New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1860-06-13
TWILIGHT IN THE WILDERNESS.

a picture by Church, called y" Iwlnebt IN the
Wilderness" ia at GOupils Gallery, and viii remain
there for few days exhibition. 1t can hardly fail
to attract attention for its intrinsic qualities, well
as because it is the work of artist well known,
ard who has 60 many enthusiastic admirers.
The rst feeling excited by looking this last picture of
Mr. Church is wonder and that inclined to think,
is the sensation with which the spectator is always at
frat llled when standing before any of his works. He
ia in possession of 80 subtle Of color holds at
his command 20 wonderful a power of dexterous
manipulation, and has go fire sense of effectiveness
of composition that the senses are taken captive by
combination marvellous and 80 overwhelming. As
into the presence Of this Twilight" he is
filed TO overflow ing with the food of rich light, in
tense in purity, in truth, and in tint. The memory
of the glores Of radiant sunset the sight all look
upon 20 many, many hundred times, and always with
renewed delight flashes out from these clouds by
the nds this tender purple haze of the distant
ans, this exquisite of the far-o sky, and the
pendor of this golden glow which the departing sun
has poured upon the world the darkness
it, II in this power of observing nature in her best
moods, ard transferring them to canvas, that Mr..
Church ia unexeeled. 1t ia hardly possible to come
before Of his pictures without being dzzled with
its brlaney, even we are filed with rapture in
going from the subducd shadows of our own parlors
out into the wonders of some gorgeous twilight.
But perhaps il is this very quality in Mr.. Churca's
works that renders critical rather than less so
the they studied. We do not like to have our
judgment taken captive by the senses and il may be-
when full possession Of the former we dis
trust the first impressions received through the latter
than they deserve. But while guarding ourselves
against this natural tendency own second aud it
seems to u.s. sober thought is that the very briiancy
OF Mr.. Churchs pictures s, in sense, their fault
He trusts TO and perfectly Of the effect which
he means 10 produce, and which the positive
result of conscious TALENT that there is-perbaps mod
esty should rather prompt TO say, seems to be-a
want Of conscience in those details of the work on
which he does not rely for effect. And even in those
parts which the effect depends the end is gained by
cunning force of hand and accurate knowledge Of
means to be used rather than by that subtle power Of
genius which, finding inspiration and help not alone in
outward things, appeals ever with new and irrcsisti-
bic force not to the eyes merely chiefly bat through
them to altogether inner sense and revealing new
and different meanings according to the measure of the
growth from which it sprung. This appeal we fail 10
find in Mr.. Churchs works. and though struck ut first
sight with their wonderful power in execution and
hN0"'9Uso, 'i"' hist IMPRESSION iaucs away, ana
layes us with feeling of dissatisfaction at creation
in which re see the marvellous power of human
hand, rather than recognize mysterious work of ge-
Mus which go long il exists has new revelations 10
make TO every human beholder. And when tempted,
therefore, to analysis, always is by anything
that parakes in any degree of mechanism, we zee, or
think we see, faults in execution which, indeed are
covered mp by general effects, but which nevertheless,
when seen greatly diminish the character of the work
as mere work of art. There are some such faults.
VIC think even in The Twilight"