New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1856-12-31
THE EXHIBITION OF PALMER'S SCULp-
TTRFS.

Genius reveals itself ntuitively II bursts from the
rece.ses of the mind, ard PUSHES to union with eI.
tensl nature. The harmonious blending Of this i'm
pulse with the objective world turns inspiration into
reality and art is born. The Palmer Marbles such
genuine revelations Of genius. The American public
is acquainted with the history of IL artist, who was
at the outse, Of his mechanics joiner Palmer
las not studied classic models but nature, in order to
express bis feelings in the marble mimicry Of life.
The sculptures on exhibition in this city give wild.
range Of single productions, conradisncuished from
groups. These include ful.length figures medalons,
and half and whole busts. All of them reveal the
cardinal craving Of the artist to give utterance to his
ideal Impressions but they displey, likewise, close
study Of the human body. The INDIAN GIRL; Or,
The DAVIS OF CHRISTIANITY, unites with the char.
scterstics Of child Of the forest gentle abandon
men TO the soft religious light revealed to her. The
play Of the muscles n the back torso Of the statue
show that the artist has devoted much time TO this
important part Of his work. REsIGSArIos and
SPRING two statues poetized realities. One feels
that each is combination Of imitation and invention
os are PROFESSIONALLY the other marbles. SAPPHo,
The SLEEPING PERI, MoSRIsG, EvESrSG, Tx
DRAM IYSocISCK-in all these the artist has repro
duced the various emotions of pure youth and woman
hood. Sapphos great unreasonable sufcnngs Of
heart and oul expressed in the agony Of her beau
sfu features. The great drawback which every
sculptor undergoes, in being unable to give the eI-
preston of the eye, Palmer has sought TO overcome
most il gepously by his finished elaboration of the
vsriou, curves of the eye.d, Inodultsi 10 the I'M,
pressious required for the diferest heads.
Though SAPPno, The PrRI, and some OF the ms
daliors reproduced the Greek or sssic type, it il
easy TO perceive that Pamers ideal Of beauty is not
limited to that Therein he proves himself true to ma
ture and to possess the fame Of gerius-to be an in-
diydualy and not coerced imtstor. The true scope
of art is 10 be free and inspired Interpreter of Nature
of the living model. The expression OF the sent.
mental of the beautiful, of the vivid, soft, deep, or
intense emotions of sou does not necessarily require
to be encompassed by what is called perfectly classical
features or what Arosto calls dorm fOrirg ones. Ma
ture revealing in diversity Of traits will exhibit herself
charmipely in the so-caled incorrect facial outlines
We are no, aware IL Palmer put himself deliberately
to the solution of this problem order to show that the
expression OF emotions can be enhanced even by q
deviation from the absolutely classical type or whether
he followed unconsciously his own pronptingsi but
the successful achievement is before US.
Palners works bear HE aroma Of the country, the
people, the century. They are American, and form an
epoch in our art As such they should inspire general
popular interest But at repeated visits TO the Gallery
we have been dismsyed in finding scarce visitor,
which leads Us to infer that the public are either ini
fereut or ignorant ss to it, existence How differently
would such productions be received in Paris, Vienna,
Berlin, or in any italian cities. How al classes there
would crowd to hail the rising genius.
Alongside the building which contains these marbles
is an elegant foreign jewelry shop, and there the
beauty, fashion and distinction OF New-York press in
crowds and make purchases, while hensplend equip
ages blaze in the streets and sidewalks