Nebraska advertiser., 1868-11-19

and rest Onthe rocks at the Shore Alb
rupt, steep and rugged cliffs-over a
part Of which tumbles headlong, a
graceful waterfall-frOm the Southern
bOundry Of the lake; and a firing OF
gigantic branehless fir-trees skirt the
Northern shore. 1t is q careful study
after nature and every touch is Bierd-
stadtish.
The "Barfooted Boy'' is a true ar
lists rendering Of Whittier's familiar
lines
"Blessinns on thee little man,
Barefoot boy with cheeks of tan;
With turned-up pantalOons
And thy merry whistled tunes;
With thy red lip, redder sti1
Kissed by stra Wberries in the hill;
With the shunshine on thy face
Through thy torn brim's jaunty grace;
From my heart j ave thee joy
was once a barefoot boy!
Prince thou art-the grown up man
Only is republican.
Let the million. dOllared ride;
Barefoot trudging at his side,
Thou hast more than he can buy
In the reach of ear and eye
Outward sunshine, inward joy
Blessing on thee, barefoot bOy!"
It represents a cOmely rustic lad,
clad in coarse homespun dress, with
his trousers turned up, his hands in
his pockets and the brightest Of
knowing" vet innocent smiles Onhis
face and in his eyes. His face is half
shaded by his brOad-brimed hat his
feet are firmly planted on a grey rock ;
he looks so hopeful, so ~self-reliant, so
entirely at his ease, that he seems the
perfect incarnation of Young America.
The accessories of this picture are a
distant landscape with q tree in the
middle and foreground. They are
we'll handled, but they serve only 10
support the figure, which is one ofthe
best pieces that MI. Johnson has ever
produced.
The "Fringed G~entian" after New
man, is one of those fearfully and
wonderfully elaborate and truthful
representations of vegetable life in
which the pre-Raphaelite school of
arts of New York and elsewhere,
seem to delight. 1t is in water cOlors.
Tt looks as if it had been drawn with
the aid of a micrOscope-the most Lii
liputian details are so exactly repro
duced. 1t is one of the most difficult
subjects to chrome, and we shall take
an interest in examining the result.
Among the fruit pieces in press,
juding from the original, we prefer
the "Cherriesn and the ''Strawber-
ries," of Miss Cranberry, which are
certainly admirably rendered, with a
luscious fidelity to nature. Mr.. Full
ler's pieces are highly finished and
harmonious in color, but it strikes us
that the subjects are less likely to be
universally popular.
The Friends" by Giraud-we for
got to name in our LISTS the picture
Of a little girl, who is petting a New
fOundland dog. Giraud has an axcel-
lent faculty for the conception and ex-
Ncution OF this class of subjects, and
tbi. is one of his happiest efforts. 1t
will Narm the children everywhere.
Tn an . 7tirely different style, but Of
+boson,o Oh, -acter, are the companion
nictn-os nv T q Brown, OfNew York.
This young artist Neels IN 9e1tre Plc-
lures; he renders chit 'eI VIII q rare
ability, especially when L. ete - s SIN
gle figure at rest, but in an a., o
pressive of mental action. The. ~
jects-the MAY Queen" and
"Little Rogue"-are just suited to his
peculiar genius. The MAY Queenu
is little girl in the woods, brilliantly
attired, self-adOrned with wild flowers,
bathed in sunlight, her eyes beaming
with delight at the thought of surprf-
sing her friends by her new and gay
decorations. The Little Rogue'I is
the picture Of a boy, four or five years
old, who is trying to hide himselffrom
somebody cOming-which somebody
he is evidently intending to starUle.
He is STOPPING under a sumac bush,
which he gently bends overhim. This
gives the artist an opportunity for a
brilliant piece of coloring. 1t is au-
tumn, and the declining sun shoots its
rays through the misty atmosphere,
frightening the gay hues of the sumac
leaves and warming up the surroun-
dings of the figure, which are rather
cold and low in tone. The two pic
lures contrast finally the clear, bright
glow of spring-in the MAY
Queen'-being harmOniOusly off Ct
against the dreamy, misty autumnal
vapors in the Little Rogue" MI.
Brown regards these pictures as his
masterpieces.
Easter Morning" by Mrs. Hart,
is a massive marble cross, hung round
about with fuchsias, pansies, yellow
roses and other eXquisitely tinted
flowers. 1t is a combination entirely
novel, peculiar and lovely. We have
seldom seen an effect so original pro-
duced by a combination o fsuch simple
and familiar elements. There is an
af1uence of quiet beauty in the wreath
that is essentially harmonious with
Easter and its sacred memories. It is
altogether charming. If there is a
single flaw in it we have failed to de-
tect it. AS far as the chrome has
gone it bids. fair to rival the original
but we reserve our judgment upon it
until it is completed, we know only
that if it is at all comparable to the
exquisite painting, it will soon be one
Of the most common ornaments of our
boudoirs, vestries, Sunday schools and
libraries.
The last painting on our list was
handed in as we were taking notes of
the new publications. 1t is a small
reproduction of 1.-THE Crown of New
England"-a painting which, both in
England and America has secured for
Mr.. George L. Brown some Of the
highest encomiums from artists and
art critics, which American prOduc-
tiOnS have ever obtained. Glowing,
POLITICALLY truthful, full of brilliancy
and light andbeauty, it represents the
White Mountains when they are seen
to the best advantage-when, as the
portrait painters say, they are in their
highest mOmentsh-transfigured I'M
der the early morning of a late Octo-
Der day. The original on a large scale
is on exhibition at the Art Gallery of
Childs & Co., where it has been visited
and admired by thousands Of our
wealthiest and best educated citizens.
If this beautiful creation, this lyric on
canvas, can be reprOdueedin acsimile,
it will mark an epoch in the art; for
the vapOrs and mists that encircle the
mountain sides, the subtitle gradations
of light and shade, and the marvellous
blendings of colors and tints render it
exceedingly difficult either to initiate
or duplicate.
1t is gratifying to know that the
popular demand for pictures is almost
in the exact ratio of their artistic ex-
cellence. Every touch of nature,
whether in canvass or chrome, is in
stantly recognized and applauded.
The best thingseell best; no reputa-
ton avails against the fact as it is.
t'Ruprleis Remsii have NOT Maid ex-