New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1864-05-07
Art CRITICISM.

moderation which does not always form conspic-
nors ornamelt of its pages. The leading paper is
on art Criticism" and eoatains many sugges-
tons of ~ edifying character, which might be
taken to heart without damage both BY artists aad
critics. We copy few paragraphs
USES OF CRITICISM.
Criticism Is something OF which ws hear so mncn,
and which everybody who gees q picture so naturally
indu,rns in that IL nay be wrll inquire whether
there are any rules that should govern IT, ana wt us
found .tions and just principles are CTltc'H y ho'
only natural consequence oil sl Az Dnt " y neeesSs
~ concoaitnIt To good art The inst picture ever
painted must have provoked comparison 70 hatuts
itself: and the second forced comparison also wltH
the ir,t and Judgment NJ To- What ait hiI ac'oi-
III shed and az 10 what II could yet do CTae sin ~
thus of importance the artist showing him Whethel
he has done rightly. nndiur his sLoitcomih8s ifn.
make him almost despair-as showing m "hssnei me
later picafc is advance upon his earlier ana NAT
his comparative rank among his ielo" artists ING
of criticism in art as IN everything oso IS 70 &c
vance ert This Is b. be done by cool considered non
crate Judgments 81 tho worth Of works oi CIT rs answer
ing the purpose Of art and 81 compared with inc oh
recognized standard uauTe. Faults should be pointoe
out AID roprobaiod. beauties ana cxce noes pF@Sea'
without exaggeIaiion and IN the spirit oil truth
TILE KNOWLEDGE REQUISITE PoE THE CRITIC.
The knowledge which is SO ncce ssaTy for the tfue
critic ia not mere dead knowledge ~ so-caed rules
Of AIT snd of formal oanons Of criticism, but living
| acquaintance with facts and principles. he sionu
have above al tirgs familiar AID intimate kn0"ledSo
oi nature. and oniy practical knowledge T. DC
gained by observation end experience bnt also se1eA'
tihc knowledge. Geology aud botany VIII never come
lEis3 when added 20 experience WHOM slch an
acquaintance with nsnGe low any one dare to pass
Judgment on painting Of landsc pe rs 10 us run OF
fidelityl In addition this the knowledge OF
tie latory of art and acquaintance gith ali eAant
great works knowledge Of styles and ~ Daster- OF
schools ard examples Next to ths comes knowledge
81 such arts sciences uhdeie The fine arts and
upon which they dependent. Thus for correct
appiecaton OF sculpture one should know something 81
anatomy, rightly 10 Judge architecture should u
deIstand physics and the ari OF building.
| knowledge Of materials Of coeIs end processes,
ard even considerable practical experience in their
and IN tie modes ~ production l. sdys ibie. and
ofel inia pensabe: FOR unless we are acquainted hor
0uChlt III Tic limitations of art Frequently blame
ho rrniucar where the material yas aone nj fault we
ask Tot impossible effects and do not take into consd
erelicn ilt nature j. infinite but art finite And II
may specially mention one thing more for everything,
aeiheI history pSer science e.. or philosophy IS o. use as,
terms ~ at should be exactly known and that they
should be properly applied. In other words before ex
ercsing tie critical function one should learn the crit
cA vocabulary
qHE CRITIC SHOULD NOT BE AN ARTIST
Bat tor a this The critic should not be an artist The
character u he artist OF producer eHlur' plt.ihel
who're tho othor uses instinct The artists nature "a
internal the critics external. The artist doing that
which he Js o be Tgtt can say that such and slch "A
ding il good but not Why lie can affirm, but cannot
rraSou. An artist critic would be- TOO APT TO judge
81 other things by hs own peculiar habits AMI methods
md In scoorHrCc With his own pcculnrities ~ styo.
