0o
by some other artist al. H.
No. 81, by +. L. Church, is u P1O'u'I
same characteristics as No a. Line ,'1' 80
its imnression upon the spectator mlnu shOui' 10
derived from the truthfaness OF It's suodued tone
and elaborate detail See how these quaiines are
.g,o,od bv the picture over it, No. SO, by julius
Knmuer and by No. 90, by Regis Gignoux, which
hangs at its left side. The latter il sunset, made
ND of the most brilliant possible combination OF TWO
of the primary colors, namely, red and yellow ana
by this blaze of orange color sinks its companion
into tame, If not dull, insignifcance.
A want Of taste, perhaps OF good feeling
shown in placing side by side two such portraits as
No. l2s and No. laO one by w. Page, the other
by Elliott and this we shall demonstrate at some
length in a future article.
No. 1873, by A. B. Durand "Thanatopsis,' weak
and delicate in its execution, has its little power
quite enough diminished by the red in the walls
and carpet without the addition of the red shawls
in the pictures on either side.
Persons having charge of the arrangement OF
works Of Art for exhibition, ought to know that
picture painted in low key or tone requires, from
the very absence Of light in IL, powerful light
upon II, in order that not only its general effect
may be seen to advantage, but the detail AMI the
delicate half tints, which always exist in finely
wrought picture Of deep tone, may pass tor their
real value. No. 34s, by Ames, is work OF this
character, and ought to have been placed in
strong light.
No 800 and No. 36s, are portraits, one by c.
Elliott, the other by T. Hicks both quiet and sub
dued pictures, but the eye can scarcely rest upon
either of them, on account Of marine view be-
tween painted chiefly with crude white and blue.
1t must not be supposed, because we do not cite
more instances of such ncoDgruity. that only these
exist. The rooms abound in them, and we have
only mentioned some Of the most fragrant, for the
reason that they are the best examples of that
to which we desire to draw attention. Nor is it TO
be supposed either, that the entire hanging is
without Judgment we do not wish to condemn
any further than there is Just caus, for condemna-
ton, and we rejoice in the fact that tn instance oc
ours in these very rooms, which proves our general
remark on picture hanging to be proper and Just
in every sense. II is in the Third Gallery, you
enter it from the Second at the north side The
form Of the room is octagonal, and we call the read
ers attention to the northeast side, comprising the
pictures from No. 1877 TO zoo.
Here is as fine an example OF picture. hanging as
it has ever been our good fortune TO 1t is
tstic. None but a carefully perceiving and think
ing artist could have arranged it, and we are ill.,
formed, upon inquiry, that it was done by Mr.. w.
s. Mount, the painter Of the central picture, with
the assistance of Mr.. William Page, TO whose
H. e. Al yncc and Ena
for tone ard keeping, we are probably mos: in
debted. 1t is beautifully managed, and we desire
to demonstrate by this group the law we have re-
ferred to, which, as we maintain, should always
regulate the grouping of pictures in an Exhibition.
In what we now say Of these pictures we
shall speak merely Of their tones and colOrs not of
their other qualities. No. 2Ol is by w. s. Mount
1t occupies the center and is des ervedy intended
to be the focus of the group. There are nine pic.
lures around it, each by its own peculiar charac
terisics ard position made subservient; but while
they all raise to the highest degree the agreeable
effect Of their CENTER they, as individual works
lose none of their own beauties or excelencies,
but on the contrary have them all enhanced to
the utmost
The mass OF tone in Mounts picture is cod
leaden gray; this is the FIRST impression it pro-
duces. Next the eye 10 arrested by three points
of color, two spots of green, the right, the
other On the lett hand, ard toward the middle of
the picture patch OF bright red. The work is one
of much detail, but no pretension to colors, or
effect Of light and shadow. Hence the neces-
sity of surrounding it by works that should
give il Importance and effect as the focus of
the group like for example the principal figure
in single picture In order. then, to prevent
the two spots OF green from appearing disa.
greeably as such, we find that Mr.. Mount has
placed landscape study on each side, one by d.
rand, the other by Kensett, 10th of the same neu-
ral quality as his own picture, but still with pre-.
dominating tone and tint Of green. The result is
that these green spots do not strike the eye as
mere isolated spots, but connected with the
same color on each side and thus rendered harmo-
NOUS and pleasing thls we see that the picture is
sustained the right and left in respect Of both
positive and neutral qualities of color
Under Dursnd's and Kensetts pictures are
placed two others, remarkable for nothing but
quiet tones and tints, but here serviceabe in a..
ssting the eye, by not dstracting it to rest with
composure upon the center
Now there is in the center a very bright patch
Of red, which needs to be repeated somewhere,
and is not done in the picture ITSELF it must be
done in the group. The very thing is found in a
picture Of "SheIfsh" by S. A. Mount evidently
painted with the same ooors as were used by w. |
s. Mount. The red, especially, is of the same |
quality while it is so much greater in quantity az
to make you quite forget the red spot in the cen.
trail work. Thus, by means Of these three pictures,
the artist has succeeded in rendering agreeable
these three spots Of color, which under other cir
cumstanees would be unpleasant to the eye, from
the fact OF their being isolated and unsustained.