New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-05-10

markabe phenomenon to hint We do not mean
to say here that every cit is to measure the nat
uralness Of tie pictures Of an artist who studies
Nature accurately and well, by bis own imPeriec'
and blind observation Of few natural phenome'
us. But these pictures aim at nothing profound
or peculiar. A man may well smother his mp
psncy before one Of the gorgeous hieroglyphles Oh
Turner, because he knows perfectly well that
truth underlying bis own truth is therein visible
to consecrated eyes. But ordinary wood ana
rock scenes cannot claim the immunities OF IN
comprehen,ibility
These two landscapes s-e unequal TO Mr.. Hun
rINGDoS's power ard fame, while they are fuli
OF the elements that witness the one and justify
the other There is q solemn gloom in the depth
of the ravine, in No. IS, which is Of the highest
character. and the trees in No 1893 are well dis
eliminated, while its general vigor and force are
remarkable Il would seem az if the artist had
hurried these pictures of his easel-snd they are
impatient. rash and restless in their impression.
Mr. TALBOT, too, hardly seems advanced upon
bis former works. That mountain in Nos. ana
Ga we remember several years since. That laAe
in the same two pictures has familiar aspect
even the deer is not unknown. Yet the mountain
in No. "a, "Essex County Scenery iswell done
It rises with dignity into the calm sky but the
water is not water and the foliage OF the middle
ground disputes detail with that OF the lore
ground These defects would be little II there
were not in both pictures evidence of confirmed
msnnersm. Imperfect attainment often teens
with promise, but organized unnasuralness is
hopeless. The peculisrities Of Mr.. TALBor's pic.
lures and the character Of No 239, &" A large out
ocdoor study on the Passaic," sufficiently indi-
cate the relation between Nature and his repro
duction OF natural scenes We are not unjust
to parts of these pictures, but artistic hope and
promise lie not in good or successful parts unless
the whole indicates, however feebly, freedom
from prejudice and absolute reliance upon Nature.
This latter characteristic eminently marks the
contributions of Mr.. BOUTELLE, and especially
his large picture No. 43, {" Trout stream-show.
err passing OFF, This is extremely beautiful
The whole middle and back ground-the vapor-
GUS skirts of the shower weeping away over the
little village in the foliage and the golden CLEAN OF
sunshine in the wood at the right are broad and
successful and of the highest promise. There IS
harmony between the misty left and the brilli-
ant right, indicating very accurate study and skill.
The picture, so far, is full Of nature. Il will not
easily allow the eye 10 escape, and will not itseli
escape from the memory. The foreground IS not
eood-as success-but it is an honest effort.
There 10 no Sinking about it, no attempt to
smooth the whole into pleasing picture. Yet
the whole picture is a success, in this view, that
the same spirit pervades it-although in sone
points the artist shows greater skill in repreIen-
tation, than in others. And this general spirit is
the best proof that the artist will day paint
wholly pleasing picture So in No "a, "Raral
scene from Nature There is the same genuine
meas. The picture is again unequal but the
whole is Of the same simple confidence in nature
The points of inequality are not hopeless
Mr.. WoTHERsPooN's No 81, italian Scenery"
represents that portion Of Italy into which few
known travellers penetrate At least we do not
personally remember similar region nor do we
recall its description in poetry painting or prose.
Itismo properly Renaissance Of Claude ina
ginative pictures than original composition The
forms of the Landscape. the buildings the statues
the dancing figures, those OF the realm oil ran
CIV. and Claude had the start Of Mr. WoTHER-
SPOON. The picture seems to US to have no points
OF preseR ut success or Of promise
In Mr. HuBBARD's No. 1913, "sundOwn, Com
po.itiop." there is great beauty. The western
sky is possibly too orange but the tender depth
of the twilight heaven, and the solemn lOneline"
that broods over the landscape, Indicate no less
the Poets heart than the Artists hand. No 3S7,
View of Sandy Beach, Nit Desert, although
imperfect az picture, shows, in parts the same
beautiful feeling.
One more article must conclude our oo'erVS'
tim. mon the L andscspes Of the Exhibition.
G.. w. c.