The evening telegraph. [volume] (Philadelphia [Pa.]) 1864-1918, 1867-05-02
The Academy of Fine Arts.

TALLEYRAND'S observation that Nothing sue
ceeds like success" is tersely expressed, and of
It's truth all men of experience must feel deeply
convinced, more especially those gentlemen
who in the exercise of their artistic abilities
endeavor to clear themselves a path to
fame or fortune. without further prelimina-
ries, let us give an example:-Take the case of
Mr. Brown (or Smith, as the case may be), who
is forming private collection of pictures. To
use his own words, he does not know much con-
cerning the technical merits of paintings: he
simply likes the art production that from
happy choice of subject gives him pleasure
Place before him q Rembrandt from the
National Gallery, London Uhe finest works OF
this master are there to be found), and side by
side with it a common German daub of chill
dren dabbling in brook, washing each
other under the village pump, he will instnc-
lively choose one of the latter subjects, and
reject the grand old painter of light and shade.
To resume, Mr.. Brown is on the lookout for
paintings; he is slightly acquainted with few
artists, one of whom perchance he meets in
the galleries of the Academy, or at an
art reception. He kindly inquiries OF
the representative of the arts how
he flourishes, and receives for reply, "Splen-
didly !-more commissions than 1 can fulfil.
Nearly worn out with the pressure of work.
By-the-way, call at my studio and see the sub
you will likeit. Good-by" Our friend Brown,
when he hears this, is impressed with the
wonderful ability Of one who can make pro-
gress in this way, and at once resolves to give
him an order for a plcture-a resolution which
he carries into effect the very next day. What
opinion does Mr.. Brown entertain of SLOUGH,
the landscape painter, who never, by any
possibility, "gets on?"-Slouch, the bad-hatted
and long-haired man, who always seems con-
scious that his heels are run down-the unfor-
tunate and ever-complacent SLOUGH? Well to
tell the truth, Brown avoids him, and cannot
bring himself to think that SLOUGH has merit,
when he does not use 1t with more benefit TO
himself. And the moral of this is that Nothing
succeeds like success" While we are speak,
ing Of success, we may be permitted to remark
the very diverse manners and ways there
are Of attaining 1t in the artistic profess
sion. For instance, there are some artists
whose great claim to consideration rests
in the fact that for laying on the colors
they use palette knives and trowels dixie
Gustave Courbet), and have to retire from their
pictures some twenty or thirty feet before they
obtain anything like view of the effect they
are producing on the canvas This class of
painters has its special admirers. On the other
hand many have achieved fortune because
they painted with brushes so fine that one
could $50 TO speak) easily thread needles with
them, using magntfying glasses in order to
work out Details and celebrating so painfully
close that it is necessary to glue your face to
the picture in order to see anything definite
thereon. There are cSnnoisseurs who glory in
this style OF miniature art, and who pay thou
sands of dollars for good specimens of the school
of which Messonier stands the acknowledged
head. Some painters are considered great be-
cause they have produced canvases thirty or
forty feet long, and others for the fact that you
can carry dozen OF their finished works in the
vest pocket. In thinking OF these things we
are constrained to say that there is much hum.
bug in what is unthinkingly called Art, know.
ing as we do, that ii some daring and aspiring
youth could after some effort, succeed in paint
ing poor daubs while standing on his head,
fortune and celebrity would be his reward.
T. Moran is a true artist, whose landscapes
are free from the exaggerations to which we
have made allusion, as his contribution to this
years exhibition will abundantly testify. The
number is llS in the catalogue and although it
is unpretending in size IL is full of the merits
that are destined to render MIR. Moran's name
landmark in the art history of our country.
| No. SO is winter Scene," by A. Wall, OF
| Pittsburg, and a most excellent work of art.
| The sunlight resting on the distant hill is most
/ truly portrayed, as seen through the cold and
/ wintry atmosphere; the foreground is beautiful
| in tone and effect; in one word, this contrlbu-
tion Is of the best Of its class OF subjects in
| the gallery.
Il. j. Fenimore is exceedingly well repre-
sented by his Sunrise on the Moose River"
| 1t certainly shows great progress on his former
works, and upon this fact we congratulate the
1 artist.
Milne Ramsey has painted many excellent
fruit pieces. that are distinguished by great
purity OF tone and color No. 96 from this artist.
hangs In the northeast gallery, and is fully