New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1864-05-14

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movaI would be instantly felt by the eye What has
Mr. Coleman douef lie, himself became little tired
of his browns but was unwilling 10 disturb the arrange
ment. nevertheless he decided to have some variety
and an bethourbt him Of the flags. Hewent to prodig
IONS oxprrse and nearly ruined himself in bunting but
ns il was of poor quaty being very much faded, he
fonnd il did not give him all the effect be ncededi So
he sent out and bough, up cse old tab!c-coths aHa
hung them over the parape and finding still that their
dull woof could rot put life into his loan color be called
these gar ladies and gentlemen gut OF the crow" anu
arranged them in picturesque group JUST wAeie 'e
color OF their dresses If there happened 10 DC al! ~
was bright and fresh left-which there isnt-"ouu
come In the right place. 10 PIT little sparkle OF eo"
into the pictures dullness But they accomplish noun
ing the browns are too dominant and we are 0ooIhed
to go without single CLEAN Of color anywhere even III
the sky whore n browns reduced TO their proper place
sn the scale play in the pighed clouds" and scumbie
themselves over the open field OF blue
4 reeent criticism on this picture compliments 1t on
en-. "but,e-y quality OF its tone. Just what buttery
may mean and whether il is higher praise than fthe pic
ture had been called cheesy" or lardy." or soapy
we do not know. We only critic and not at all pro
fessona and cannot be expected TO know all the tech
meal terms; but still II we rightly guesa what "but-
terry" signifies and not mistaken in supposing that
IT Is term intended to convey tie idea that the picture
looks as if it could be cut with knife and spread on
bread we fully agree with the writer of the aforesaid
notice In color there is resemblance to any butter
we saw but in texture, nothing could he smoother
or more suggestive Of that material. The towers, the
city,wals the bridge the rocks the grass the water
the trees the very tSef-5l are without sohdlt!
without reality, spectral In drawing. unreal In nue.
fatal example of what results from determination to
turn the back on Nature and deliberately to pu so
called Art in her place.
We forbcsr further notice Of this picture, Of which we
have said 50 much only because il is good example OF
the sort Of work which produced by men who do not
believe in tie study of Natures but who see that the
world believes In H. and who wayer' in their practice
between their theories of high art and their desire TO
paint pictures that viii sell. In reality, the profession
they have chosen is Of the most arduous that man
can undertake 1t has its high rewards it is true but
they should be high indeed to repay the unceasng toll
the unweaTied study which are iperatively demanded
as the conditions Of To TIE true artist and
we speak it deliberately. as knowing well that the
record Of every great oftists life viii confirm our
words-money, material gain OF any sort never so
much as enters II. mind for an instant a motive for
labor nor Dtrudcs its between his lifted eye
aud the high purpose of bis lc Tie idea that his art
Is tduci Or lNdt &c NoiAlak ''t tu' o'@' Va ''N
money his work will bring that he must suit his wares
to the market, and paint or carve only what will SELL
all these notions are repugnant ,m he cannot enter
tain them he must Gospse those WHO work from such
motives Did ever o great arts: do sol Never oncl
But we have many men among rs who viii not take
this view Of the artists profession. They insist that II
Is trade withou, tie disagreeabe and degrading con-
dtons Of trades in general Tie artist may paint his
picture as he peases or lie canhe may put much or
little thought into it. much or little abOr but in any
case he Is on artist emitted by virtue Of that TO
respect consideration, und extraordinary pecnnialy
rewards for less labor 1t may be- than any other aboreF
can ask hope TO receive. They are sheltered nom
criticism examination, Of any but the most partial
and fatterng character by virtue of supposed sacred
meas in their Office and even imputed dellcacy and
seastyeness Of character. Their work Is ludicrouy
separated from other work as "a delicate personal yo
cation and woe be 70 the map who shah dare TO stick
his critical pin into any these dainty bubbles.
This system of fattery and misplaced tenderness
which Las obtained in tits country, than IL En-
gland or France entire control Of tie ress and runs
through all private criticism 30 calel-has cost uf
many good artist led astTay BY it in bis early youth
and taught to 6ster everything that he should most
shan We must have different state Of thiAgs before
we can hope for any substantial progress before the
name OF artist can lbth lpA t-t ~NNo
most deeply. and highly and broadly Incan before our
American Art shall prove her night to seat with the
older giants u tho race aud those who st the thrones
which this age Las buded for them equal Kings with
those who rule us from their urus Not that all among
US is nercersry and hrepgfar from it, but we have
TOO much that is So and every among who reyer-
ene Art and the name Of artist ought 10 work with oil
his might to raise the standard. and crowd the lower
notived work out OF sight.
No. lSJ.-THE WHITE MOUNTAINS FROM COR
HAM. JOHN HENRY HILL.
We trust that no one will allow this picture
20 leave the Academy walls without having studied it
long and well Mountains have never been painted be-
fore in America grandy and so truly aud one picture
ike this is strong enough redeem whole gallery Of
meke-shifts and specimens Of human weakness. But
this year il is not alone and may well be excused H.
on cursory glance at these walls, seeing farrers and
Griswods, Baldwn's and McEntces pictures with
this of Hills shining out from tie crowd we spoke
little more enthusiastically u the collection than per-
haps q soberer view has warranted.
Still With al the power displayed in the drawing and
the color Of the mountains in this picture 1t Is not equal
10 what John Henry I can do. lie Is working. it is
true with unusual Materials for, all his best work has
been done in waercolors and tho training that gives
skill IN one mdtcrla may not seINe 10 give equai th III
the other In water.colo lis work is remarkable for
lts decacy no less than its truth but when no takes
the brush his delcacy deserts him; his truth which
indeed is his strength remains. 1t would hardly be
possible to draw mountains more truly than these or to
color them noby; but tie rest Of the picture is
iamey painted With any other subject we should feel
this more; 1t Is, cannot, do what We VIII
get away from the mountains themselves, and,
therefore VIC less heed tie poOrly-panted trees