New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1864-06-18
NEW PUBLICATIONS.
JARYES,H ART-IDEA.

Among the few Amenean winters on tbe eeb)scs
- An. Mr. Jsrves 10 remarkable for his interest In
H. discussion Of the philosophy Of esthetics and
n The practical study Of is historical Development
n his previous publications., be has brought not
ntts ssutsDsss and insight 10 the analysis Of nrst
thncIples, while his researches on tho progre" o.
T. different schools, especially Of painting nave
bean original and significant With evident M
Nseriy Of purpose, he 10 mastered BY vehemsn'
souyetons In regard 70 favonts artists; no writes
nth snthusissm. and With consequent dOgmatisn;
strong tincturs Of personal fsshne away per
vsdss his argument; he IL more intent on "vrsf'
hg bis thought" on expression, thss on Tho DAINTY
Management Of his language ana hencs Rs "ye'
sAoagA warm and glowing with generous life, 10 not
without certain crudeness and asperity. lie car
hss little Of the artistic spirit into the composition
n his works, and writes like man who loses sight
n the form In his prsoccupation with an idea
His contributions to the theory Of Art, however,
possess an unmistskabls value. Always original IN
he ssnse Of being the genuine productions Of his
evn mind, they are often profound, and ere never
essttats Of instructive suggestiona Without .
orses Of the rhetorical splcndors Of Ruakin, they
Indicate deeper and sounder vein Of thought than
Ne essays Of ths, master Of expression, are core
consistent with themselves, reposs on . more solid
basis Of rejection, are less errstie In conception
md illustration, and evincs perhaps equal famil-
IAdty With tho great masterpieces Of painting In
Different stages OF the art
The views presented by Mr.. Jsrves In regard to
n relation Of science and Art, although aot sound
las the depths Of the subject are evidently IN The
Hsht direction. His definition Of Art ~ the love OF
As soal under the Law Of science has no claim 10
>eecision; nor does he pretend to It himself but
liz remarks have an incidental value for their srg-
ssstvspesa His statement is good and sersey OK
nsssed that beauty ia the main principle Of the
NJ. ~ utility il OF the other, while truth lie their
,ormen aim. Hence each is requisite TO the
popeY action Of the other, - it natural counter
ISrt. AT sdorns science; science 10 the hand
sHdsa Of art Their action and intersection are
dose and intimate. Apart the one Ii mystic, m
licensed, unequal IN expressions the other cold,
hevers. and formal II 10 true that Whatever II
lrodueed BY man in which bssuty Ia the predomi-
lant feature finds ita origin in tbs srt-des, While
bAsets Of utility are referred to The domain OF
~ scientific faculty. Blu. Mr.. Jarves justly nhin'
ssns that this 10 strictly only an external view Of
NJ and science the SaA definition based upon
nsiY connection with the unseen; and proceeds
Rom that subtle and divinor sense which MAKES
DAenes the material expression or image Of Wis
pem, and ar. the spiritual representative Of love-
hs latter, accordingly, appeals directly 70 the i'm
Arnstion, elevstes Us shove the ordiAay sphere OF
bates, and brings the divine and incomrEshsnsi.
IA. By Q species Of incarnation, within the rspss
q finite fseulteA
But the interest Of the volume for most readers
vl DO found less In its abstract philosophical dis
sussions, than in the criticisms on popular living
Irtists, which occupy . considerable portion OF lie
sazterts. These are thoroughly Independent in
tAeir character, often rscy and t-onehant, though
BOT urfindy in tone, but viii be far from fragrant
y those artists who deem their productions TOE
eskca.s ald sacred for the coarse handling Of the
Mite OF Leutze, who 10 the representative painter
n the American branch Of the Dusseldorf school,
md who stands the highest in popular esteem. Mr..
hsxyss remarks: "He manifests some originality
n thought, much viger, overInueh dramatic force,
md has abundance Of executive skill, but b spas
sedie and unequal. He has the vicious eolorrs
Of me Dusseldorf school In It's fullest extent Bad
tas.s in composition orerpowss rnush thas u ner!-
torous In design and execution Leutss u tho
Forrest Of our painters. Both men are popular
hom their-biss 70 the exaggerated and sensational,
vultivsting the forcible, common and striking, h
be expense Of the higher qualities Of art" Win
psxnd TO Page, he says: "There IL much In him 70
semmand respect. He experiments boldly, in pur-
suit Of the combined splendor and purity 81 Titan,
thinks profoundly, reasons plsusibly, spcculates
Deutsly, and always ssssys high art Ever ready 70
oonfesnd OF convince, he Surprises, delights, con-
fuses, and disappoints all at once. Some OF biz
eoetrats exhibit nice disrimin alton Of casracteri
khfe his ideal art Notwithstanding much want Of
rood taste when he departs fron direct copying,
has something grand In suggestion, showing fsniil-
Ianty with grsA, work. great artist 10 hidden
somewhere, but no elsdes actual discovery. And
% Gar as Page has sought TO translate the Aasnih-
esnt Venetian into American art, hs has failed.
Wanting in creative tbousht. he plsgiariSes whole
compositions from the old men. We Dc not know
IN original composition Of HE Of any moment.
Even his Venus beam q caose resemblance 10 inst
Of the Frencbmsn Peros. 1t is sensasus ssd grsos-
eei in idea, bat bilious IN ooier IN avoiding
he msretncous dainGnsss Of bis prototype, he hs4
eAllen into repelenE realism, which Tot even HE
lnSecse dingnexs Of hue cen s.ffdsaty vsL II q
N spotheosis Of the animal woman, suggestive q
syortve wsDtonness and conscious sodsctivoness."
Mr.. Jarves's estimate OF La Fargo, one Of the
pnnst promising among the yosngor arssts Of New
Hcrh, h highly oulogistie and expressed IN nsgs-
lsriy glowing language.
The prophecy OF a great cAsrk< nd prsf"ss6 ~
Fri O! deep felous feeding. u q tone nohssg ~ apr
taai melancholy, and Of ad peculiar feasibility.
Intensified perhaps, by Influences oatsd~ OF art sety