New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-05-15
NETWORK TRIBUNE.
ACADEMY OF DESIGN.
XXVth Annual Exhibition.
tsecond Article }

The Anniversaries which for so many days have
crowded our columns, bsiag over, we resume our
observations upon the Academy Our readers
vi. perhaps, remember that at the conclusion Of
our former arti -le we promised to examine the
Arrangement of the pictures in the Exhibition, and
% show, by referring to few instances, remark
able want of judgment on the part of that honor
able body known as the Hanging Committee
The hanging of the pictures is then the topic OF the
present article.
II would be unfair to accuse the members OF the
Committee of malice or illfeeling toward their
Younger brethren, inasmuch as several instances
occur throughout the rooms, where their own
works suffer materially from proximity TO pictures
sowed in violent contrasts therefore we are left to
conclude that they are ignorant Of certain we'll
defined laws relating to the business With which
they were intrusted
On entering the large room, the eye is imme-
datey arrested by canvas. containing in its CEN
fer fullepgth portrait of Plus IN. by MIR. Joseph
Ames. When you reach the proper distance at
which the picture should be seen and studied, its
rge from the perpendicular is such as to leave
pearly the entire upper half Of the surface filled
with the glare Of light rendering it almost imPossi
be 10 distinguish what as a picture, it contains
this s particularly the case in the evening
The purpose Of pitching picture forward from
the perpendicular is to bring its plane parallel
With the sight as the proper distance to study or
zee it, the light resting upon its glossy surface be-
ing then reflected from an angle below the vision.
This, it is TO be presumed, every artist ought to
l.. a. - tho ctnr wa anpak nj
ought to be pitched forward at the top, from four
t. eight inches. As it is, its great merit Of which
We shall speak later, is entirely lost.
There is a common law more or less known 10
every artist in proportion as be is successful in his
works, which enables him to bring his picture into
unity or harmony with Itself. Connosseurs and
amateurs also know this law, either by study or
instinct, and in most cases are enabled to say
when looking at picture, this part conflicts with
hat or some other with some other, etc. II is
rscsely this law, regulating the creation Of pic
tire through its various stages, from the commence
nsnt to the end harmonizing and uniting each part,
that should govern the arrangement of a collection
Of pictures for public exhibition. AID Committee
ntrus.ed with such duty, supposing it to be
composed Of Artists, should more think Of volat
ing this law in executing it, than they would pre-
sumo to violate it in producing their own individual
works.
Examine the works Of the best artists who COM
pose this Committee, and you will see that they
have arranged every part with reference to some
other part, and by this means heir pictures are
united, constitute a whole, and produce, in this
respect at least, an agreeable effect. Suppose, on
The other hand, that any one Of the n should pro.
duce a work representing various objects, and
should place in juxtaposition two objects one
very cold, the other very warm in color the effect
Of this would necessarily be very displeasing aud
every beholder would pronounce it incomplete
The artist in such case could only be excused
on the ground Of ignorance or some mental aberra.
tion. Yet we find throughout the rooms incon-
gruities Of this character continually occurring
N the arrangement Of the pictures.
The question naturally suggests ITSELF Had these
gentlemen then no principle which guided them in
placing the icturesl" On investigation we find
hey had, and it was the correspondence of the
jraDses, in form, size and richness. Whenever two
frames correspond, up go the pictares as pendants
Or companions, without the slightest reference to
Their subjects, style, or, what is Of greater impor.
lance, their tone and color.
For example; take No. 4a. by +. K. Church, a
Landscape at Twilight, subdued almost to dallness
when seen alone, but delicate, tender and highly
elaborate in its execution These qualities, were
ne picture seen alone or in company with others
o. iss kind, would greatly compensate for the
nesTy, almost leaden color pervading il bat in
%xsapoaitlon with No. 4e, by A. b. Durand, called
summer Morning" which presents to the eye al
D''' IN entire surface of whitsh aud light green
.v"s aoa No. %, BY I. Doughty cold and pale
inter scene" its heavy and leaden quality is by
'ne law Of contrast 50 much increased a, to de.
.''0y IN great measure the beautiful and rare sen.
hnen' winch Is 80 subtly conveyed in the tender.
ness and delicacy Of it's elabor,tion NJ, onIv !.
NE effect the artist intended 10 produce upOn the
n'nd Of the spectator weakened sIno., - no,h;,r
. comparison with what it would be p0as- nronsr
engagement bat his reputation suffers sl.o
Another instance of wan. Of judvmen, !. ,.oo n
Ne position Of the effective portrait No. 81 hv r
.s&s q work calculated, from its mas.;v. Eoh,
- shade. and bo'dness 81 execution, 70 be n,e.a
"e me hDe Of the eye. No doubt the Commit
sh' ''ey were paying the arts, q eomph-