The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1857-07-17


teution of the Brooklyn Board Of Aldermen
thereto.
America Art and Axsi.ts-rne True Grounds
OF their Claims TO e'ubiic Favor Defined.
We publish in ansther column two articles in
terestiDg to the friends of American art-One
letter from Cincinnati conndsseur, condemna-
tory OF the liberal manner In which Hiram
Powers, the sculptor, has been treated by the
government, and the other tribute from the
Washington Union to the merits of another Anne
ricaa sculptor-Mr William B. Barbee Both
these gentlemen are natives of Cincinnati, and
whlst the one has already largely contributed to,
the other seems destined to raise still higher the
reputation Of that city as a nursery of American
art
Having said thus much, we do rot wish TO he
understood as subscribing Internationally to the
extravagant eulogiums which ii is the habit to
bestow upon American artists simply because
they are American. Whilst q generous patron
age undoubtedly contributes to promote the in
terests and elevate the character of art by stimu-
leting competition, we are convinced that undis-
eliminating praise has q directly contrary
tendency. The history of the different schools
Of painting and sculpture ancient as well
az modern, shows that genius is not an exotic
and cannot be forced into an artificial growth
Great sculptors, like great painters, must be "to
the manner born" and possess the organization
necessary to the deyelopement OF art in its highest
aspects. No study, however severe-no school
ing, however classically correct, can make an
artist OF a man to whom nature has denied those
finer physical and intellectual gifts, which go to
make up what is called genius A great artist
not only Sees but feels, in the full force of the
term and it is this intensity Of feeling and vision
which strike the spectator OF his works with q
sense of his superiority. Theze qualities may, it
is true, be acquired in degree by long schooling
and close observation of the works of others,
but they are never to be found in their full force
unless when they spring from an organization
Originally endowed with them When, therefore,
we behold the highest triumphs Of art we are
forced to acknowledge that the inspiration comes
from above, Or in other words, that nature herself
has guided the pencil of the artist
There is another distinctive Characteristic of
original genius which should not be forgotten
in estimating the merits of modern works.
No mind Of large creative power likes
to reproduce its own conceptions. For
tempting pecuniary inducements great artist
may be prevailed upon to repeat the same work.
although II must always be dstastcful task; but
il true to his genius he will not stoop to repro
duce in other forms an idea once fully developed
When, therefore, we find painter or a sculptor
introducing into his subsequent productions the
prevailing characteristics Of successful work.
and living, as il were, upon the credit of single
happy effort, we may safely set him down as a
man of but limited genius, if genius can at all
be allied with poverty of conception
Now, if We apply these tests to the works of
the two sculptors which have drawn forth the
communications 10 which We refer, il will be
found that the conclusions at which we shall ar
rive will be very different. When Powers gave
to the world his Greek Slave, il was acknow-
lodged to be a remarkable effort. 1t was the
first American work OF the kind which had ever
succeeded in eliciting any very large amount of
foreign testimony to its merits The pride with
which we naturally regarded this success
of our countyman naturally led us into the
mistake Of overestimating those merits
The qualified character Of the praise which the
most reliable Of the European critics awarded to
il should have moderated our selfgratulations
and led us to examine more narrowly into its
claims as first class work. In the excess Of our
patriotism, however, we set down their reserve TO
jealousy, and raised an altar to the Greek Slave.
What, however, our own critical judgment
failed to detect in this work-the absence Of Gre
alive power-the artist has himself presented US
convincing evidence Of in his subsequent pro.
ductions. The softness Of expression, the delica-
CT Of manipulation, and we must say it, the gene.
raj fecbleness which constituted the prevailing
features Of the former. are to be found in ALL
whether the subject demanded more vigorous
treatment in its mental characteristics or a frcer
chisel in its artistic treatment Infant life and
undeveloped womanhood in which soft and efe-
inmate lines are sufficient TO embody the little
character which these subjects possess will
always find successful delineator In Powers
But when he has characteristics TO deal with
such a. the voluptuous grace Of the Venus dc
Mcdici. the virile force and muscular develope-
ment Of the Farnese Hercules, or the classic
beauty Of the Apollo Belvidere, he utterly fails.
Like the student of anstomy who has traced
where the nerves and muscles Of the human body
take their rami6cations but who has not master
ed the philosophy OF their arrangement, Powers
seems to have reached point in art beyond
which his abilities cannot carry him. The con-
sequence II that we have the immatured proper
tions and characterless features of the Greek
slave reproduced in all his later works. 1t is
not 10 be wondered at, under such circumstances,
that his creations, instead Of rising should have
fallen in value and that they should not unfre-
quenlly make their appearance in the auction
marts
After being compelled TO utter such distasteful
truths in reference 10 the works Of one of