The Union and journal. [volume] (Biddeford, Me.) 1858-1882, 1866-09-28

tive to the altugethef too rnsterialist,c tenuen
ces OF our tiine, and IS means 10 the niSnes'
culture. - II - ~ -
These rcmini.ceuees and ideas are suggested
by A visit TO the Gsilery of Art which former
the chic. attraction at the late Fair OF the Dap,
list Society. We hal SUPPOSED the cltliens VI
i,iddeford too exclusively devoted to manune.
turing 10 find time for the cultivation OF sucn
ta,io. ms this, collection lsyinces. Perhsps We
neal mol. have bean surprlsed he'd wol horne In
mind the noble Art Union Of English Manches-
ter, and the enthusiasm with which MIR Nus
kin's lectures ON Art were received there. DE
that as il may, the late exhibition was one oil
which the place may well he pIOpd,' both as
slowing the genuine love VI Art which exists
m our community, and the real merit OF our
artists.
We give some hssty notes upon . few Of the
more noticeable pictures Of the collection; and
we regret the detect ~ the CATALOGUES. whereby
We are unable to give the names OF The Artists,
save In one or two instances. We have critl.
ciscd freely. believing we should confer real
benefit IN the present state Of our Art kuowl
edge BY giving Il right tone and direction:
No. i6. The Fiorer Of the Family There
is no great orig inali,y IN the conception OF this
piece but the execution Of II deservesa passing
notice. The ground tone Is particularly fine.
though there Is rather too free use Of white
in the whole picture, and ths coloring is toe
No. %. Dream Lis. While we hope nc
one will pass b., this charming little picture, II
will be best appreciated by those who can enter
into the spirit Of gentle Elias "Dream Chill
dren," or that Of TX. Marvel's ''Drearn Life
and Reyeries." uiItis full Of quiet. suggestive
thought, aud Of true and tender feeling. W.
can hardly be mistaken in considering thi.
| Al. - AL nI 10
Ing much promise ~ the future. The techni-
cal skill Of this artist Il not quite equal to hi.
imaginative power. The accessories to the pic.
tnre are well brought out, and the figure draw
ing is good. but the coloring Of the face Is toe
rdxen, giving too much the impression, at the
first glance, Of q dolls face. ...g 40.
No. 81. Viliageon the Rhine. Tourists up
on the Rhine viii not need to refer to the Cat
alocue 10 recognize this picture. 1t Is . 70.
miniscence, apparently, not ofthese picturesque
villages that meet thetrayeller ON every hand
but Of many. The artist has been peculiarly
happy In selling upon the characteristic fea.
lures Of these lccend-haunted towns. Here
VIC have the bluff foreground with the luain,
red-roofed houses grouped carelessly upon It's
brow. We look naturally tO see some fat bur-
gcmaster issue from its walls, or some group
III fsir.haired peasant girls Many pipe and
glass of the GLORIOUS Rhine wine we remember
in cosy inns like this and many q legend OF
the old Courts have we listened to from the jol.
IL landlord. The play Of light and shade In
this picture would have delighted Rembrandt.
The eoloring is rich, though the foreground Is
hardly satisfactory. 1t too nearly resembles
old cheese. The artist is Stilt0n.
No a. VieW of Boston. will detnin the many
admirers Of Ruskin's writings, for this Is one
OF Turner's works, though not one Of his best.
n. .,,h,lucsl In c,,ior than most nf the
late productions Of his unrivalled pencil. II
is marked BY the unerring truthfulness and
profounl thought which are characteristic OF
this great master. How simply, and yet how
powerfully, g the tollownts' Of city life sig-
rested! Here. too, We may MAJ X m tier pC cn-
jisrly Turnerian effect his suttle mys'ery, the
mystery In this csse cove Ing the whole town,
No. IL. The 1smpier. We have here the
conventional rendering Of the Temper In all
ages. II has sometimes been made use OF with
grand effect, particularly by Michael Angelo IN
two other instances offine use Of this symbol
one in the Baptista Of Florence, the other In
the third room upon the right after ascending
the grand staircase of the Vatican. II looks
10 us like "Reminiscences Of the latter. and the
treatment Of the subject Is quite inadequate.
No. 70. Cane and .fbel in Paradise This
picture belongs to class which we dislike Ia
criticize, and yet We feel that the true function
of Art lies In another direction. The very title
Of the picture shows the inherent weakness
Cain and Abel In Pa-atlise-as they never
were, and never could be, without an entire
change In the economy OF the Universe. II Is
an amiahle weakness which leads men TO shut
their eyes to the sorrow and misery of this
life, and paint an Ellen where Innocence still
re,cns- hut IL II none the less q weakness.
The truly great artist. while he sees more than
any other the sorrow and gloom in the world,
sees through Il and beyond II. There are pas
sares In this idyllic view Of what the world
might have been, that recall Fra Angelica
and, indeed, the whole feeling OF the piece
much resembles his ..r g..
No so. The Red Sea. Ia In strong contrast
with the last named, and by Its wealth Of treat
ment and bold statement Of facts. ut once ar
rests the attention. One who comes to this
canvas In proper frame of mind will aoknowl-
edge on the instant Its wonderful power. 1t
represents the Sea Just after the overthrow Of
Pharaoh's host. The wild struggle Is over.
and not ripple marks where horse and rider
have gone down In its silent depths. The long
sinnuous sweep of the wave alone shows Its
rssistless might The last band 6f the Isralites
has Just passed out Of sight, and the silence
and solitude of death broods over ell. The
imagination has full play. Rarely have sim
plicity and grandeur been so well combined.
No. IS The Light Of Other Doys-sbetls
at the best but doubtful light, but Is n sim
ME and pleasing composition. twill impress
most favorably who are not unused to the
melting mood" r-.' .,..r Co.
No. Of Departed Days possesses far less
merit The idea Is not clearly suggested, and
there are crudeness and sombreness In Its col
oring far from pleasing.
To. 90. Old mil and Waterfall has gen
tral mir Of prcttiness and pcturesq ueness
about Il. which are rarely found, save in pic.
lures. The Mill is very fairly drswn-but the
Waterfall lacks force and life. II Is very de-
ficient in its aerial perspective. .,
No. 100 Fforers N drawn with such accura'
cy that we are certain the artist is disciple o
the pre- Raphaelite brotherhood. The color
Is too mOnotonous. lF.f.l. .-.N.y ..7I.
y No. IOl. ,Commenidtor on the Acts displays
n good deal OF quiet hum0r, while No. l03
The Century Plant IL n species OF geurt
paintin which always finds admirers.
There are others which We might notice did
our space allow. We have mentioned enough
however, to give ON idea OF the rare excellence
of the Exhibition. II Is greatly tn be desired
that some Of our wealthy and public spirited
citizens should aid towards furnishing n per-
manent Gallery OF Art-in which masterpiece,
like the ahdve may he open TO the public mol
for few days, but ut all tir,es. W. l.. I.
BlppEYoRp, Sept. oath 1885, .
----s-.>s----------
Amy JoitSsoy AT THE INAUGURATION BALL