Ile would be MINDED. where's real critic must
have lis mind bToadencd and enlarged by ezpereLce u
| al art.
that Independence and boduess which n one Of the hrs
rogusite8 OF critic Ma tOud be- 80 puro rs 20 be
utterly devoid Of professional Jealousy ~ prejudice or
basod rs friendship prejudice yet he could never *
cri angai influence 80 entirely unprui'siorHi man
cr ssy cio would De sur. Ia attach 20 All ina. he iu
Tho critic must not only ne bu must h. above
fl, tDfls. a. yfrf tx
u:y which DO owes 20 the Prnc. And IN .is perform
alcc DO gIl necessarily 10y mrny tbngs nhlci migln
rlhGt, oiid those a. ls friends whose picturcg came
h ucah las notice. Want De has 10 say ic Wustssay
ifhout Tcgfr ie the flUs 81 arti.i. lis business
Is o criiicsc hot - hut their we D. lie "a 20 H. PLAIN
rud sincere ami artists shpse feelings 20 tender IS
e 20 hurt by honest blame not worth regarding
For ITO III feasibility If apt 20 produce senstyeness
So hold thll atist : bat oiher en. aud that 40
more a auCc l. 10 b. made o. lin for peculiar organ
yif0B. shsr to any other author or producer. me
critic musl femenD Der that what he has iO DO WIN ~
the picture and uoi Inc nrist While osiowing OIL his
affelfiOn tie beauties md iarlis ~ the WORK, 20
must nnlfnadyert lie iangs Of its anthor The
critic u ~ boi0nist. With pictures FOR plants.
but The great mission o e critic ID 10 teach The pub
lie t. appreciate and regard art properly lie puhho
exercise great and controlling lntneAce upon aiths,
and ID Is hrou sA tie public that lie critic has nost ~
hncncc upon at work. Tie artists ara iaT1 VI inc
pnbc aud 20 certain extent share ther ireagS ana
the aw demand ana supply rppita also To WORKS oi
ant Ii the public art sentiment l. debased the ar pro
duotous wiz be destitute OF merit. AZ the plDIc appe
cine what j. true good artists viii always appear
who VIII cnGcay0r 60 be truthful and i1i'hf. ihe H.
tructou 81 the public is then tie great duty o. tie tue
critic and by dcyutug himegf 10 improving tle public
TASTE rd knowledge be IN this way advances the canse
OF tho beautiful AID tie true In the performance Of Dis
duties i viii be necessary FOR the critic to "a! many
very disagr0tabe hngs. lie must regard trnth hho'
nll cnnsiderat!ons and must say what nc KNOWS
and lrcs 10 true. even though he he charged WIN
arrogance and selfconcet Al Is only those tlat knoW
The ri.t and dare maintain II who bear influence for
! good IN the world
DUTY or TEE CELTIC.
The critic must disregard great names Judging solely
~. works Of artists br those laws which founded
oni, in nature lie must not recognize any fictitious
reputation. though strengthened by me respect
and drirei0u VI centuries. loE yn..c IN l.'elG.t
works o,rrprsed y cotempolale- are usually raed nt
hr true worth by postcriiy II IL not 50 IN art. PIC
t1ics hch IA some way have gained great iepuil-
ton being still exposed in tae galleries o! princes are
so bepraisod by thCr imat0rs ana the crowd OF shallow
admirers that il is considered marx OF Ignorance and
II OK taste to dare question their beauty ~ Il he
Fashion 10 admire cel sin painters Who called the
old masters. Let him beware WHO Olcnds NE EtigLns
taste 1t is duty OF tic critic to pull down suc1i iase
regulations provided tey can be proved 70 ret on no
spared As false glory dn19loa. II should BE- put out
As nlso reputation miscads IL should oe destroyed.
i But who the critic IL and earnest Gbot what
Is che should praise and revere what Is good u
u.Tons ifrghtly II he discovers worth and great
ness, whether known or unknown he must praise ana
encourage IL Til Others and believe also. Al he must
pull down whaI Is false. he must build ny FOR otaers
/ reputation ard name which IL true.
But criticism must not be made in spirit OF fault
finding and disparascuor Let the critic blame whore
he rust hut praise where he can. Appreciation ought
10 b. 90 congoniol 30 him than censuTc. Let Linn be
ohartsble and not unkindy whom he disapproyes
lie may DO severe but he should not be- peulnt nor
malicious lie must always remember that Il Il tho al
yenc. OF art which Is his object and. His criticism
only haye that end. AID hat style Of Judgment which
rolsons and explains IS convincing aud authOita
tive than that which only Asserts whatever may DO tho
influence and power of rs author.
The May number OF Tho New Path COM
pences ,ie second volume, for which some import