New-York daily tribune. [volume] (New-York [N.Y.]) 1842-1866, 1866-03-15
NEW PUBLICATIONS
PHILOSOPHY OF ART.

of our accomplished townsmen at present residing
in London, who has already gained q favorable rep
ntstion by his own writings the principles Of
art The original Of the work consists Ct course
oflectures delivered last Winter before public In
stitution in Paris, and which excited not little
attention by the novelty Of their method, their
vigorous style Of discussion, AID tho fertility and
aptness Of their illustrations.
The aesthetic system set forth by NJ. Tame diff
fers from the ancient philosophy of art IN being free
from dogmatic assumptions and founded on hsior-
Cal facts. 1t imposes no precepts, but ascertains
and verifes laws. 1t pTopounds no definitions Of
the beautiful as the expression Of the moral ideal,
the expression Of the invisible the expression OF the
human passions, and the like, but takes the produce
tons Of Syt they are as phenomena ofexPerience
OF which - Is essential TO note the characteristics
and discover N.bo causes
Acoo'""e view, II is not the province Of
ss'he'ic e,enSsStither to Pardon or prescribe.
Limited 70 .,Ystat mt and explanation of facts,
II does Y q take sides with any exclusive syotem.
1t meyer says TO the artist, despise Dutch art be-
csase IT is vulgar, and confne yourself to the Italian
school. Leaving everyone free TO follow his own
predictions, to prefer what is in harmony with
ence to the development of his own INTELLECT, it has
bympathies for every form Of art even for those of
the most opposite character. 1t accepts them all
% manifestations Of human power. The more
numerous they are, the they display the mani
fold phases of artistic genius. The science of
aesthetics is like the science of botany, in which
tho oraFge the laurel the pine, and the breh, are
OF equal interest 1t is kind of botanical method,
applied not to plants but to the works of man.
The question of imitation as an essential prin-
ciplo of the fine arts, is treated by n. Taine in
liberal philosophc spirit. No ono can doubt the
importance of an accurate dclineaton Of nature in
artistic productions A statue is intended TO repre-
sent faithfully en- animated human form. The ex-
h5ition of real persons in real attitudes, and Of
landscapes in natural colors and proportions is the
object of picture. In like manner, a drama or
romance must give an exact, as we'll as a vivid i'm
preston Of tho characters and actions which il
dortakcs TO reproduce.
Buf We cannot conclude from this that absolute
limitation is the end of art. II this were the case,
the fnost works would be the result of the most
exact imitation. But this, in fact, is not so. A
cast gives a moro faithful impression Of model
than sculpture. But good cast is not equal to q
good statue. A photograph completely reproduces
the form of the object initiated. But no one can
compare photograph with painting. Nor could
good tragedy, or comedy, be made OF steno-
graphic report of criminal trial, every word Of
which is faithfully recorded
M. Taine refers in proof Of his position, not only
20 these semi-mechanical processes, but to the
works of artists conspicuous for minute fidelity. /
No. &c - III -
artist worked microscopically, taking four years to
finish portrait. lie neglected no detail in the
execution Of his pictures. The finest lines and
wrinkles the family notified surface of the checks,
the black specks scattered the nose the blush
flush OF veins meandorng under the surface, all
delineated with miraculous accuracy. Such work
strikes the spectator with establishment; the head
seems 10 start out Of the frame; the illusion is per-
feet; but after ALL argues N. Tame, broad sketch
BY Van Dyck has hundred fold moro power.
Neither in painting nor in any other art are prizes
awarded to deception.
Certain arts, moreover, like sculpture, for in
stance are purposey inexact. A statue is generally
of one color, either of bronze OF marble The eyes
arc without balls 1t is precisely this uniformity
of TINT which modifies the expression, that secures
the beauty of thestatuo. When imitation is pushed
20 the extreme, tho effect becomes offensive, and
often disgusting. OF this, the statues in the
churches of Naples and Spain an example.
They are draped and colored. Saints stand forth in
actual monastic garb, with earthly, yellow skins,
and bleeding hands and wounded sides. With
these, appear madonnas, in royal robes, crowned
with diadems wearing precious necklaces, and bril-
liant ribbons, and with rosy compilations glitterng
eyes, and eyeballs formed of carbuncles. This ex-
OF literal imitation exeites pleasure, but on
The contrary, repugnance, and frequently horror.
Imits.ion, then, has limits in genuine work of.
Art 1t Is applicable, especially according to NJ.
Taine, to the relationship and mutual dependence
of parts. In o portrait, for instance of living
model on O small scale, of course, the size OF the
original cannot be reproduced. But the proportions
of the figure must be exactly preserved II the
head is of certain length, the body must be so
many times longer than the head, and so of all the
different members. 1t is the same with literary de-
scription You wish to represent some scene in real
life. To do.ths you have your eyes, your ears, and
your memory. But you do not record every word and
motion of the fifteen or twenty persons that have
figured before YOU but as in painting and sculpture
you note proportions, connections relationships
You maintain anexaet harmony in theaetiOns Of each
Individual character If one is ambitious you give
prominence to ambitious acts; if he is ayaricious,
60 ayarcious acts; and so on You observe the re-
cnrocal effects of these acts and make everything