New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1852-05-31

subtle superorties Of this picture. Its fine de-
tail shows-what mastery artists have always
shown-that the absence Of exact detail IN minor
accessories frequently seenn picture sofMr. HICKS,
is not the evidence either of want Of knowledge OF
the character of those details or want of skill to
treat them, and is therefore peculiar triumph for
Mr.. HICKS who has been accused Of indifference TO
exactness, of nanmate representation, in his great
desire to produce splendid effects of color. This
is the charge urged against Turner by all who first
make his acquaintance in his later works, because
this intimate knowledge is not displayed in them'
but only implied. But no artist makes genuine
permanent impression upon Judicious and compe-
tent minds who produces pictorial effects by other
than truthful means, or by treatment when
evinces his mastery Of those means. Thus IN the
picture of De CAMP to which we have already
referred, there is the easily recognizable seal Of
intelligence and power, although the articulation
of the leaves and the grain of the wheat are not
made out. DE CAMP, like the other Partisan
Landscapsts, is one of the closest students of ma
ture and only by great knowledge of effects gained
by long observation could he with few sweeps of
his brush indicate the effect intended so vigorously
as in that picture.
Mr. HICKS is among the most prominent of
those of our artists who have been accused
of that magnificent infatuation for the pigments
which leads young men to the feet of Couture
and Diazv, and the other French colorsts, and
deserts them there dazzled, and bewdered.-
Undoubtedly he has pursued his art i'll too Cath
Ole a spirit not to acknowledge the emnence
of the leading Frenchmen in certain departments
and not to have tarred to steal the secret OF their
Glowing triumph. Bat there is world vide differ
once between men who observe and asslmlate, an
those who are consumed, between men who use
great artists and great pictures as studies, AMI
| those who reverence them as models MIR
| Hicks is Of the former class. vi the lat
ter. the first room of the Exhibition afford
| an illustration in the picture OF Mr. MAY, NO. 49,
which has nothing of the modern French virtue IL
na;ntinp and all of its vice. The one fault oftreat-
ment which strikes us in the portrait ofexGov. Fish
is the want Of due official dignity in the costume
If a King is represented as a King, we require the
scepter and the crown because they are symbols OF
| ROYALTY. Now the portrait in question Is not
family picture, it not the portrait of Mr. Fish, but
of an official dgnitary. The customs ofthe country,
indeed do not pl escrbe any official dress but there
| is certain propriety OF costume always under-
stood, and Governor in the performance OF Gu
bematoria functions should have been at least in
full DRESS and not represented in an overcoat, as
he had lust hurried in, thrown his hat and cane
upon a chair, and so stepped forward to full
fill some official act. The objection is the
more pertinent in this picture, because the
artist has properly scorned to accept any ac-
cidental alterations Of drapery, &C., which were
not strictly within the scope of his subject.
Mr. RossrTER's portrait No. 43S, is of that
character which would satisfy the fances OF those
Young Percvs and Towards and make their ances-
trial records as poetic to their eyes to their i'm
agnatons. 1t represents three sisters grouped
around piano. and is treated with sweetness
of feeling grace of drawing, and briancy of color,
which we praise most highly when we call them
worthy the subjects. There is an air of romantic
life in this picture, suggestion of Venetian days
and Boccacio's garden which are very delightful.
The ripe fulness Of youth in the central figure
the page-like grace of the younger form at the
left and the rapt, musical ntentness ofthe figure
in profile at the right--a ST. Cecilia-are hap
PLY blent in single picturesque and lovely inn
preston. If we do not mistake, the figure at the
right bending the piano, is gam represented
by the same artist in the portrait No. 329 IN the
second octagon room. 1t is u picture of an
| angelic charm Those of our readers who remem
Der. in the last years exhibition, FREEMAN's
sketch of the angel at the Tomb, will recognize
in this similar but more persuasive and spiritual
beauty. Saving slight expression about the
mouth which is not agreeable, and OF which there
is no trace in the same subject represented in
No. AS there is'a fascination in this picture.
We heard poet say, he stood before it-so
locked Undine she received soul. The rest
| of MIR. RossITER's contributions do not so much
please us. The fIll-length in the first room No. 10
is very careful painting, and, for its exactness of
porraitnre in details as well as in the central figure
we can easily fancy it to be, in certain ways, in
valuable picture. But those very details which make
it, value in particular, destroy it in general. The eye
is distracted from the chief to the inferior Objects
and the whole is not so mellow and rich as other
works of the artist. The Syrian Girl, No. 81, op.
poste has great beauty. The glare of the Syrian
atmosphere is well representative suggestive
palm upon the sand the solitude of the scene, and
the characteristic Eastern complexion in the girl,
are admirably given. The hand is rather waxen
and inexpensive.
One more article must conclude our notices of
the present exhibition.
Railroads and Temperance.
of y oilrooJ Comnapies ara