The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1866-05-02

say precisely what they think IT Is not important
that they should think correctly tnat thev should
speak canddy. We cannot ways expect that
criticism should be Just, but we have right to de.
mand tIat it be honest.
Paul Preach ne at Athens" tho 64s), by p. F
Rotheimo, occupies the place honor 1t should,
being the best historical work in the collection.
MIR. Rothermel, in two qualities Is uuequalled by
any historical painter In this country, perhaps in
Europe. Color and composition the pillars that
uphold his fame. Nothing can be more superb
and rich than tho coer of his best PICTURES;
ard with all its trilliancy and bodnoss, IL
is not coarse On the contrary, its combi-
nations peculiarly subtle and refined. His
brush has the reep of masters the arrangement of
color IS boldly bOcxed ont in masses, and afterwards
worked up IN exquisite detail, always subordinate to
the general effect Ihe harmony IS perfect With
so much power there is considerable manneusm
There are certain tn ts OF which Mr. RothermeI Is
too fond and their repetition all bis picture is
tiresome. No one paint better flesh, yet IL the
subject be young girl as in the "Christan Mar
tyrs," or Cordehs "King Lear" 1t is almost
certainty that the artist will ondeavor to express
purity by peculiar pallor which is not oflen seen
in life.
The composition of his pieces is not merely
accurate, but original His Bnowlodgo of principles
is hoI ough and exact hat he can work with per-
feet freedom and ease; he Is not fettersd by rules
though he does not violate their spirit. The genius
Of an artist begins precisely where education ends
most men give no more than what they have learned
and thus the majority of pictures are merely repei-
tons of old efecs. "Where do you intonI to put
your brown tTee" said OF the first connoisseurs
in England to a landscape painter; ior actually at
one time conven onasm had lar degraded art thai
aandscape without q broaCn tree was considered i'm
periectl Rothermel IS independent of these petty
rules, and IN his finest compositions with all their
CLASSIC regularity, is constantly surprised by
beauties that were never taught in the -choos nor
initiated from the cartoons OF Raphael
In di awing of the human figure Mr. Rotherme el ia
usually considered deficient. 1t Is not one of his
chief eXcellences. but we shall not insist upon his
inferonty in this Lranch There are many persons
who talk of drawinq, without knowing anything of
anatomy; men who, as it has been well said will
say that tins is exquisl'e, and tha atrocious who
could not even tell the number of their own ribs"
nor y hat muscle shapes their h?s into a snoer
But of expression the public are fai judgeq,
and here is Mr.. Rotherme5 great faiing 1t Is
seldom worthy OF is color ana cOmposltioO o. and it
Ismarked by general manrersm. We wish We
had tetterp picture than PAU Preaching at Ath, ns'
to which these remarks might be applied, but
though it is not OF his finest works it is IN ex
preston equal to the est. The artist or the student
OF art may admire ITS beautI Ul groupings the 0ex.
ferrous distribution of lines, and pos, of heads or the
itch color; but who would be moved by the spirit of
the scene! The hpure and the Iace of Paul are
neither eloquent nor Impressive; do his auditors
a ear TO be touched BY bis reasoning or appeals
AT the best they attentive. or course
IN such subject the artist should
be dramauc. lie should choose he great moment of
the cene in this he point where Paul announces to
the Athenians the doctrine of the resurrection of the
dead. "And when they heard OF the resurrection of
the dead, some Knocked; an d others said We will
hear thee again of tins matter" Some should be
convinced of The truth, others interested Others
skep ical, and some purely Indifferent. But Mr.
RothermePs picture has no dramatic force He
mis- ht have studied Methodist revival in the woods
iOr material for re gOus excitement has in all ages
similar manifestation But the Athenans in his
picture have the air rather OF a well-bred city con-
gregaton than of an intelligent people Who Tor the
first time, hear the truths OF Christianity from the
lips of an inspired apostle.
If Mr. Rothermels imag g'nation and power of
expressing passion and feeling were equal to his
general ability, he would pio )abY deserve to rank
with the greatest painters who have ever lived As
49, he has no equal, in this country at least We
have few opportunities of comparison but let those
who would judge for themselves examine even his
inferior painting of paul Preaching" and com.
pare it with Witkamp's far more ambitious ODE
hveIence of LeYden." Does not Rotherme's compo.
sl'IOh anu Color uuAodIc InOTe genius Cnau Wit
kamp's? But no v colo and monoonous is his ex
preston compared with that OF the German!
"Chust Stilling the Tempest" mo. 531) by j. G
CHAPMAN, is another illustration OF the Scriptures
1t was painted IN Rome, we believe, but a man need
not go far TO paint badly. There is a certain
amount of technical merit in Mr. Chapman's work
Tor instance IN the halo that surrounds the figure OF
Cl is but of any higher qualities it is destitute
is like Raphaels miraculous Draught of Fishes" in
one respect-the figures in the boat ought to swamp
it; but the imitation of great artists tau Is is less
pardonable than a direct copy of his SUCCESSES Mr.
chapman has treated his subject without particle
of imagination; the figure of the Saviour is scarcely
huElan much less divine; and the color in which it
is dTaped repulsive TO the eye lie has even taken
pans to destroy the chief pictorial beauty of the sub.
ject; to walk upon stormy waters is certainly won
dertu, bu, it is miracle to stand upoH ice
Schussele, who by illness was compelled 10 visit
Europe about year ago, contributes three PIC.
tures. jackson before Judge Hall at New Or
eans" mo. y is the BEST though the subject
permits little pic orial effect. II was probably
painted to order for Er ,chusse'e would scarcely
have chosen this event in Jack on's history, while
SO many others surpass it IN dramatic interest In
experienced artists frequently choose subjects of
great moral or political importance, FORGETTING that
the true field OF painting that when attracts the
eye. For instance in the Descent from the
Cross SO frequently pante1 by the old masters the
subject remarkably tu of act on; yet there
other events in the lie or Christ, superior to 1t
in religious importance which would have far less
pictorial interest Mr., schussele has not succeeded
in making striking composition of this common. |