New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1850-07-04


c.-.,.or ,,oods amid Wild flowers. estcni"s '"'
-, ,,,r,,,, NJ the silver stream ~ 1t passes
-, .wav ove- the worn stones '''
-. hanks; on the Shore OF tno oo0~"'
''s'- - de.n ,urge moaDs forever, ana Tue s'"
""s'' ;.,o The invisible depths NJ AR or D"
D"o .h.ded lawn, romping lihe child with iano
w., children. gay with rudy health, his eye ana
-, ,houipc that bis soul knows the " voice o.
Chalmers" and communes in the love oil mature
with her visible forms" through the smile aud
eloouence Of beauty" This bust is exactly 'ne
opposite Of ali that it should be.
We here close with the Sculpture, remArking,
simply. that it looks not quite just TO devote one
room Of FIVE exclusively to such works' let ~
ho,a that roore discrimination will be shown In iu-
ture years.
In the oourse of this series of articles we nave
endeavored to guide our remarks by such laws Of
criticism as press equally upon all, and arc cuo' =.
scious Of the least injustice or useless s9'e'
any one. We are aware that more might nave 49,
,aid perhaps in praise, Of some OF tne no''
and less pretending works, but our LINUS u'D 80.
admit NJ more extended notices oil SUCH
;,.afed on the other hand, for TINS o"',''-'
- =, ~ instance whatever, withheld "oiu
S,1.o.,,od censure or praise to productions Oh nsn
=. '..ior. and conspicuously placed. Ihis we
i,respectiye Of their authors reputation
! before the public.
7, would be folly to expect grand and perfect
,vorks Of Art to be produced at the present epoch
n our national history. Art never springs up at
once nor is it found in a nations history, ike an
os,is in the sand plains Of Arabia. Ii begins, and
Keeps pace with the progress Of social and polti-
cal institutions, goes hand in hand with the tera
ture and the religion Of its day. Nothing can be
more striking in this respect, than the histories oil
both Greek and Catholic Art, beginning with the
simplest monograms, and rudest carvings, and cul'
minating, where the human imagination exercised
it's sublimest power upon the most prolound INTEL
lectual development and culture. And II we do not
now find this high Art in the works OF our country,
let il rather be matter Of rejoicing than regret
for as yet we have little or no use for it. Europe
can furnish enough of her modern works to crafty
the superior tastes Of such of our countrymen as
feel no pride in the Progress Of American Art, bat
willingly lend their aid in maintaining the dead
letter abroad, while, for aught they do. the living
spirit" might perish at home To those who yet
preserve the freshness and simplicity OF feeling,
which is distinguished from so called educated
taste, there is something refreshing in passingfom
the exhibition of the Dusseldorf Collection to those
of the National Academy Of Design and oil the
American Art Union For while you feel in the for
rner great amount of elaboration and the res ats
Of s or most Of the laws which the science OF the
Art of Painting teaches both in choice OF subjects
and the means employed in their execution, there
is duh, dry, bard, monotonous effect, the lnyanable
result of academic conventlonalities that wearles
the eve and mind of the genuine lover Of Nature
He Quits their influence, with feeling akin to those
of the school boy breaking away from therestralning
presence of the pedagogue, to enjoy the open air.
the sunny fields, or the green and shadowy woods.
Such artists as Leasing Achenbach and our own
Leutze are in q measure free from this charge be-
cause their genius rises above the rules OF acade-
mics but even in their works you feel that some
| links from the strong chain OF coHven'on@ Art
atll cripple their freedom
In the two latter exhibitions, but particularly
that of the Art Union, while you lind In almost
every instance q want OF judgment IN the choice
of subiects an uncertain, feeble manner Oh eAecu
ton. a vague end sometimes vain endeavor oil the
artist TO realize the higher characteristics Oh Oh
thought or fancy, you feel that he Is an earnes
trutb seeking student untrammeled by the laws
of schools deeply in love with nature, conhding II
her wide bounty and variety, and daring to rsi
hi. fame upon the reproduction OF any one oil the
beauties she reveals to him. The growth oil the
art in this country, in the departments OF figur'
Composition and Landscape Painting, ana espe
cisIy the latter, has been exceedingly rapid anC
NOT without considerable success indeed, SO grea
has been our gain that many Of the lesser work.
now on the walls of these institutions VIII one DAY
be treasured as gems Of rare excellence.
A word may here be said touching the Art Unioi
and National Academy. These institutions
I ,brouoh the management of injudicious persons
unfortunately actuated, have had their interests
divided and i'll feeling engendered between thei
leaders for several years past. 1t Is gratifying
.es that a change Of the officers of each has re
established amicable relations between them STU
more might be done by uniting yet closer the IN
,e,s.,s of both. No good can result from thei
rivalry. because the objects Of the two institution
are entirely separate, that oil the Ar Union oein
10 distribute works Of art throughout the country
and that of the Academy Of Design, by means
facilities afforded the student, to assist him In Eur
plying the former with works for distribution In
only point of collision 10 in their exhibitions In
Academy is obliged to have price OF admission
that being its only for means to meet II
current expenses though its exhibition Is open ou
, about two months OF each year. The Art Ono
t justly proceeds upon the plan Of free exhibitions
Q because its annual subscribers have right to tn
l. use of the rooms, as well as to see from time
}, time the works bought with their money. Nov
l. one great good that might be acconpished-and W
., do not believe the subscribers would make tn
70 least obecton-is for the Art Union to close its e,
E. hibition as long as that Of the Academy is open
Of the public. By this course the former would los
ID nothing while the latter would doubtless be