The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1859-12-05


teristics as q people is the readiness with
which we give way to our impulses.
Let anything strike our fancy lay hold Of
our sympathy, or impress itself on our con-
victions, and we at once abandon ourselves "a
its influence We do not wait for the verdict
of others to be guided in our judgments. Ia
like the European communities, which are led
by the nose by pedants, we have the indepen-
dence to decide for ourselves, and to decide
promptly The consequence is, that notwith-
standing our comparative inexperience in art
matters, we make fewer mistakes in the appre-
committed by foreigners who have had larger
opportunities of observation.
There has never been period in the history
of the arts in this country in which this nation
al popularity has more strongly manifested it.
self than within the last few weeks In that
brief space of time we have witnessed a series
of excitements which, springing from well
founded causes, must have the effect Of giving an
immense impulse and Development to the Gre
alive genius of the country. They constitute, in
fact, one Of those historical eras which serve as
guide to the art student. When we reflect ON
their freedom from all the vulgar Influences by
which such movements are usually got up, we
can readily comprehend the enthusiasm that
marked the early triumphs of Greek and Roman
art, and the later achievements ofthe same cha
racter which shed glory on the small Italian
republics, and which gave them higher place
int fhar
States of greater political influence aud i'm
portance.
From the exhibition of Church's great pic
ture, the "Heart of the Andes,r may be dated
the Inauguration of this new art epoch. That
extraordinary work may be said to embody all
the peculiarities and excellences which, in
painting as well as in sculpture, have given the
stamp of originality to American art. The
landscapes of our artists differ as much
from the pictures Of Turner, and of the modern
English school generally, as they do from those
of Salvador Rosa, Claude Lorraine and Nico-
las Poussin. With the breadth which consti-
tutes one of the chief merits of such works,
they combine minuteness and elaboration of
detail-qualities that are not to be found united
to any extent in the productions Of the
masters that we have named. They have too,
this distinctive feature, that they represent an
atmosphere totally different. In English scenery
there is mistiness, and in Italian scenery a
haze, which only imperfectly reveal objects.
The American sky, on the contrary, is pure,
bright and transparent, and brings out every
thing clearly and sharply to the eye. The rays
OF the sun, penetrating through vista of
forest scenery, lose none of their force through
the intervention of the exhalations which, in
European countries, modify their effects. For
TINS reason American landscapes must always
possess a character SUI generis, part due to
climatic influences and part to the independent
spirit of our artists, who refuse to be bound
by the conventionalities of other schools In
the works of Cole, the master under whom Mr..
Church studied, are to be found evidences Of
the same close study and appreciation of the
peculiarities of American scenery which con-
stitute the chief attraction of his pupils pic
lures. Some of Coles finest sketches were
taken from the Catskill mountains; and If he
did not bring the same faculties to the COM
Ii.
played it is certain that he was an equally
ardent student Of nature. OF the striking
merit of Mr. Church's last great work, sThe
Heart of the Andes" there can be ano better
evidence than the fact that, before it left the
easel, it was sold for ten thousand dollars. with
reservation that if higher sum were offered
for it within two years the purchaser would
relinquish it. There is but little doubt that
the artist will have occasion to avail himself
Of the privilege, for the painting is well
worth twenty thousand dollars, and there are
plenty of our collectors rich enough to pay
that sum for it,
Following close upon the excitement caused
by Mr. Church's triumph, came that created by
Pages ''Venus." This work is said to have
mainly owed its success to the peculiar charac-
ter OF the subject; but this is unjust The paint
ing was remarkable as specimen Of the artists
powers as colorist, its tones almost rivallinC
In purity and richness those of the MASTER
pieces Of the Italian school,
Scarcely had the sensation created by this
picture subsidized little than sthe White Cap
tive" of Mr.. Palmer threw our art connois-
seurs into another ebullition of enthusiasm OF
the qualities of this admirable work we have
already had occasion to speak fully. The OPT
Mons Of all competent critics have confirmed
the Judgment that we pronounced upon il, and
the place Of the artist in the foremost rank OF
modern sculptors may henceforth be set down
as fixed fact Although Mr.. Palmer will
reap in fame rich reward for this work,
it will not be as pecuniarily profitable to him
as it might have been. II was executed for
the Hon. Hamilton Fish, at the price Of five
thousand dollars, but its real value is more
than four times that amount. As il to prove
how prolific native genius is in this branch Of
art, two other productions as remarkable in