New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1855-05-07
EXHIBITION OF THE NATTONAL AcAn
FMY or DESIGN

j. 40 a
viii necessarily be that OF Landscapes. In orre
article we explained why historical or religious psh
ipcs can only be produced exceptionally among a,s
least until after long period has elapsed. Porrs.
ALWAYS undergo the influence OF material interests
tho rrocesscs If tradition; alone, therefore, theys
NOT form a school except through the impsOesss
Growth Of exceptional genius. And besides We sp,
frankly. II human nature has greatly adVaneedn nor
dev i mos, assuredly neither in the beauty Of IL
type nor the picturesque character OF ITS arrnseuess
II i not only in Institutions but in races that soceys
,emocrstized. The universal morale has gansl
oubtless; hut painting has lost. The great noea
ave passed away as they stood for the Pagan got
nd the black oat-tho horrible black coat-hayhs
,nyecped the civilized world, there no longer exists
tho nov American race the material for Paul We.
ou,se towoik on. We belong to the brush OF ano,hs
Grade. and IN place OF the Marriage i cara We oab
irsnire paintings IF President so-and.So, with |,
Cabinet.
But if man has become vulgar and ugly nanmss
nature remains grand and beautiful We have be-,
able to disfgui Gods work IN our own persons-vs
who pretend To- bc made after His imago-but not
the ocean TO which lie alone has placed limits; no,
the mountains OF which lie has carved the outlines
rot in the plains which he has wreathed the contour
Our ant-hils of houses but cut the horizon and our
harvests but skim the epidemis of the globe In ii,
New World especially, nature preserves an aspect Of
majestic grandeur The sun sets over vest sOftuds
the earth produces the lotest vegetation the heaven.
glow over scores the most varied and the waten mir
ror the deepest ky. Here, in America, IL natural
veritable abundant OF inspTaton for Art; hcs
are It's vocation aud It's road.
The Imagination find but poor aiiment in cita
cut into solemn squares the same police groove
in tie same politico-mathematical fomulas-t Iru<
seek life elsewhere. Accordingly our original pea
and painters are andscapsts.
To enter upon the practical domnin-Sad We shl
confneoursoyos TO this-the necessity OF tradition AMI
Of the school which VIC mentioned apropos Of historcl
or RELIGIONS painting does not exist in that Of land
scGpe curious thing Landscape painting IS
modern invention. Except some rare geuiuses, suchs
Claude Lorraine Salvador Rosa, or Pouss.n, AT ar
pears ot to have perceived before the AiNth CentuV
oftlo Christian era that creation furnished other mod
els than the human body in its various attitudes. lie
landscapes Of the great schools Of painting are by
mesrs the capital products Of profound obsorvaiia
and intelligence of nature; they are but conventional
matters of secondary detail The subeo, Of the MAJ
tyrdom Of st. Peter necessary TO inspire Titsa
with the idea OF painting framework OF forest whass
merit aud reputation ore as great as the examples
such works are rare. The frst painters who essayt
landscape as the principal subject of n pctsre, n
lace Of copying nature drew imaginary rocks, riics-
Gus temples, and coonnades profng against tho shy
fter the most impossible fashion. They created whist
Ley called the historic or classic style, which, IA s
word was nothing but false stye.
Our age I en-, is the first to which belongs the
onor Of rendering external nature truly on canya-
From the moment that the Realsts took Tor their end
and object Nature as shes, landscape painting gained
a Place IN Art, and its school was created. To sue
coed at IT, then, the artist has not to submit to long
and arduous difficulties. A practical knowcdgeh
laying on eolors is sufficient, when connected with
some skill in drawing With these remarks we pro
coed to inquire what these facilities have produced
among our artists whose works figure at the Academy
Of Design
Mr. J. w. Casilear has a fair share Of the honor
Of the Exhibition. His Early .iutump lN0. l3l g
one of tue best Of its pictures. The ensemble Of hs
production j. good; its dispositions happy and nau-
raj Everything in it Is wcll-placcd; aud behind tho
groups Of trees, largely-handled is beautiful dis
lance finely toned. sun, shade and atmos paerc sr
all here. His Shouery Day NO. 92) is Of very god
color and we-rcndored effect.
In order to produce his MedierraHean- Sea-C W..
j. F. Cropsey must have consulted his recolIectDu,.
We find, in fact the idea OF this painting better COO
ceved than rendered. The effect OF the setting sua =
true and very nicely expressed. The foreground .
less happy and wants relief and the trees lite co..
fused would gain in being more detached at the bad.
L.. IL. Il
superiority Of conception over execution is striking
Mr. Cropsey should not pride himself on his green tons
which are violent and offer too strong contrast
Apart from detective coorng the subject has rsndeu
and affords occasion for Inspiration There il ease
well as fancy in the June Morning No 81 10y the sam,
artist. Again there is too much green in his Mouuta,
Glimpse No. "a
Mr.. Ggnoux merits compliment for his excoleu
Indian Summer no. l09.l 1t is subject specisl -
North America. The color of Autumn being So differ
ent in nature from the tints Of other seasons. he
painter Is IN danger Of falling into oxaggeraton or I'M
probability. There is no such defect in the work Of
Mr. Ggnoux who has happily chosen his motive, AID
maintains throughout fire, harmonious effect. Hi.
group Of trces is full Of nice details. his reflections in
the water ere capital and the cobalt Of his distance be-
transparency altogether au;umnal We prefer this
painting TO be- Suarise IN Winter, whose nebulous
tone Il much less rich in effect and whose linear per
'pective IL not always iueproacheble.
Mr.. +. +. Church has Travelled much in South
America, and has brought thence artistic treasures.
is four paintings prove. The most important Of thee
Is the view Of the Ieqvendama Fails in New-GransdA-
lie scene is grand, and the artist has avaiIod his
% Tie circle OF precpous rocks, whose vastness BE-
has well rendered. The cascade fall. in masses, sni
d'soi'es IN vapor whence emerge the sides Of tie
abyss. At the bottom the torren, gathers again and
rl.hes Hlnnn IN. Lod 81 - l--l---I l.. In