The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1853-05-23

The Hataora n Academy or Design.
The twentyeighth annual exhibition Of paintings
belonging to the National Academy Of Design, Ia
now open to the public at their galleries. No. 66s
Broadway. opposite Bond street, where, for trifing
sum for admission, opportunity presented to the
amateur of studying the works of American living
artists. As an exhibition of this description is
purely national affair, and on account of the i'm
portance that the art Of painting should hold among
civilized and refined people, some slight notice OF
the above named institution is consequently required
in our columns So closely allied as painting is to
the sister arts of music poetry &C, it ought to psy
prominent part in the education Of our people, and
by its papable appeals through the organs OF vision
to the mental faculties and passions, exert marked
influence on the national character. It was in this
manner that the old masters of the Italian and
Flemish schools acquired their great celebrity and,
by painting not to please a single individual but
nation, stamped the impress Of their names upon
works that will last for ever. Unfortunately no such
lofty ambition exists among the artists Of modern
times, among whom prevailing mediocrity reigns
supreme, and this not confined to our own country,
but existing in all, among those nations where
the fine arts supposed to have taken their abode.
This mediocrty so much complained Of, and which
is evidently running the art by restraining the flights
of genius-bringng all down to one tame LEVELS
certainly conspicuous in this years exhibition There
is not perhaps, much to censure, but there is like
wise very little TO commend. High art of which so
much has been said, and Of which so little is prac-
tsed, has in this exhibition votaries; those grand
and sublime features that appeal to whole nation,
and which certain, when well depicted, to excite
the admiring gaze of myriads of spectators are no
where to be Meaiocrity, as already mentioned.
is too prevalent. Highly colored, well vanished and
shining gilt framed pictures adorn the walls, and we
look and look until tired with the sameness that ex
lists around US. Where shall we find some striking
picture, some bold touch Of genius, some mark
living talent, which, although perhaps, faulty in de
tail, still shows originality that truly nation
al American school might be made to spring up
among US? Where shall we find those grand mas
terpieces which, by their display Of genius, affect
all alike, the refined and the simple, the learned
and the ignorant, the polished and the rude
those bold attempts of art which in the times
of the ancient republics were exposed to the
gaze of an admirng multitude? or later STILL those
chcfdGxpres Of Italy, when ecclesiastical patronage
enriched the painter for exerting his genius upon
subjects of religion? or when, in more phlegmatic
region, the Flemish burgomasters lavished their
wealth upon the painters Of their country! 1t may
be urged as an excuse that such patronage now IS
wantng-that the artist must i've and in order to do
so must court the patronage that at present offers
ITSELF and from want Of national, must be content to
please the whims Of single individual. But, we
would ask, may not the deficiency of national pa
tronage Oe partly selt.entailedf Who among oar
painters attempts to please the massto toll for
years on some grand conception, and then presenting
1t t0ihe world point with pride to his performance
rs truly national picture Our greatest sculptors
and painters leave home for foreign countries, and
seek in them the patronage that is denied at home.
This is dsgraceiul to tie nation. But, we said be-
fore, the fault hes primarily with the parties them
selves. They do not try TO instil better taste
with truly republican feeling to court the multitude
that vast class who after all are the most suscepti
BILE of grand impressions, and upon whom the art Of
painting, when its performances are executed in q
suitable manner, can exact the most commanding in
fuence.
But to return from our depression. The exhibition
of the Academy of Design for this year contains
nothing OF q very extraordinary merit. There are
certainly very good pictures in the collection
many carefully executed. There are generally no
startling merits. What we complain Of most is the
vast number of portraits that invite the spectator
gaze, cold dead-llke portraits, many OF which are
character zed by a want of animation and expires
sion. The greater majority OF these are likewise
merely portraits, whch although they may be very
interesting to the friends Ut the individual who is
represented yet appear very inspd to the stranger.
portrait, to please an Indifferent person, must have
omethibg artistic in it, some poetry in the attitude,
peculiar carriage of the head, some variation in
the color of the garments, contrasts Of lively or SOM
bre hues By this means the talented artist in
portrait, will be able to make q picture that will
please the most Indifferent spectators but OF all the
bres in the world the most abominable is to stand
looking at line of upmeanng, mummy like portraits,
stuck up against the walls Of picture-galery. If
sh ho Is be our iase give us rather Inc
we can see portraits that at least have some
appearance Of lite, and not the artificial, un-
meaning pictures of individuals that adorn the walls
of the National Academy Of Design. No the days
Of portrait taking, merely for the portrait are gone
by. for the painter can never expect to equal in
truthike spirit his daguerreoype rvato depict the
half quiveIing smile. the evanescent shade OF melan
choy the breathing OF the word Us it issues from the
mouth Such triumphs OF skill do not belong to his ART
they are the peculiaties of another which is fast
pushing the portrait painter from his claim to popular
patronage The only chance OF success is in allying
| poetry with art-in making the portrait real pic
ture, where, without infringing upon truth, he can
give imagination full play, and thus make the por-
tIait what tho daguerrcotypst, with all his chemi-
Gals and glasses is unable to doa picture OF reality,
where the sternness of truth is mingled with the
poetry Of fiction. Some attempts ut this kind Of
portrait taking to be seen ut the exhibition; and
these alone. Of all, likely TO please the general
spectator. mere portrait, whose chief merit is in
the resemblance scarcely be expected to crafty,
although it came from the studio of Reynolds or
Lawrence.
: We have below given short critiqme upon some
of the pictures Of the exhibition, and will future
day pass in review the Others among so many o
good one is often passed by in hasty review and the
bad often stuck so prominently forward that they
cannot expect to escape censure. Putnam qui me-
ruif fcrat.
To begin with portrait
No. Ia is full length portrait of President Fill
more, painted by +. B. Carpenter, and owned by
David A. Bokee. The ex-President is represented
standing, with a roll of paper in one hand, enve-
icped in cloak. On the WHOLE there is too much
black about the picture, and very dingy looking
carpet underneath.
No. l6. Portrait of Rev. Eleazar Williams painted
by j. Boyle. Associate Of the Academy-possessort
Iir. L. w. Francis. We have never seen the reve
rtnd gentle man who claims to be the real D8uphin
OF France and therefore we do not know how far
tie portrait is O likeness, but II has great resem
blame to the profile Of Louis xvi, as represented
OIL French coins, particularly the nose.