New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1865-05-31


well will stick to this. Then my rocks are liked, and
my lchens and yoa only get the hang Of ore sort OF
rock it comes like second nature By and by 10 dash
them off without the trouble of study. There's
they say has got SO skfu that be can paint his Kind
(not Natures. you know, bn, his) with his eyes .hut
Practice will give ne the knack too and then. have
hit sort of subject that snits me. tLat is different
from enybodys else; and that people take III paint
Winter all the rest Of my days, or at least until public
opinion won't tolerate it any longer and by that time.
daie ray Shall have made money enough which is
The great end Of Art and Of everything else tina, is
respC c.alle in this delightful wordl'
1t is not satire, this solioqry, but, II we msy Judge
by the result we sec before us, many whose
early work promised as well as Mr.. Grsvold's has
repeated aud acted II. But have faith in every
new conner who shows promise, and ss it is seldom
such strong steps into the field as this one, We
have double faith in him. lie will take strcturts,
al structures eagerly than praise, because he may
doub; he deserve praise but he cannot doubt that he
las faults If he knows anything LIE knows that and
we as little doubt that no viii himself judge bis work
sterrly 1t rs evidently painted seriously and with
desire to rep 1T Nature not himself He viii put his
painted hill by tie real one his sketch OF IT, rather,
for of course 30 good piece OF work viii be bought
BY somebody and he will Chat he might have told Us
more and more and PIT yet many strokes upon IT, each
stroke added fact OF structure and yet kept the same
relative subodnaton ~ the greater facts Of hight and
form. He will SEQ that this coarse and monotonons
foreground painting not just to Nature, whose Winter
fairgrounds ull OF the quaintet and most varied
beauty; many weed that in the lush Summertime
wss nothing astonishing us with its deiicacy and
expression when storm and sorrow and experience
Iuy Of and revealed the BEAUTY
OF character that prosperity hid from sight.
The ,orgeness Of conception shown In this picture.
It's general ruth, tho earuestness OF its sentiment
mako SO instant Impression, an impression renewed
with every return 10 IT, that these faults Of omission 90
not ,rikc forcbly TIL after long acquaintance with
IT, But While they faults tsat study remedy
on issions hat Increasing knowledge can supply we
sSsure the ar,,, that nothing but harder study and
greater know scsw make is future pictures better
q an Ills Let tim tarn his back every one who
ills hir The. this work 10 good need be- tb., lie
has studied enough that is fortune is sure Wevstoh
his co,rse with intense interest; with more hope than
soci:ude as wo believe hat the eaFnestrcts Of tbs
picture must have sprung from earncstncss 81 character
and that It has BEEN painted 10 vain VI shallow mood
LAST or OcIoprI, No. 2gl-JgRvIs MCESTEE.
Its nobody's fault but McEntee's own icvery-
h1dy kaovs once that this beautiful picture his II
,aIc is seeking cat iault say that tho only draw
back to the npie,o enjoyment Of 1t II tte fFe;iing
suspicion tbs: tho artist ony paint subject IN
the same way Nc that ,h.s is Legitimate criticism IL
10 none a. al bat. with mos, people 1t makes Itself ie
in their Judgment q the work. they oarno, look at
with quits fresh eyes.
We also wish Then are boxing q, 4. that be hac
, not nartss3 n of'cn Nn'u-e can do and fOer
but. VIC 90 pot .i7 OF her, because not only the ore
scene never ;ho ,aDc from year to ,es-. but abe h.
thousands Of scenes beside each different from all The
Others And he vondc- Is. bow any artist who has the
indispusabe IN that Mr. MoEn,eo has Of entering
into one sceue completely eujcying II. under
,iendi.y Il snd porrHyng II, should never be
tempted 70 loal At something else Yet he neyo- H.
lie paints this ,ceue over AID and al last. has
done II hcrv - he can never do II better Ho tanis
othcE soensc. and yOn woi.d never believe that they
tie work az the same hard well says ATTEND
AT eCr side why DO you quarrel vita him for tis' He
l.s minor poet, aud has sweet gad ro'e. ore
lie never ~ up FOR Turner Shakespeare and there IL
place In ne world for minor poes. and always VIII
BE-" To which ungrude ingiy asscai, and only do
MURINE TO our uncritical friend mine. poets
occasionally play piece, that requirS two hnesT' and
are not oonllei by any ne.onbcllw TO the ono finger
vsltI-W0 VIII say WOIu VI NV
tire witsoat thinking FIVE help 1t. Of the hundred
aad odd olacrs 20 lac this ono that We arc he. really
SIRE II ,hia is enc Of them or pot
Tho general tono OF color 10 hs landscape lie nearly
sr,e although there would be create contrasts in Ma.
.ure The tree trunks are!not rtary tho ssme tint
with the dead leaves and thc grass. The detail Is
60 elnrrei syer and is treated with such sytemstic
Dsgoe. o. Il were disied thu. ve cannot b. sure In
| cf-, ~. local e1or Ilux
.he email hose leayesarc pai1ed light lio pur-
e arc oaks bu, they may be sapng beeche'i Ct course
.ey ere %, far OF for tie 10 be distE 3ushed
I'D The color is the only key In either he color
es not seem % us II thcy oaks oryht they
mt to be reAder or Jrovner darker purpei And II
er a-e sc clnging leaves OF the beech. ought they
| not TO be light browni We suppose hr. N aEniecs
aim has been 10 get the general impression OF ,he time
* sentimental e1 preston Of tho general ccior ard
detail driving and local color hays been deliberately
sacrificed % this The treedrawing Ii better than he
uscaly gives u.s. but there 10 no d-ioacy IN H. ana Tar
too little ntricacy. The objection IL that It viii not
,;nnd study. Ia this reSpcct the ce'aIs ard henlock
on the left Of Mr. Griswolds picture by the large rock
arc tnuch uorc satisfactory. They are bette drawn
than ANYTHING else IN the composition. Mr. heEntees
contains nothing 10 really good The Ky isine; nile
less PANTY, and II would be nearly perfect PANT
incss In a Sky fault artist ongt never 10 Jet pas
In his work. Let whateycr else he eosrse dehcacy
should DO secured there nj any expense o. time ana
labor But then TITO vice Of this picture ~ ihat u is
all coar.e and LOOKS dashed on the csn7sns b. an ex
perienced hand indeed hut by one Who dld not io'e
Nature well enough 20 nger over her bsuiy anywhere
The licLt falls oreeiy and tcnderly lse he smile
from the hafopenei eye Of child on the distant NH
II If there md Oh the sy iisc that We rest whom TIC
hurredly painted conventional symbolism % 'be 'o''
ground and The poverty Of the middle distance drive us
lor repose. The picture troubles M a. lest
;, q, ,olo, ,romi,es Of truth and beauty that dew
us at first 20 strongly to it's ,ide.