New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1859-05-13

Oi hue great pictures feature Oh ITO EAbi"'uou
fr tie hour of American AT Tie tone Of this
Twilight However, is rich, aLo the reflection il the
fregit urd Of tie ruddy glow Of the sinking sun eK-
Gee, M ly delicate.
No $50 il arotLer Twilight By Cropsey. There
eeeus to be some disagreement among artists
as to Which hour il twilight, end which
sunset. I'll. We tLilk, Is not well named. Crop
sey has uotni,g here y ch ius,iic, his reputation
NJ itl, Tie Watching Tue Of Night, by ioughton.
IL very uder and poetic; No. 49, Frosty Morn
ing, shows tie sanie spirit in another iir-ctiun. NJ.
~ il hy CASH, ~. 1t il e1ceIlet and are two 9th
els Of bar, No. GIG and 6.3 i"th compositions. The
STOW -roIp,d mountains in tie last two are in hsppy
contrast with the dark sis lows of the lakes. TIE
Summer AeIno, n, No i3G is one II four lao Escapes
which Hubbard Contributes to the exhibition.
They SLOW depth Of sky, distance
Of the feecy clouds aud management Of shadows
which ore adm irablc. IL No, as View gu the Mo
btwk, The lske-ke e1psnsN Of river, and the clear
nos ofreVection exceedingly We'll done; AID in No.
GO, Midsummer, we max the excellence III his trees,
ougL leither this any other picture ia the gal
l,ries hes pcIf,c elm. Where there i, much
that il is charming a. in Hubbard il Is almost
gr.eiour Ia find iuuH bu, cannot help observing
lat tie almost uliyer-al yeowpe,s ii his greens
Lel ngs only 10 the foliage of the Spring and
early Sun.ller, TO which seaaon Mr. Hubbard does
not, e cUurse, mean to con;nc his landscape.
No. 446. Twilight 90 the Lake, No. fsl, the same
suj. CT BY SuydaID we pass By good ~ they are to
heck at tao Others "f hr. No. AZ, Fog at haTagan
seft ard No. C33, NaIragaLsett Shore the distant
fg the long stretch of sandy beach the encroacbng
grass the peril ct color 0f tho pearshore water are
very faithfully rendered in No. AL Ia No. 633 the
sttich If coht s not 20 long, nor the pebby bench
trut f the stretch Of sands in the other. the
water and the sti struggling grass Of the shore are
equally good III both, aud the low shaduwr, patpru-
laIy IN the latte arc cvid of very careful study.
Suydain think, may Gnd speciality in this low,
quiet coast sccncry. DIX, who has al'eaAy achieved
fame ue uarine painter, aud for his ploHres Oh
coast scenery, may be compared with Suydam as
wo,ker in the "a line. lie hardly fulfs here the
prUnise which he has heretofore given. In some OF
bis pictures We see al OvcIstrnined effort at effect,
aid, as in No 5S7, q wait Of carefulncSs. There is
none OF the dimness in the foreground which
beloiCs to a coast fog. Dana plros's Us still
lces. Somrthrg Of probability, we conceive,
is an clement Of good painting, at
least Ct good picu,e, aud that is wanting in his
Breakers Ahead jury Of sailors wouli pronounce
tie captain Of the ship horsearinc t" allow his YES
Ell TO get into any such position. Mr. Danas fault Is
too much d.fIuscncas If he would devote himself TO
some particular line Of subject, he would probably do
better. There is another breakers Ahead No. 1873,
by Sellstedt the breakers apparently being on The
il,ur Of the gallery which the ship must inevitably
strike with another surge forward. Wrecked Ship.
by Moran, No. Clio, OF Sandy Hook, may properly
CHIN notice in this connection Here is ship with
her zen-inast goue by the board III gale of wind,
while to wiudward is another vessel under whole top
= is ard spui kcr! We lose sight Of exeon-.
tion. be it ever 81 good, in such pal pa
bic mistakes Uf detail. Ia tins RcninisccBce
ui the Androscorg,n, 10y Siaituck there is much %
admir- though rec in it that tendency to mere
brlllancy IF tint which - the favolte aspect Of
Nature among too many artists, especially 81 New
Yolk, and where there is danger u lis dsgeneratng
into mere naunrrisln. The artist who looks at Nature
merely TO paint from, aid MT for her owo sak : IS
sure in the end paint not from his knowledge,
but az Il follower # somebody else. No. 6.'S, Elm
Tree, by Perkins, shows careful study, aud correct
ucps II drawing. HIS tone is rather cold. but he
shows a good deal If promisr. The Elm Tree Is
{, identity cur full study in NewEngland village.
No 6l5-Vicw from West Camptoa, New-iIsmpshre
is modest picture 81 luw tone, which perhaps be-
cuuse il hung below the line, and is surrounded by
.cveIal oi Intensity OF color, ny when
s force is greatly weakcned-ioes not immediately
strike tie spectator. When once noticed, however,
il b,c,ues mere and more attractive the more It Is
locked Mt though in some respects is hardly worthy
Of lie high reputation II the painter W. Allan Gay
Of Boston. II is rot al ambitious picture, but the
prcctced eye will bot fail to observe s great breadth
of ,Icatm, Ut ts subducd set truthful coloriDg and
its claiming picurcsqucress oi c0inp"rition IL is
picture which If faithfully engraved, might be taken
i,r one If Bk,t Foster s. to whom it would do credit
in his hurpieSt vein.