Cincinnati daily press. [volume] (Cincinnati [Ohio]) 1860-1862, 1860-09-03
Art Mntters-tsThe Hiding Of Moses in th,
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We were permitted few days ago to wit
ness a new picture by ]. Insco Williams
called 1.-THE Hiding Of MoseJ in the Bull
rushes," which, although not yet finished
promises to excel any former effort of this
artist. The originality Of the conception
boldness of design, and the cleverness Of the
execution, each, in their way, deserve special
mention, and if the work, when completed,
but tulfils its present promise it will make
for the artist an enviable reputation, which
will live while his picture last, although he
should never paint again.
1t is quite large and represents the boy
Moses asleep in a basket which is lying on
the brink of the Nile, while Miriam standing
erect with her left hand shading her eyes, is
peering through the tall flags and bulrushes
into the distance, as if on the watch and
ready to give the alarm should any one APP
proach. On the right the mother is kneeling
in such a manner that the babe is thrown
entirely in the shadow of her figure; her left
hand grasping the basket, her face turned
over her left shoulder as if an approaching
footstep had been heard, and she was en-
deavoring to discover the source of the
sound, which, striking her quick, maternal
ear, had aroused her from the duty of con-
cealing to that of protection.
In the background may be seen tall mon
ument, surmounted by sphynx-like figure,
which looks as if it might be propounding
to Edipus life's unsolved riddle, while the
grand and massive architecture of a city
arises in the distance and suggests all the
magnificence, and splendor, and luxury,
which we are taught to believe were to be
found in the city of the Pharaohs. The time
is sunrise, and over the entire scene the rosy
light of the dawning day falls soft and sweetly
as if 'twere lighted by Aurora's smile, while
she, gazing from the east, witnessed the ma
ternal trust that could thus submit child
to the care of the Fates, and saw, in the dark
vista of the future, the renown Of the now
unconscious babe.
The drawing of the child Moses, who is
seen at full length, is very well done, and the
entire expression of the figure is one of that
calm repose which ever attends a sweet and
healthful sleep. His dimpled hands and
| limbs, so fair and plump, are baby-like, and
| yet symmetrical and round, and on his face
q semi-smile is pictured like that which
mothers often note upon their darling's face
while it familiar converse with its guardian
| angel holds. -..-.
The face of Miriam, who is represented a:
halfa woman half a child, whose maidenhood
still new and uncontaminated, combines that
modesty and gentleness which ever consti-
tute the invincible charm of her sex, seems
somewhat too old for the size of her figure,
but its expression is exquisite. Fear is de-
picted in every line, apprehension looks out
| from her veiled eyes, while her hand, put
back as if to shield the half-abandoned babe
| shows how the fear would change to courage
did danger but approach.
The figure and face of the mother are ex
cellent, The knee on which her body rest;
is bare and beautiful; the arm, outstretchet
to protect her offspring, is delicate yet firm
and round; the bust matronly; the neck
| finely turned, and the head admirably shaped
and gracefully set upon the shoulders. The
face, which betrays the anxiety that mus
accompany such an act as she is performing
is full of firmness mingled with materna
tenderness, and yet blends alarm with tn,
determination to defend and protect. TIL,
\ eye is both tender and ardent, and tn,
mouth, delicious with humidity, looks as
| it were distilling nectar that would temp
the kisses of the gods, while at the sam
time it expresses that fxedness of purpos
! which prompted the desperate method tht
mother took to preserve the life of her child
Such a mother woWld abandon her babt
to the poisonous fangs of the reptiles of thu
Nile rather than see it slaughtered betor
her eyes; she would trust that God, whom
| Pharaoh hated and be herself indirectly re
spOnsible for the death of the child to whicl
she had given birth, rather than see it merci
lessly torn from her aFms by the myrmidou
of King she despised.
The drapery about the different figures i
managed very well, and the chiara-oscur
admirably. Indeed, the distribution of tn
light and shade is exquisite; for it shows t
the best possible advantage the intent of tn
artist, ard presents to the eye an effect whic
is both remarkable and pleasing.
The background, distances, sky, foliag
and architecture each, in their way, have re
ceived a due share of attention from til
artist, and combine to add to the generi
agreeable effect and tone of the picture. I'll
figures seem to live and breathe, and I'll
Imagination would readily suggest that the
were inhabited by beautiful souls. Tt
painting has some faults, one of which is
seeming Stiffness in the movement of I'll
figures; but it is altogether we repeat, pi
ture which if, when completed, it fnlils i
present promise, will add materially to II
reputation of the painter.