The daily Gate City. [volume] (Keokuk, Iowa) 1855-1916, 1859-08-03
For the Gate City.
TOT the datc CITY,
Dubufe's Paintings 81 Adam and

For the Gate City.
Dubufe's Paintings 81 Adam and
Eve--No.2.
The first thing that strikes one in the SEQ
ond picture 10 the stereoscopic effect, or the
boldness with which the figures stand out
from tho canvass. You can look between,
around and behind them, and were it not for
the surroundings, you might easily take them
for group of statuary. Nothing can DO
finer than tho light falling on the shoulders
of Adam and the body of Eve: the opening
of the sky from which it proceeds appears TO
be little too distant, but the effect OF the
light is very striking. So, too, OF the red
glare which falls on his back from the exult-
ing Satan, who has now taken the human
form, andi apparently defyins omnipctence.
There is nothing noticeable in Satan, howev-
er, the interest, as before, being conferred in
Adam, who, kneeling over Eve, extends one
hand TO scare back the cow savage lion, who
threatens to devour her, and whose sleeping
head in the other picture is the very image
of peace. The interest of this figure, how
ever, is not so much in the face as in the
form and attitude: and here all the artists
skill seems to have been concentrated; the
anatomy is wonderful; the contractions and
foreshortenings, the light and shadow, and
perspective, are marvelously perfect, while
the attitude is one which brings out the great
est variety Of these points possible.
The contrast in the two pictures is fine,
and perfectly carried out. The FIRST repre-
sents the last moment of perfect and sim
less world, just before the temptation had
matured into transgression: the second, the
immediate and startling effect of the act Of
transgression upon the guilty parties and
surrounding nature. The sky, before so SCI
rene, becomes overcast and hangs like pail
Ger sea and earth, while the forked lightning
flashes from its bosom fit emblems, both, Of
the wrath Of Him who said, ssIn the day thou
eatest thereof thou shalt surely de-" The
sleeping lion starts from his repose, and,
quivering with rage, his eye balls cleaning
like burning coal, threatens to devour her
whom he had before fawned upon as his best
friend and mistress, though still abashed
and covered by his great master, whose su-
premacy, not yet wholly lost, is henceforth
to be contested, and only angrily admitted.
On the back ground, suddenly resuming the
human form, again Satan appears shaking
his arm at the Almighty in exulting defiance,
while the prospective fires of hell glare lu-
cidly at his feet.
But the greatest contrast is visible in the
principal figures. Eve, terrified and con-
science. stricken, has fuiien to the ground,
and hangs in fearful, imploring, despairing
anguish upon her natural protector. The
contrast in her expression is almost too pain
full: every trace of that radiant beauty il
gone, aud there is not single lineament Of
loneliness left. There is an appealing look
of grief and terror, which demands compass
sion though it fails to awaken love. Adam
is, in reference to her, in his natural posi-
ton OF protector, but in all else has changed.
Dethroned, FRUSTRATED by the fall,
His fair large front and eyes sublime
that once greeted Heaven with such con.
sclous dignity, now bowed in guilt and shame
and sorrow. There is, indeed, more decision
in his face than in the other picture, but il
is the decision Of one who sadly accepts biz
fate, while bending his energies to the pro.
lection of the PROSTATE Eve. The head ant
shoulders of this picture are exceedingl,
fine, and, taken with the upturned face o.
Eve, and the lurid sky and ocean behind
| they form a tableau of SURPRISING beauty
There is power in them like ancient seulp
| ture.
| The contrast of coloring is no less re
marsabe. The soft, warm and brillan
/ flesh tints are all turned to bronze; and this
too, is in perfect harmony with the scene ant
surroundings. The light is entirely changed
instead of the diffused illumination of sun
shine, it is a sudden CLEAN against q blacl
sky. Such an effect is always produced by
flash of lightning. The management o
lights while throwing the figures into bold re
| lief, is very skilful. The red light in til
rear is a powerful accessory to this effect.
There may be some gruff utilitarian, som
Gradgrind among vs., who will ask in refer
enc' to these pictures, cui bono-what goo
do they do? For the benefit OF any sue
unfortunate member Of society, will say
lst, they cultivate taste, or the sense 9
beauty, which is one Of the purest sources {
human enjoyment, thus elevating and RI
fining mind and character and preservin
them from the influence Of the CROSSE
sensual appetites. And in fiat country lik
ours deficient in natural scenery, such work
OF art supply great want which elsewhcl
nature furnishes in her picturesque forms
4.