New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1859-09-24
TIE FRENCH AND ENGLISH GALLERY

void when art is almost forgotten by the many, and
which the few VINO feel II necessity than a
hxwy, seek 70 Oil Up by watching in their studios the
Daily wwk OF artists. The time Will come, probably,
when this Ieproach of poverty in art vii be removed,
and the necessity of gallery or galleries, for the
refinement of the ignorant the pleasure OF the cult
waited AID the use of the worker Will be felt 20
strongly that the demand gill insnre the supply. In
the mean time while exhibitions of associations and
Of private collections meet the want es far as II IS
felt, th.y aid in educating the public taste up to that
point when will demand something better and more
permanent. 1t is not many years since room, full
chiefly of Portraits of Gentleman" and Portraits
Of Lazy" shoRn once a year, satisfied both
the popular knowledge and tie popular taste.
The artist has taken higher fight since
:bep ard has given 10 the citizen, taught TO appre.
tiae something better, sonething more worth looking
q. than good map in coors OF his next door neigh
boz Not that portrait painting is net good thing
10 come poets the mobiles, and the best that art
has ever resched-but where portrait painting is
trade and where Of the tests Of excellence s ths
when is applied to any other merchandise, namely,
cheapness the character and the estimate OF art are
both very low. L. is something to have got beyond
this transition state; something 70 get from fifty dol
sT besds 10 landscape and historical painting. 1t is
II
ton only ~be.s the appetite, ard opening Of gal
ltry ID the Interval which enables TO compare the
works OF foreign artists with own is clearly wei.
come. The permanent galleries will come in due sea-
The exhibition of English and French paintings last
year was successful experiment. for we have
second II Art long, il lie equally true that life s
short in more tuan one sense, and gentlemen who
make percentage Of profit on the sale of pictures,
mindful Of this truth do not send galleries across the
Atlantic with the single motive, however pure and
noble Of cutivstpg the taste Of unenghteued Ameri-
CABS They find their account in it, and while 1t Is
pleasant TO know that s profitable TO them, it s not
less satisfactory TO be assured that it is sgn Of
crossing culture among ourselves. Names that were
only Known to through fame and faith, are becon-
ing familiar through works. Somebody has said that
the good Yankee when he dies goes to Europe. 1t s
a comfort TO many who cannot Europe in the flesh,
and whose cOnsciences forbid them to be altogether
care of regeneration, to have something of Europe
come to them in this life We glad, therefore, TO
zee for. ign pictures glad of the opportunity to add to
the rum Of orr knowledge, 10 compare the works
Of foreign arts with own, and glad that Ameri-
cau artists should have the benefit of that comparison
Pre-. Raphselism with us, what little there Is OF 1t,
is mere imitation and we are taught by its devotees
faults In England it ia original, and is worth study
mg whether true or false, or partly both The pic
lures in this gallery which will attract the most no.
toe, are pre-. Raphaelist They seize attention. per-
haps because they are novel, and hold it in spite Of
what are to many seeming mistakes, and to others,
glsripg absurdities. Few venture upon unqualified
admiration; as few hazard entire condemnation No.
223 The Stone. Breaker, by Wallis, is pronounced
by Ruskip, the great painting of the age. Here
hardly two men will be fouRd to agree upon it,
There is not even entire coincidence Of opinion upon
the sentiment of the picture. The story is simply
that of dead laborer out with the work OF life
at rest at last and forever. He lies against bank
fresh and brilliant with verdure, upon heap OF stones
of his own breaking, his now useless hammer
at his feet. The rich glow OF tue setting sun
lights up the gloom Of the dull shadows oil the
distant mountains which rests upon woods and
river. The solitude of the place, and the gloryo
the departing day in accord with the rest and the
pe peace of DEATH But death has also its revolt
mo features which none like to think Of. Decompos-
ZION s not an attractive fact and the swollen hands,
the hue of decay in the face Of the man. its mouldy
,pdstipctness in such striking contrast with the living
ye,dure around it, though very striking in themselves
are not pleasant objects Of contemplation. But the
dead weight of the limbs which have settled so nsi1ly
and SO heavily into the bed of broken stone Is admra
be- and enough in itself to suggest death not re-
cent. That we are dust, and to dust return, might
have been safely trusted to the recollection
Of the spectator without suggestion OF
chemical changes. The color of this painting, how
ever all ach nowedge is very remarkable though its
correctness in some relations is criticised as form
stance in the broken stones. But 1t is precisely on
such point, we take it, that true pre-Raphaelite
cay be implicitly trusted. To US these stones seem
wonderfully correct careful study of them may
suggest in some measure, why the pictures of this
school so command the attention. it is impossible to
escape the magnetism, go to speak, Of a canvas on
which 20 much human labor and conscience has been
bestowed. This will be found to DO true of
all the paintings Of this class in the collection.
They are inevitably attractive even where they, in
some degree, repel. One cannot get nd OF this In
Auepoe in the pictures of Milas, las aud li9 so
striking in color and drawing, though as women with
faces without either sentiment beauty, one wouli
turn from them with utter Indifference. So OF No. W,
The Measure for the Wedding Ring, by Halliday. In
utter correctness OF drawing in faithfalness OF minute
de.sil, to the backing the mans high-ows, and
each individual hair on the poodes back, 1t is IN.
surpassed But it is as destitute of perspective as
dipneI-piste of the willow pattero, and tells not
very sentimental story OF very plain young woman,
and a very common place young man. Nevertheless
one gives to the painting careful study, not however,
because the end Of art, but because II is
curious example OF human skill.
The most distinguished pictures Of the collection
are Troyons; and mingled with admiration for them
is feeling Of sadness his failing sight may forbid
.urther i,bor and our eyes may be looking upon his
las. works The great picture of the exhibition is his