The daily crescent. [volume] ([New Orleans, La.]) 1848-1851, 1851-06-10
Am rican Art Union.

This exhibition has been open for several weeks
in New York The object Of the institution is to
secure full and permanent success for the arts oil
design in this country, and is thoroughly national
The Courier and Enquirer says that its affairs are
| directed to enttle it to confidence, Other
journals have spoken of the institution its manage
ment and the pictures in its gallery, in terms OF
undisguised contempt. The Courier attributes
these complaints, by other journals, to personal
and interested motives-personal in some cases,
invidious in others. 1t is humiliating to find genius
| acknowledging jealousy as its handmade Lover $
OF painting, who have no opportunity to witness
this exhibition, and must form their opinions from
those of the New York press, are compelled we
fear, to admit the existence ofjealousy and envy in
conflict OF opinions relative to the American Art
Union. While on the one hand the favorable no.
tees of the paintings exhibition are specific and
elaborate, and interesting, the criticisms against
the whole affair content to be general and
sweeping, admitting beauties, showing no de-
ects, save the garng defects in the criticisms
themselves, which fail conceal the strong preiu
dices under which they are written. But the
Courier and Enquirer, in its review, becomes epi
sodlcal and we may add, graPhso In sossss.s..
other causes OF complaint, that we copy from it
Much of the fault.fnding, however results from
downright ignorance of the subject upon which
the carpers talk write. Two cases which ha We
come to our knowledge, since the opening of the
gallery, are apty in point. In one gentleman
who certainly seemed an intelligent man, standing
with two or three others in the gallery, began to
complain OF the poverty of the exhibition; and
asked, there being member Of the committe pre-
sent, why such miserable daubs were allowed to be
on the walls He was quietly requested to be less
general in his remarks, and to specify some one
picture which was unworthy of its place. /" Well,
there, said he, pointing out one, what WI etched
affair that is! Why do you have such painting
as that here ?" Because was the reply, "that
picture is Il fine specimen of the work OF Blanch.
ard, a very distinguished French painter. 1t took
the first prize at the exhibition of the French Acad
envy at Rome in color and form it is remarkably
beautiful and IL you have ever seen texture better
expressed than in the feathers Of that angels wing
have not 1t is here on exhibition only. Its price
is twenty five hundred dollars Your selection has
been unfortunate. ." Oh that may all be-" was
the discomftted critics reply, &c know nothing
about painting" "Then why stultify yourself by
talking in such style about it?'' was the rejonder
In the other case contemporary, honestly, and
with no nnklnd feeling, we sincerely believe found
fault with the sentiment OF painting, Holy
Family, among the copies kindly loaned to the In
sutution tor exhibition; and the child was particu.
larly pointed out Objectionable. Unfortunately
Tor the objector, this was copy OF Raphaels ia.
NOUS Madonna del Innpannata in the Pitt Pal
ace and yet'more unfortunately-the remainder OF
the picture having been painted by GiuIio Romano
after the design of his master-the child is the
only portion Of the reOrk wAich Is entirely from
the hands Of the pure and dtUtne Raphael him
self! The copyls, of course, not so great a pic
ture as the original, but for the sentiment of the
comPositi1n the greatest OF painters is alone re-
spOpsible.o