New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-06-22

70 Nouuts which dehcent as it is in most OF these
Qualities which n ScheDders excehencies'
has an appreciation Of human character and ieeing
in it. which proves it the result o. natural genus
while the other appears but as the laborious pro-
duct Of mechanical skill
No 2l2, Dole far Nieute." by 7. HICKS, Is
hung so high above the line Of the eye, that the
effect of the pes ectve is much destroyed, and
we thought at FIRST that the principal figure was
the same lazy, ragged, vagabond Italian boy tna'
every artist in Italy paints but we see oy 'ne
largeness Of bis e. es, aud their deep melancholy
expression, that be is no.. There is fine eiectoi
daylight about this picture, and the forms OF the
clouds are sweeping and freely painted.
Another 'oture by Mr. II cks, called Fountain
at Palestrina, rear Rome" No. $780, resembles
Won Schenders ia enc respect-namely, that It
has no intellectual idea in it. Pictures OF genre
are too freeue nty of this character. The artist
uses every variety of material, from men, women,
children, trees, mounia aims, sky architecture, ami
mails down to pigments, oils varnishes, and ascore
of mediums with quack names, merelyit would
seem, to employ himself and to show what degree
OF skill he has acquired in the use OF natural ob
jects as applied to picture making; not to express
thought or feeling not to instruct his fellows by I'M
parting to them through bis art an idea or senti
ment, whether Of general interest or personalto
himself His picture is done and thrust before the
public, simply as ian example OF "sarotr fare
There is. however, en- interest Of its own in thi
picture. 1t is truly Italian, the figures are drawn
with force and character, the costumes are pctur
esque and well painted, and the landscape, though
accessory, has variety, atmospheric graduation, and
is flooded with sunlight. No. 1872 UHe Fste
Champttre" is by the same artist We do
not see that the title explains the treatment
Of the picture As far as we can understand
it, groups Of figures and trees are brought together
as means to exemplify some principle pow ertully
contrasting light and dark combining color and
great depth of tome This picture, some Of the cri-
tics observe, is in the manner Of the French school
and in the sly lie Of Daz, the eminent coorist. But
if No. 1914 be by him, lso marked in the caiaogue1
we are at loss to trace the resemblance Of style
One peculiarly we notice in the works OF Mr.
Hicks is, that in their ckidroseuro they descend
from brilliant or bright yellowish white down
through gradstons Of color to the intensest brown,
giving great force and agreeable tone. His color,
however, is too Elementary and not sufficiently
prismatc.
No 1872 "Pilgrims discovering the approach Of
the'second Ship by I. P. RossITER is spirited
composition, with much vigor OF sentiment. The
color is rather dry and dull, and the figures most
truthful drawing from Nature. No $40. "Hugue-
nots in skffs going to the Charleston Harbor, to
Worship has fine quality Of daylight through
out but is very badly hung. No. 3l2. "Fihal Du.
ty," 10 by the same artist The sentiment Of this
picture 10 both tender and elevated the back
ground and accessories well pointed. These
all small works, and do not sustain Mr.. Rosster in
the position where his larger pictures have placed
him
No. 1922 " Queen Catherine, " by EDWIN WHITE,
is picture full of quiet merit which lies in the color
more than in the drawing and character. Mr.
White has deep love for the quiet gentlertones OF
color in nature is dfligent and considerations stu
dent Of all her higher beauties, and we understand
has gone to Europe to continue his studies. Nos
PSI ard s63 ere also by Mr.. White and indicate
very truthful feeling for color and tone.
No. 2Os "Newsboy," by f. r. sPrscER is the
work doubtless of beginner with the brush, and
remarkable for the originality Of the subject. The
placards on the wall which forms the background.
are lettered with the fidelity Of the daguerreotype,
but the boy seems to have been introduced as an
accessory vaguely defined and rather wanting in
character Lettering seems to be the forte of Mr.
Spencer. Nos. 2ls and 357, are by ]. G. CLos.
KEY, aud in them there is a fine appreciation
OF character and natural drawing but no con-
cepton Of light and shadow or Of color. Mr..
Clonney always tells the story but it would be
much better to draw in crayons than to draw
in paint for instance upon stone-his works would
then be valuable acquisitions TO our National En-
cravings. No. Ill, "On the Wing" is by WIN.
RASsEY. There is fine intention throughout this
picture. The drawing is not by any means fault
less, nor are the forms entirely well chosen nor is
the color all that might be desired but there il the
proper concentration Of character and purpose
united in the man, boy and dog, that tels at once
the whole story The game is naturally and beau.
tifuly painted.
No. oil is "The two Culpriss," by w. F. Ed
noSDs. We remember better things by Mr.. E.
The idea of bis pictures is never spontaneous. 1t
seems as it, after some thinking, be decided TO
paint such a subject, but never il the full idea
came with force at once upon bis imagination. No
s23 is less good. No. 1884, The Jill" by HUBSER.
Dusseldorf painter is far from being fair ex-
ample OF that clever artists work. The story
is as well told. perhaps, as it could be with the
conventional drawing and character employed,
but the co,oring throughout is mannerised, dna-
xreeabe to the eye, and untrue to Nature
No. 1877. A little picture Of clever intention, by
ALFRED JoSrs the epgraver. Theresre nine figure
pictures in the collection, By Mr. WEIR From
their size and the way in which they are executed
we are led to suppose them got up for some pub
Usher to have engraved. -Four pictures BY D.
MULIER are Indifferent, conventional prOductionso'
some Of the European schools. No. 1871 "The Frs