New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1869-11-20
FINE ARTS.
THIRD WINTER EXHIBITION AT THE NATIONAL
.. .. ACADEMY.

better adapted the arrangement and view OF large and
OF highly finished paintings ought to be required by the
lovers we'll by the creators OF art But as yet the
pretty little palace on Twenty third-st meets all the
casions. IL Ia too large still TO contain the good
pictures that are sent thither, and will
be large enough for years to come.
When the artists shall shame the beauty Of their edce
by the beauty OF the compositions that its walls
will be time enough 10 talk about setting 1t aside and
putting up magnificent structure elsewhere The
display IN this third Winter Exhibition leaves the walls
looking very bare indeed. and suggests poverty Of
should be- II IL not matter OF surprise.
large proportion OF the works In the collection are by
foreign artists there for lent exc the
scantness OF the Exhibition OF the native pictures many
are old, and valuable chiefly as antiques ven
cradle from their association with many a
past exhibition where they rendered excellent
service in filling up yawning spaces There would to
be nothing fresh from the hand OF any Of best known
Church offers that must have been colored
years ago. Kensett appears in style that he has I'M
proved upon within the memory Of man Gray produces
from ancient portrait gallery picture OF two little
boys and q rOckinghorse the like OF which, 1t is but
charitable 10 remark he would not produce George
Wall introduces to the public the Spanish peo-
pie who look like heaps Of grapes and aprcOts made up
in human form; Bellows sounds his mellow horn from
the familiar boat on the same everlasting lake
Craneh shows his beloved Venice again; McEntee
puts in Autumn scene. whose melancholy tenderness
saddened us in long gone. Whichever way we
turn our gaze "reminiscences OF former days crowd
ing upon The dead past TO light in the creations
OF Cole and Durand whose dull unreal things remind
that thing has been done since their day departed
In expanatiOn.Of the poverty OF the Winter Exhbi'
Ons is urged that the artists have been collecting ma
terias all Summer and have works 70 show But
why should materials be collected IN the Winter and
elaborated during the cheerful Summer montfsi Is
there nothing landscape 10 be painted Docs not
social life offer subjects the easeli Cannot human
nature be studied when material nature is barrenl II
any considerable number OF artists were to work at the
themes life suggests the Winter Exhibitions might rival
beauty and freshness those Of the Spring AT present
the Auumnal visitors go he gallery only to spy the
nakedness OF the land, and they come away with sad
impression f the number Of paintings that remain on
the artists hands unsOld.
With the foreign pictures in the halls OF he Academy
never feel that have concern. They rarely
OF such excellence 10 extort applause being usually
old sketches secoudate pieces that have found their
way 10 this country through the pcturedealer the
ordinary oOnnosseur. Whether good, bad or indifferent,
they not American art do they exhibit at all the
plishments the tendencies OF American talent
They often be referred to models for imitation
and, unhappy they not needed specimens OF tho
thing De avoided We shall therefore, say nothing OF
the Kaulbach the Achenbach In the South Room, OF
the Sir Joshua Reynolds in the East Room the T. F.
Rubens the Corridor but will devote few words to
In the South Room aetwo paintings Of remarkable eK
celence The first eye fell was pOrtrait by
william Page the only picture Of his in the gallery
There other portraits In tho room noticeable for
nothing In particular though OF them. II Pages
work were there, would piece OF very fair art
do refer stones portrait OF Col James Monroe
or ~ Powes fullength picture OF Mai Anderson
at Fort Sumter The feebeness Of this latter perform
ance is due In some the thnness Of the sub
ect: but why the general imbecity OF the face and
figure should communicate itself To the GRIM ae
cessorles about him why the cannon balls should be
polished like the gentemans boots or why the stones OF
the wall and pavement should be vanished or why the
uRly coumbiad should be dressed IN satin, ordinary
aesthetic sense fails perceive. IL Is Mr. Huntngtons
portrait OF Richard athers that made pleasant impress
sion as the presentment OF living person who not
irving 10 escape from notice behind the gorgeousness Of
his waIscoat the sumptnousness OF his drapery cur
ians But superficial this, too is by the side OF
Pages portrait the opposite WALL Here no acces
SORES of furniture decoration landscape fine clothes
It "a SIMPLY human face; not remarkable
face eher II has no beauty in II, no ideay no high
ntelig ence; It is solid countenance, such as may be
seen any day in the Office or the bank but II IS
not mask il has been built up there Is substance be-
meath the paint substance OF paint OF course, but paint
laid in carefully 10 represent the hrmness Of flesh, aud
nppearng through the color OF the skin The result is
not so taking 20 eye the faces that only skin
deep but to the mind satisfactory, for 1t pro-
yokes study; IL suggests history II makes you feel as IL
experiences recorded by both sitter aud artist the
one bringing his life the studio the other making him
leave there traces Of IT, Tho work Is what Is popn
larry termed earnest though 1t seems TO be less so than
the demonstratiye staring fowning serious tragic pic
that have an air Of blgness IN Dehg or aeheNe
nent but no aspect OF power.
The second pantIng that rivets the general attention.
os IL ged ours is called The Duenna Asleep" by
Mr. d. p Knight picture that was warmly praised re-
Gently by art critic In Philadelphia as emitting the
artist exceptionally high place among his coten'
porries and giving promise OF achievemenln more an-
bilious undertakings We cannot quite share the fervid
enthusiasm Of that admlrer whose euloginm was
prompted in perhaps by personal friendship
bat as compared with other pictures In the roo-with
Rtchie's Fitting out HOses for the Fair" for example,
a picture wholly wanting in concentration OF purpose
Mr. Knights canvas has extraordinary merits. The sub
ect is tre and us, inappropriate Young ladies' In
America do watch for their lovers from balconies
are not guarded by duennas not menaced by dark
browed papas in velvet with leweled daggers In
their belts. The story Is Venetian or Spanish,
and centuries old az that But II Is admira-
bly, told. The balcony and the broken wall might
hive been done from nature. The old woman IL asleep
wholly gone obivious; her sleep Is sound The young
girl is not too beautiful and not bit sentimental or sell
conscious she thinking OF her admirers III the gal
lcry IA Moses sisters her mind Is far away her
are inward she Is much watching rs re-
menbering anticipating She is - unaware as the
nurse black presence Of her uncle OF father VINO
has stolen behlnd aud. parting tho curtain Is gowerng
down into the night In search OF lover VINO IL
not there but the girls heart The picture puts
the gazer on asking questions. IL shadows forth
a tragic tale, which history has not yet devel
oned The passion "a unrevealed the thoughts are
unuttered the hearts full but OF what, the Wis
,,o, ,,ps, ness The duenBa Is tired OF It, aud has
into dreams the girl lives In II the man burns with It,
The interest is concentrated not on fact but on fore
holding of evil. This shows genuine poetic feeling that
would serve good purpose In the treatment OF loer
,bemes Az we remarked at fret. the management Is