New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1867-02-02
FINE ACTS.
II. W. prRnY's rIcrURE GALIrRY


obted that II leaves nothing in these respects 10 DC
desired while. as if to give people excuse for not
JLiro in 70 see what he has been doing he has IN
drcod Mr.. W. p. Wright of Weehawken TO sell mm
,ba whole of his well-knOwn collection OF plctues-
posa Bonheur's "Horse Fair" includcd-and has
brouCbt them all over to his new gallery in order to
give it good christening at the very start.
There are AS pictures these walls, and nearya all
of them belonged to Mr. Wrights gallery but, as Is
almost inevitable in this country at present, only
small proportion of paintings out of such number
are of fiIst-rate excellence of permanent value II
requires a rare combination of taste and wealth to
make large collection Of pictures which shall con
tain only few poor ones; and lest we should be
thought to be unjust to our countrymen, we hasten
20 add that among the vastly greater number OIL phi
waite galleries of England and Europe, there are as
few in proportion that would not be the better LOT
thorough wedding out, as there are in America.
When Mr. Wrights gallery was formed, 1t was one OF
the best in this part of the country. and the posses
sion of the then famous Horse Fair" made IL Ger
taiuly tho most distinguished. But, since that day.
the enterprise of importers OF foreign PICTURES
the improvement of our own artists, and the cOmpe-
tion of our wealthy collectors, have at once raised
tho standard of what first-rate gallery should be-
and madet easier for Americans to secure good for
egu pictures when they are painted. Not the less
we are to honor and thank the pioneers who have
given their money and their influence TO advance the
arts and who have done so much to educate and
Improve the public taste.
We are glad to see the Horse Fair" again, after
the lapse of several years. and to find that our old
Ieasure in it is so little weakened. 1t certainly is
al admirable picture, and justifes the popular YER
Diet which has placed Rosa Bonheur first among iy-
Jug animal painters, Ruskin, it viii be remembered,
refuses 10 admit that she can paint anything more
than troting bodies Of horses" because she cannot,
or does not paint the human face" shrks it" as he
writes. See Notes &c, &C." No ~, 1888. 1t IS
true she does, but the same criticism Will apply TO
every great animal painter Rubens hardly accepted,
il he be counted among theml and most certainly TO
Iandseer whom Ruslin has praised most highly and
warmly analysing of his pictures in illustration
of what Inc means by greatness in art I" Modern
Painters Vol l. Chap. q; yet Landseer has painted
the human face but seldom, and never well. Tins,
however does not forbid thinking him a great
animal painter: nor does Mile. BOnheurs weakness III
the same direction prevent her being most form
liable rival to the great Englishman, IT, indeed She
be not his confessed superior
But it will hardly be denied that the Horse Far
Is powerful picture. 1t is interesting to the artist
for its technical qualities and to the multitude for
its vigorous realization and its homely truthfulness
IL is i'm fact eminently picture TO please the multi
tude by It's frank appeal to their sypathies and its
condoscension to their understanding qualities which
ensure its perennial popularity 1t is, of course not
work of high art, great picture in respect OF
purpose or motive: but then it makes no preension
To DO such, nor have any right to demand lofty
purpose OF high motive in treating such subject.
All we can fairly ask for is, truth to nature; and
loyalty 10 truth and fthfulness TO nature, are Rosa
Bonhcur's proud characteristics.
The Catalogue does not tell us whether Gallaits
Last Houors paid to Counts EgmOnt and Van Horn"
IS the original sketch for the large picture or re
dnced copy by him. made perhaps, for the engraving
II is next to the Horse Fair" the most valuable
picture in the gallery, and ought to be carefully
studied by those who would understand how Gallait
acquired a reputation that is hardly upheld by his
more recent works. Almost all his subjects either
CHASTITY or sentimental and even in this picture ii Is
only its Importance as an episode of high interest in
the history of great period that makes its ghasti-
ness excusablc. 1t is strong and impressive work,
aud though hardly done justice to in this reduction,
its power to stir the feelings still be understood
The present replica is beautifully painted. and will
bear the closest study.
The two specimens of Edouard Frere to DO found in
this gallery will explain to many who have been
puzzled to reconcile his fame with the poverty Of his
recent production why his name stands so high.
The Little Housekecper is of his OyelieSt and
most characteristic works; as beautiful the
day il painted. and TO give delight rs long
as il eudurcs Nor viii its power TO cheer the suffer
ing and the lOwly, and 10 make the happy and the
prosperous thoughtful be ever less than it is to-day
Cor il Is power it owes to its inspiration 10y nature
aud the sympathy it betIays with of the hottest
and loyelest, though all unconscious, traits Of
humanity. BY its size and its merely external sub
ject this little picture belongs perhaps to the some
what indefinite class called genTc but its purpose
and it's treatment carry it far higher than the Plas
sans Fiches TrOyeTs.aDd ChavCts reach into the
nobler regions OF Truly historical and religious
painting
The specimen of Fleury which We find here gives
us high opinion of his power The subject, though
historical is of that unfortunate selection that
qures a long printed explanation TO enable to
derstand it, and when We find it, It's not worth the
search" The painting too is very bad the faces in
expressive and tho action aud grouping of the fig
lures generally of that artificial made up character
that we are too much accustomed 10 see in historical
pictures, and which always remind us Of theatrical
tableauX
As for Mr. Leutzo's Lady Godivo" about which
much has been said We should he glad 10 be
relieved of the necessity OF saying anything But
this painter. although his reputation Is steadily
the wanc, is too often alluded TO in terms that imply
an assured position a leader iii American art 10
permit that we should seem by silence 10 assent 10
such an opinion We have often enough declared
our belief that he Ii one Of the worst of Onr painters
happily OnIS only by adOptiOn-and that he is one
If the most DANGEROUS 10y reason OF certain snowy,
superficial qualities that take the eyes aud
warp the judgment Of uneducated people But
it is nevertheless true that in spite of his
education and training, he cannot draw; that
his color Is always bad, and, worse than these
defects, that he never touches q subject he does
not dscredit by some falschOOd or degrade by some
Vulgarty. He has often enough chosen themes
whose holiness has not saved them from being turned
into ridcule by the afcctaton or false sentiment of
his treatment whose historical value has been
destroyed by his want of comprehension of the mean
ing OF the event but it has been reserved for this