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

rio, cd b. Raphael and his great ccmporr@s appo
praed The nerar ess hardness and smooshn.ss OF Us
pr.d.otssrs Whhour the unity Of religious sen rneni
or sympathy srstan them they ran so FAR in the oppSe
e1r.ne ihe they at once ridicued and shlnszed
"a -PreRspha.litt." With that &C urate and lsrye OBJ
sryaton ard an enthusiasm almost moart.e, which are
ctuacters,ie OF him, Mr.. Russn defended their consei
ertous labors against their ihoughess sssslsn,s aud
adopting them in his srdr has become the eIPounder OF
n,netl bich claim 10 lead their votares art
Or the Continent, where the grosth OF art hsd enjoyed
Ht.Ia encouragement, and where sr.s had access %
the fue works Of the IaLsn master, there were only
epssoused instances Of This sort OF 7,iop, aud when
they occurred they excited neither curiosity nor rdicu'e
But il En- gland where paint history or 20 talS OF high
"sr" was 10 prOvoa the and rent'ng hostility
Of the Royal Aesd, icars ard 10 the indifference
OF an srs,ocrsey whose vanity only eqIalsd by the
isnorsrce Of q snobbsh nry and under whose patron
age and otnce the of art was utter unna'ura
rtss no, only did these po-s,fsors of manly ineec
into The erp site extreme but when ascked, br)ugh the
rir ena and efvd eoquepce Of o! the fines; think
CT ano most popular authors Of the age ia defense Of their
rigmsized Pre- Rsphaerte productions
Such il The hstor and origin this curious school Add
low az tb vugar ceptaon Of Pr. Rsphseltsi-m
curse yet hard niSton in texture and form, se wish.'
flow by analysis IFS uspplcabilry to landscape painting
Let Us for example suppose landscape Shieh shall
have IL the immediate foreground On the gA rock with
mo,.s at II, spr Of ce4r water which reflects
ard iuch Other THU es in the necessary relation -
is .uIfaoe On the et there be gra aud dead
ksyes About Il n ieet from the point which view
tn scene lei there lie email cherry apog some he@n
fet high ard related to the vanishing point tina, half OF
lis light lie above the horizon Its foliage must not b.
very don,e so that coming agsn,t the sky the shape sni
Character Of each LEAF msy be- srtrgy dsnc- Let the
FRI quarter of mile of space be occupied By wheat
fe g. he grain golden ree srd just ready to be gaheied
nile further on viii suppo,e house at the side OF
road. along VIII Oh zee some di-tan - with a
droopng W ow tree and barns end other buildings near
b., after VII CD LEI the eye fail plain for four or tive
mile where ans begin skirt until they touch tia
ouuulous couds that seem nosing from beyond them,
ano back Of which again he scrfhus clouds. thin and
1ale fost through the blue sp6ce Now LEI our Pre-
Rapbselie dscapit ben TO paint this scene lie may
sx5cg in bsrdnes Gd shaIpness Of ines evey obc
if BE- Necessary 10 express It's il dv'duaiy OF ofm Il ne
v reproduce with the accuracy the texture OF each
tose er with IT, local incidental color This vi not 10
fcult with the rock ard water became ihey are
rear enough TO be easily imiaed if thss be al 50 With
the f,rns ard grasses aud il he ne good initiative draft
mar snd lake tine enough hs may accomplish the young
ebony Tree even he Inning gum that eAdd upon the
sem Now comes the fe d of wheat, with s millions OF
hesds and stalk boards and leaves o 10 carry the hard
accuracy which dtng ushes the Pre- X phael3 into tbs
He ock down the road TO the house which is distinctly
ser even the kind of Tree beside II dng ushabe but
TOT particular leaves the or IRREGULAR
es Of surface 10 the house be the chimney red Ake
brick but lines OF which cement /, are not visi
be Tie mountains fat and iOmle.s only marked By
toir uoro blush or graz color and their distinct
lines against The clouds The clouds the most distant
ioims be rprestned end they tss coarse in te
rial dough as d in character the ferns
TIE disIca VII ch destroys the individuality Of the one
Ieytas the form Of the other Then the ilimiabls at
mosI here becomes blue in the proportion ha: the eye
peIoes it, uuobstruCted depths. Now as the aosur-
diy Of parting forms that are not visible Is ap
parent, Pre- Rsphssi lite must begin some sytbm OF
generalization He l. TOO oTgins 10 adopt that by which
tie great Italians have secured the admiration o! the in
telcen for and cotends for the actual marking
anc drawing of every object We suggest thai he ssould
Try 10 draw ard pant with the accuracy hat he
6oe the leaf or pebble his vision the atmosphere ~
it lie expressed ard dei.eaed by otct in,erposed ne
tween Linn ard that limit where rs depth Il azure Phsi'
what lie should tm q, Dstad OF conit ntag hlm II With
canvas or pand having oily Of blue and white
paint He may assured that ii he can DO this every
object from fore ground TO the extreme distance, VIII
assume and keep il proper 70 m place and hue and that
tie umaium OF Teprs en'aon in landscape painting vii
be achieved But fancy that he witt confess his de-
feat long before he gains ba: point of perfection and N
Less Ike is too blndy welded TO his theory admit that it Il
sbsurd
Or the land capss in the Exhibition which treated in
the Pre- Raphael manner No III, Fails Of Niagara aud
two oth n by W Frsnken the wors specimens
they uptadd the Pre- Rsphaee hardaess AMI detail Of
drawing style Of color garngy false and unnatural
than words csa express No 800 Corn Fpd and No 1Ol
Forest Spring by Mr. Sillmsn, in every way more
nj des, in color and better in drawing particularly 10 the
for ground obj cts No ISL, Cedar STdmp by Mr. Hope,
is sup.ii r in nAtuIansss oi representation
We have yet to spesk Of those mag native landscapes
which betray neither knowledge Of nature nor artistic
power in any degse Whatever. As artists usually are
not such highly strung poetic beings pictures of this class
90 cot prevail in the EIhbtif But the two whi;h best
Characterize it are the preienfcus in the first Gailry-
No 10 Indian Paraiise: or, The Dram Of the H1pPy
Hunting Gyonn3s. and No a. Al1sfor: or, The SPirR
Of Sohfude-boih by Mr. Richlrss Throughout the eI
Of these pictures there not the Fl htes evidence that
tie artist eIeral nature, or the sunlight that re-
veels H. One would naturally conclude from these two
cons,Itb,e pieces Of cooed that their author is
confined 10 the limits OF his painting chamber giving him
self up political vk:ons and DRAINS. The two works
which the supernatural result Of this tighly msgms
tive state sg h sentimental in subject particularly
No a. Ths however is The only criticism able to
make hayirg been per ned to peep into thai fan
eul landscape wh,re NJ RCasrds studies his sunlight
geology AID to,sry.
There are some pictures made up with such equal parts
Of Landscapes srd figures ba; is difficult tell which
prodonusies TO What class they belong but which Do
serve, from The excellence OF siudy they contain TO be
ecumehded No III, by II q VIVID, Is the most striking
Of THE class and his excellent points the coorng OF the
fguIe sud in the au-umna vi the foliage. No l36
Too Peer 70 Play, aud 23l SsEay Moments, by G. H.
Yewe are exec len. indie atoms of arc study observe
ton ara feeBg but lhey want mora CAREFUL finishing in
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