New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1852-04-17
THE FINE ARTS.
National Academy Of Design.

One evening in Florence we went with a
friend to see the sunset, from San Miniato. There
we were introduced to painter who conversed
about pictures for two hours, and finally asked
some technical question which we were unable TO
answer. "Why. are you not painter Tex
claimed he with an air of utter disappointment, as
who should say" What waste of time to have
talked picture with you" We remember that
blank dsmay as we commence our annual review
of the Academy Exhibition, and as we mean to
"talk picture ut some length, we wish to have
our claim to do so understood.
There are two points Of view whence every
work of art may be regarded, the scientific and
the artistic pr0per-that is, the consideration OF
the ultimate effect arising from the essential char
acter of the performance, and the means by which
that effect is achieved. To the criticism of the
latter, scientific knowledge is indispensable. Thus
in picture or statue, considered as mechanical
work, there is implied in the critic familiarity with
the resources and limitations of means, the rea-
ton of color to color, of chiar0 scnro, and of a
MYRIAD details. To the criticism of the former,
however, no scientific knowledge Of means or ma
limitations will ever suffice. The former is the
permanent and essential interest Of the perform
ance. 1t is the grace of the temple, the melody
of the music, the pathos of the picturc-not the
means, but the meaning, of the work. This inter-
est every man of feeling and perception shares. 1t
is the universal popular interest. Art works for
mankind, not for artists or for connosseurs. The
public cares little that singers voice goes up or
down to incredible bs and gs, but it does care to
know that here is a sweet rich voice and glowing
genius.
Art is essentially democratic. Like flowers, and
the forms of clouds, and the beauty Of the land
scape, it addresses the humblest sense and out
reaches the most aspiring imagination. picture,
like person, is what the observer sees in it. To
the Jew it is always q stumbling block but peace
and Joy to the believer. The picture or the
statue which is simply the pet Of connoisseurs,
but does not arrest the popular eye or touch the
popular heart, is not immortal because it is not Of
a universal interest. Genius spite of the cant Of
neglect does not anguish in Interpretation, if it
only be genius enough. Raphael paints for the
world, not for the Pope's court, and the running
peasant pauses to see in his divine Madonna the
features Of the woman he and his fellows know.
Burns fascinates the ostlers at midnight, and
Arasse, singing, cnrhunts the bundiu To &C.
knowledge genius and honor song. Nor can we
forget the different success of Ole Bull and Vieux-
temps. The one an exquisitey cultivated
violinist, at whose unexceptionable performance
the dilettante lifted up hands of delight. The
other transformed his instrument into voice of
exhaustless expression that witched the land.
This is the triumph Of genius manifested in art.
The difference between the two Impressions ia the
old difference between talent and genius. between
the statue motionless in marble and the statue
graceful with life. The general critic. therefore
speaks Of the essential success of the work of TIA
more or less adequate expression of the meaning
intended. The more science he has, of course, the
better. But musicians, to our experience, are not
the best critics of music. They are sloughcd in the
observation Of details of execution and forget the
composer IN the perfomer,-the music in the musi-
cian. This rs a natural tendency in every depart
ment- man practically familiar with the means il
more likely to be arrested by them and confused in
them, than one who is totally ignorant. "What a
splendid skeletont' SAYS the anatomist. of beau-
tiful woman. And Juliet is the SUM-" cries Romeo
he two are criticisms from the different points of
view We have already Indicated. liz is not enough
to know the craft Of handling, for il win not help
a man toward genuine success, unless he has an
idea to lie handled. All the Profs ssors in all the
Academies would not paint good pictures, although
iitian's palette and Angeles pencil were put in
their hands, il they had not the soul OF Titan and
Of Angelo. Enjoyment and perception Of beanty
cannot lie learned, they arc M much gifts the
rrtit.oE Of new forms of beauty.