Ashtabula weekly telegraph. [volume] (Ashtabula, Ohio) 1853-1873, 1858-10-16

retinO, but instantly projects that object to
proper distance. Nor is the practiced eye easi-
ly deceived in this respect If now these con-
ditions are not fulfilled in painting, it must be
from lack Of harmony or consistency in the
parts and we conclude that the perspective
may be at hult.
Here am reminded Of the vain struggle l
had TO throw back that cliff castle, in picture
number 2l on exhibition, 10 distance consis-
tent with their dim and shadowy outline, or to
get any ineligible idea, whether of clif, cloud
or sky, Of the region on the left Of these. This
painting had evidently cost much labor and
study and, had not the effort to blend colors
hormonously subordnated higher aims, It would
no doubt, have been success. .
But il, as has been said, primary truths, or
those qualities, which uhere in the object, are
most important to painting, then Il follows
that they should never be sacrificed to sec
ondry or accidental qualities. For instance,
form should never be sacrificed to color. But
truly to represent form, not only the outline Of
an object but light and shade are necessary. 1t
is therefore evident that without form there
could be no picture, though with it there may
be, even with a single color
Now if color is, in the same sense, TO be re-
garded an essential qualiiy:--if sky must al
ways be blue, earth brown and grass green,
then what would become Of the whole class Of
monochromatics, including engravings DC. -
These could convey no adequate idea OF truth,
and the old patient COW in my Primer,
used when boy, to contemplate, with so much
satisfaction, as model of couteutment, was
humbug; and the shepherd boy whose sheep l
thought the wolves were tearing in pieces, the
truthfulness of which scene l have often com
plemcnted with an involuntary shudler--was
a humbug. And the children in the streets
should be taught at once, that the elephants
upon the show bills at which they are looking
with so much enthusiasm, are all humbugs-
But we should forget in this prescription, that
the signs of language are arbitrary.
Another reason why color should not be re.
garded as an essential quality is that it is so
subject 10 change. The oak, with the rust of
autumn Ou IT. Is tHG SduIC tuub u ICh huOuhho
before appeared clothed in verdent green. Now
had its form changed as did its color, we should
not recognize the oak at all, but another species
of tree altogether.
Certain it is, therefore, that color does not
and cannot determine species. A horse is q
horse whether he is white black, or grey.
Besides, that it is purely an accidental quail
ty, will be still farther evident from the fact
that the color OF objects may depend as much
on the eye of the beholder, as upon anything
inhe rent in the objects themselves. How can
know that see the same color 10 grass that
another sees
We may both call it green. But what is
green TO him may be very different thing from
green to me. But this fact is of no practical
consequence farther than TO show that color is
accidental, and may depend as much on the
peculiar structure of the organ of perception
as on the object perceived.
For what could it matter practically, should
an artist paint my dog, what he calls sky-blue,
pink or pea-green, if only it should appear dog
brown to me
In the paintings numbered %, colors were
exubcraht, and did not harmonic well.
This, TO casual observer, served to conceal
their real merits and stamp the whole with a
specious aud cheap look. Now If form was
not sacrificed to this redundancy, we venture tc
think, good taste was But these paintings haC
excellent qualities, nevertheless. DistinctneS
was marked characteristic. Take, for instance
the stump in the foreground of one of them
There could be no mistaking it. 1t was STUMP
and nothing else.
The same was true also Of the rocks, thougI
not TO the same extent Of the water. Th
water appeared far less transparent than that o
a clear stream. This, think, was a commo
fault of all the pictures on exhibition, in whic
there was any effort to represent water at ALL
The authors evidently would have US look u
for their gems and stars though we hazard tn
catastrophe of Epectetus of old, who by so do
ing fell into the water, whereupon, it was saiC
of him, as it would be said of us, n
doubt, under similar circumstances, if he ha
looked into the water, he might have seen th
stars, bat looking at the stars he could not Sc
the water.
How marvellous, when il is so easy to pain
still water and gently flowing streams, that S
few paint only mud could not be iusensiOl
to this defect in painting. Too often on tn
bank of clear stream, have been delighte
with beheldiug the waving foliage and tn
clouds aud the sky, as they were mirrored
me with increased richness, from its CLASSY SUI
| face.
Who does not know that there is quite O
much of picture below clear water as above
And who has not had experie nee of the hig
satisfaction it affords, to be able to look dee
down, and sec distinctly, and Of the infinite d
appointment sometimes occasioned, when th
cannot be done.
But, am protractihg these remarks too ia
l should do injustice to art, however, di
| stop short of indicating the more invitin
field for the display of the highest powers
1t is not enough 10 picture that truth is d.
clared,I "a harmony is preserved We wish to 8
farther and see animate existences, life-like pr
! sencer thpTn We want IN sae the twink lin