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

Nua
No. 6s, gThe Gentle sister" by George G. |
Lambdin, is rather familiar acquaintance OF |
ours and yet we do not tire OF its companion
ship; on the contrary. the face OF the principal
figure becomes more charming TO us upon each
visit we make TO the Academy.
There is in the north gallery a very vigorous
painting by SLAMMED, representing case
MISUNDERSTANDING burglar caught In the very
act OF robblng. The contents of the broken desk,
which are confusedly scattered upon the floor
of the room, bear ample evidence of his crime.
we recommend the attention of our readers to
this production, the property as the catalogue
informs us, of Mr.. w. E. Harris. .
No. III, "rhe Angel over the Right" by M. M. 1
Mcguire. We respectfully suggest to this artist
that she would find It more beneficial TO her
future career to paint simple subjects, in the
deVeiopment OF which she could avail herself
of the models that are convenient to her hand.
The idea of endeavoring TO portray works of
such great difhculty as the "Angel over the
Right" without having sufficient technical
power to do so, is (and we speak in all kindnessl
perfectly absurd.
Miss Saford's "View on the Schuylxill" is
deserving of praise; it is most pleasing both in
treatment and subject We may characterize
in nearly the same terms Mrs. Chrlstie's
Autumn ia the Cussawago Valley" (No. l4O).
No. l8S is portrait of the late j. B. Myers. so
1
Kind in somebody to thus enlighten us, for we
should never have, unaided surmised the fact.
In plain English, the likeness is very poor.
No. 256, "The Castle of Chillon," is from the
studio of William s. Haseltine, New York. and
fairly glows with light and color, dazzling and
brilliant in effect of light. We earnestly COM
mend il to the admiration of all who appreciate
the true and beautiful in art.
A., G. Heaton is extremely well represented
On the walls of the Academy, and we are sorry
our space limits us to this simple remark upon
the works OF one whose merits are so decidedly
manifest. To those who are familiar with the
works of our resident painters, the name of e.
d. Lewis is q household word. We have but to
mention that No. 238 is one of his productions,
to draw attention to its beauties. At the
same time, candor compels us TO say that it is
inferior, in many respects, to his former pro-
ductions.
The only portrait of the lamented Lincoln in
the exhibition is by George w. Petit, and is the
very best work that ever came from the easel
of the artist If Mr.. Petit would abandon his
faith in his patron saint, Connarroe, he would
improve rapidly. Mr.. Connarroe is a very good
artist in his way, yet we cannot regard him as
a guiding star for young painters.
No. ia, "View from Monastery near Spez-
zia," small, carefully painted picture, repre-
senting monk looking, with clasped hands
and sad expression, from the galleries of
monastery out on TO the beautiful panorama
before him, with the soft halo of an Italian sum
set illuminating the picture. The effect of the
sun behind one OF the columns is admirably
arranged, and with the architectural embellish-
ments SO in character with the scene, all is in
perfect keeping and harmonizing as a whole.
Though a very difficult subject to treat, Mr..
Henry has managed it with great ability, show
t,0e, l. kz, ee..I
is hung entirely too high to allow the close
scrutiny which it deserves. ...r r..
No. 255, The Old Clock on the Stairs is also by
William Henry, from the poem by Longfellow
The artist has evidently made an accurate
study OF some old-fashioned staircase, with the
old eight-day clock, yet everything is made
perfectly in keeping with the subject and idea
intended to be conveyed. This picture, though
wholly different in subject from the other, and
though far apart in their points of departure.
bothi reach nearly the same height of excel
Ience, and alike illustrate some of the most i'm
portapt principles Of art, They are both filled
with the oveffowlng patience Of love.laborr
and close, careful study.
In these, as in his other works, the artist
shows fondness for architectural subjects,
with which is mixed strong prediction for
the antiquated.
ture galleries; but before doing so we may be
allowed to observe that it is impossible to give
special notice to each of the 3ll paint
ings there exhibited. Many excellent works
we have doubtless neglected to mention, not
from any motives of Partially, but simply on
account of our limited space. Our only object
has been to render praise and announcement
where praise and encouragement were due.
From thorough examination of the works of
the American artists, we have reason to feel
hopeful that glorious future is awaiting the
artistic talent of our land and we have no
hesitation in saying that many of the contribu-
tions from American studios cannot be sur
passed in the same walks Of art in any country.
A half century ago Lord de Tabley commenced
making his celebrated collection from material
that could in nowise be compared with the pro-
ductions of Amencan art at the present time. In
forming a thoroughly English collection, gave
himself lasting name and the art of his ma
tive country an impetus that it feels to this
day, Vernon and Sheepshanks followed in the
same path, and, az a consequence, their names
are honored and revered as true art patrons
America waits for the advent of a Vernon or a
DE TaDley. In our city there are at least fifty
picture buyers richer than any of the above.
mentioned trio. Is there one among them with
courage sufficient to follow so noble an example?
With parting glance at Bouquereau's mag
nlncent picture and at Mr.. johns fine work
OF the Harvest Home" (Which grows very
much In our appreciation as we become better
acquainted with iD, we leave the paintings and
md ourselves before the statuary The contri-
buttons 10 this department are very few, and,
as consequence, our labors will be light
"Christmas Morning." by Miss Ida Waugh, is