New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1851-04-26

capricious gusts and, although heecy aud onsub
.t.ntial, involuntarily suggest a dash of wind
which does not seem to blow elsewhere 10 the
picture.
No. 81 seems 70 VI the best Of Mr. CRoPsEY's
contributions. No s, in the same room, repre-
sertipg storm in the Kastskill Glove, is very
vigorous bat rather OPAQUE in color and the pin
tered trunk in the foreground is perhaps, an exsg
geretion. In the position indicated, tree not
utterly withered would possibly be wres'ed up
by its roots and dashed into the abyss below, al
though only very violent tornado would play such
aprank with so goodly tree but it would hardiyoe
broken 10 the manner of the picture. The water 10
especially effective. So sudden has been the
descent Of the storm, that the streams are not
vet swollen, and in the or ash Of the whirlwind'
the brook falls white and foaming over the rock
with an innocence that 10 very fascinating aud
suggestive. 1t is hardly, however picture to
attract very prolonged attention, although II
il another unmistakable proof Of the great and
admirable advances made by the artist
More permanently pleasing is No. S69, an An
tumna lake view, in Rockland County. ThisP pic
ture is a. thoroughly American in the character
OF its subject and treatment az No. 81 il Italian
The bold, black cliff rising suddenly aRd sheer
against the cool quiet of the distant sky, and
stretching into the somber massiveness o. the
storm cloud over it, il very fOrcible and 30.
There il here q variety of effect, without tue
slightest monotony or poverty OF detail. The
black cloud shadow upon the shrinking LITTLE
lake-the bank of young foliage whose very gaye-
~ is grave under such bodeful beginnings OF Win
ter, send q chill quite through the spectators
heart not relieved by the scornful heroism OF the
cliff There is an extreme poetic beauty In this
little picture-for while the gust wildly careering
over the failing Autumn, produces the Wintry
feeling which it foreshows-snd by affecting the
great mass Of the picture, most decately indi-
Gates the imminent triumph Of 1.-THE inverted
year deep in the distance tender blue stretch
ing toward the horizon shines soft as the fading
skirts OF the Summer.
No. 1914 Eagle Cliff New Hampshire, pleases
US less We have here great observation and
accurate knowledge and the same vigorous elect
Of q cliff against the sky-as in No. 500, and an
extremely successful group Of clouds on the Left
and the general character of New Hampshire
scenery. But there is 4 want of atmosphere, and
while the background is large and good, the fore.
ground is a very impairment foreground. We
have not come to New Hampshire to see Kit
chen garden and pumpkin great and golden
as it may be- has no right to challenge 50 much
regard while the pine.fringes Of the White Noun.
tains rustic solemny in the rear. The sun.flOwer,
too, is bright and is the theme Of very beautiful
traditions, but this particular EunfOwer would
absolutely dispute attention with the sun
himself if the artist had chosen to Introduce him.
This Dusseldorf detail is the remnant of the old
manner, and is OF most fatal tendency 10 the
breadth and dignity of picture.
On the whole Mr.. CRoPsEY evinces in his pic.
lures of this year an ability of most happy augury
for bis future. There are some points hitherto
quite unattsised by him and of the greatest mer.
it, and bis Southern Italy ranks with the best
works of the Exhibition. 1t shows that he does
not lack breadth, If he chooses to display it. Can
an artist 80 conscientious and poetic fail to see
that it is always essential TO the highest pictorial
success
To MIR. KENsETT we briefly alluded in our
last article. If there were Eone Cynthan God
dess of the Summer We should know very well
that Mr. kENsETT was her Endymion, and that
these pictures Of his were the love lyrics OF re-
membrsDce Of hours passed with her. poet
would swear that they were all painted on dewy
June mornings after the most refreshing sleep.
They have the fresh sweetness Of early Summer
after every trace Of winter has vanished, but be-
fore the July heats have burned and withered the
trees. They have the healthful vigor Of unpreju'
diced youth-and youth necessarily eternal, be-
cause of perennial freshness of character.
There is ioyousness in these pictures, Sc
renity of satisfaction in Nsture-instlnctlyely
suggestive of Greek Art. Like the forms Of the
trscery upon the Grecian Urn, which live charm
er life in Keats ode-they are
Forever piping songs-iorever new"
To profound appreciation of the mos: secret and
silent aspects Of Nature, the artist unites such
delicate dexterity of treatment that while his
pictures have one general character, they are
never cloying or monotonous. An exquisite feel
ing Of form and corresponding airness and
transparence of color always distinguish his
works. They are Summer Idyls, as genuine and
glad 90 those that gush insrtculste from the leaf
hidden wood-thrush. In fact no pictures seem
more strikiDgly the colored synonyms of poems,
than Mr.. KENsETT's.
He contributes several works this year, aud
there is rot one Of them that has not some decid
ed trace OF his best chsracteristics. The most
important and probably the beat of all is No ll3,
"The Indian Rendezvous simple composition
of wood and water, with one Of the hazy persPec'
tives Of mountain vstas of which ne is so fond and
in whose representation he is so successful.
There is e virgin privacy in the scene which the
Stance Of the spectator seems to surprise. The
very Iudsns are pulling away from his fascinated
gaze. With true poetic instinct the artist has
introduced no life but that Of flight Of birds who
dip and skim, and lew Indians whose life to
our imagination, is still and steathy enough not to
ob,rude upon the spirit Of silence that permeates
the scene. Delicate 10 feeling and in handling as
is this picture there is no weakness in it, no tim
IL 49, 90, -,