New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1854-04-22

rolls heavily in TIE dstsnce the big drops Of rein patter
among the leaves the earth grows dark the furious WIND
la,hes and twists tie trees Ike rees-there ia-sna
then Simultaneous with the white dartng FIRE comes me
ouiek blow Of sound as the very earth had split rhsn
he souds break sway the peaceful and clear light fss
uron the scene Mssured by these crcuuan es OF nature
Mr. Du,ard. picture seems feeble /; is suggestive but
coupared with the emotional Influences OF the Zeal s0rm
il is a. Intellectual as a candle a, noon day
No $50 P,frerol Forest, is more successfully resed
The opeppg through is suggestive Of extensive eiearngs
cloe bv arc rather destroys the solemn and mysterious
feeling e,ested in the mind by inifrmnable woods
The tieture however, il painted in Mr. Dur4Dds best
st,h even with more bolonsss than nsua. lie ners
are rot frstrsie; the trunks a:e too thick al Their
tons the foliage is too solid and panty; aud is not
sufficiently clear at glance If 1t IS al AL wha'
kind Of trees they No 49, Stra~6erry's Is his hap
,., work The trees ere ike hose in hi, other pcures
s1d in that respect good The sky Il not atmospheric,
Int the whole composition is delightful rural and the
drawing and grouping of The cattle and nstu al
The pictures Of Mr. Gignoux Ns 90 and o. sre OF the
most conventional character. His winter and setunn
scenes have always charm OF truth not successfully dis
PLAY ed in those OF spring and summer
We have considered three artists conveRtonsls's
I.csuse ley r.erse the same subjects tbe cors
Nth rtnaksbe success, but departing from this b. aten
tack they are lsmentaby deficient or is entirely lhs
NAV b. the Ieu Of not having studied nature sys'9nah
csy IN the beginning or of q constitutional indifference
TO that variety which she perpeiuay assumes and IN me
Regeneration Of which les of the means Of triumph
in art
But If accurate landscape drawing promises to remedy
tfis d.fciercy there tbe OF arti-ts who present
II cir frt fruits in tbs Exhibition. aud who ann e'
pecially Of that quality. These aspirints delight IN
nerantss Of drawing without pleasing or paiur9i Color
ard their productions mus be cassed rs being w'sed ou'
from nissppreheIson Of noure and the wei dehned
princips Of art They may proper be term d Pre- Rf
thaents il LandscsIo In order that our sders may
undIstsrd What is meant by the tim Pre- Raphaeiios
We will explain IL origin; end such is the ma are OF the
1henou In, in question, and peculiar ia s manfesa
ion that we shall make the explanation as complete as
possible even though must make rather long ana 90
far back in tie bistory ofart.
It's generally admitted that the art OF painting in l'ay
eliminated in the works of Raphael snd bis co'emporars
In tie 18th lh and 18th ceIeries !. hsd to rise through
vs,ity of inopert stages in s progress to perfection
The artists were without examples in ar and except ron
sup.rfcsl obser, alton ignorant Of human anatomy
So that when they came 10 draw from nature they bounded
every Il rm with sharp re edge, believing sharpness
70 be accuracy They ibus led nto great era ness
painting astes for ipsanc with every hair 10 the oo"
distinct Ins ssme EterslDess ~ss carried mo the
approximation of every species Of oman NJ ana naurh
Object Architecture succession o; smooth surfaces
and sharp fines il Landscape sen'ry became An accessory
III was not dis met branch Of at at that Ilue the s1
eseayod to peint every leaf On the trees ana the deta Oh
every object % matter how ant might be The reason
of this that they had not yet edvan ed far enough ~
the science Of psv atmosphere or TO re2re Mt Us
tf,ct ultn distant objects The most distinguished OF
these artists we're Cn.bue Gotto Giono, Fra Angelica
Orcsgna Luea Sgporei, the brothers Brlai Man'egna
GhIlandsio Botcelb Pipuirccho Peuugino Fra Ba'to-
loun.o with Massccio, who was the lest conventional
and he mott human OF them all These men were all
artists by Tie force OF organization Of extraordinary mel
lectual power and inu'tioDs. Some OF them were
deeply religious and ell believers in, aud lived
under TIE IN posing and solemn grandeur OF worship
whore tendency to s1alt the imaginative facune'
and yhoe MYTHS az IT cords almost exclusively the
themes Of their artistic skill So that theirs scarcely
any works by any Of these great mastersno matter wha
noy be their faults in drawing want of true and ehecnVe
light and shadow total want OF arial perspective or re-
pulsiye smooibntss Of su,scewhch are boI 20 npre-
s,y,ly Characterized by human emotions, that they must
ever remain treasure 10 the refined and elevated mind
Lot rom tradition or blind faith, bat because besis be
ing wrought out by conscientious labor they are the re-
s. Of deep passonal Susceptibility earnest faith spd Ak
traordney intel ectua grasp END power These were the
genuine Pre- Rnphaftes TIE Distinguished coteInpora
lies OF Raphael Ut must be understood that we are
confninc ourselves to the Italian schools Ds Vinci
| Michael Angelo, Coiregio Titan, Gorgone, and al
though Paul yeronese was born eight years after
Raphaes death still he belonged to that noble group of
men In their works forth the fGlness AID
grandeur promi,ed in those Of their predecessors
The blow given by Luther to the Catholic Church
also charged with a fatal influence upon ar, for it de-
oned from that day notwithstanding the ,asional Efforts
Of &c, Jus reltsbsh II Ia the north OF Europe how
ever il again, and glowed With pew briilancy
under the pencil Of Rubens, and with its bloom
carried into England whore took the form Of portrait
painting but for want OF adequate talent again lost
In the latter part OF the las. century aud the beginning OF
the present Painting and Scripture in the hands Of &c
Mus began TO revive Canova 10 ltay and David in
France successful pioneers Then in due tins there
sprung up u group Of artists who have established tho
German Schoos-Overbeck Cornelius and others equally
earnest though not eininen.wh Il older among
the eminent living French painters In both these coun
tries s,b Oos founded the Governments fostered art
ard students. by the aid Of professors snd fne
pies OF esrler perfection before them grounded in
the achnicates Of Painting and the knowledge OF IA
iuIe and were at led in the composition of his
torea pictures In both countries tbs tendency study
nature through the great masters. frt using the Greek
sculptures for form and then the works Of Michael Angelo
Titan RsIhAe RubeDs and others for compassion, light
and shadow and color But thoroughly had the great
principles OF raizaton forth in these works
contradstr euihtd from the attempt 10 initiate the par
culsr character Of each object been scceped the true
guides to excellence that only Eusepe, namely,
Overleck ard Ingres have become the pernaoou and
successful iiia,ors Of Rspbees pures middle style
England he'd different position. The national love for
pO'iaiture supreme Barry starved at historical pain
ting Sir Joshua sneared away With ssphai,um and Lakes.
I ANA made money by portraits West, IKE awkward
ard uncertain swimmer in deep water made random splash
upon great but got under the patronage OF
-. CfatIs Iii.