New-York tribune. [volume] (New York [N.Y.]) 1866-1924, 1870-03-22

art an intcnser spiritual apprehension OF nlo
from varied religious agitatons' ahd' aoo'o "'' .
growing recognition of humanity al large a' 'H'
true object of effort -.
That all this is prophesy as ye'' the'e - -
IN discuise While due credit Is gwen 10 VIM i"e''
Geo Inness WIN. Hunt, Furness, La farge' Ta9'n'"
Johnson, John Yedder, Winsow Homer anu o'n,'
few for their efforts TO rescue painting lio o n''''
If materialists: and to Brown. Ward. and Bal Tor
what they have achieved in sculpture the stern sen
fence is passed, that "of art. as gcnns' we nave
no,e nc the EXPRESSION of an aesthetic constitution
and ambition very little: OF conscientious study ana
nrofound knowledge even less; but as the frult OF
the demand and supply principle in business mnch
This principle and the artistic fruit thereof MI
Jarves does not spare. The means by when painters
and sculptors advertise themselves arc severely
characterized as they should be. An increasing
number of persons in art for no sincere pur
pose except to speedily become rich" strange eA-
Incident tLe artists will think. The "big things IN
art "icebergs of Labrador, recesses of the Andes
deserts of Arabia are well and may be even lauda-
bic. when faithfully done, as representations OF
natural landscape but works of art they are all
lint worthless 'They are bold and effective specu-
atons in art on principles of trade; emoOnless ana
soulless Natures best is left out" Berstadts BEST
picture the Rocky Mountains" is, in his View'
| "cold and untruthful; a tableau ike inventory
| whose effect on the mind is similar 10 souhuhg
phrases of little meaning His moro recent Work
may be compared to mere rhetorical oratory.
! Church's Niagara" though with no more sent-
ment, cold, hard atmosphere, and metallic HOW Oh
| water gave greater local truth, and was literal
transcript of the scene' Leutze Is pronounced
"chief of the melo-dramatists,' reproof OF whose
"slop work" is of itself sufficient to vndicate the
school of Eastman johnson and Winsow Homer
| III poo wit rebu<e.
unfortunate conception of art and artist is filling
our land with gigantic inanties in stone miscailed
| monuments but which are mechanical monstrosl-
ties" VIII Boston ever forgive her son for the pitt
less criticism of her monumental masterpieces, " the
limp statues that suggest scarecrows in corn-held
| The Horace Mann by Miss Stebbns "tormleSs
and void holding out the sleeve that does duty Tor
| an arm, as if in charity POwerss Webster
built after an intense study of his last suit OF
clothes :" Runners " Hamilton which seems TO be
| intended for lone of the AtheDian Hernia IN
| Yankee guise, the head being the only human sug-
gestion about it, Story's Everett q" bursting OH
his coat buttons in frantic attempt to box the sky
or to hail George Washington to stop for him." This
is very disrespectful but there is good deal more
of the same refreshing sort. Mr. Jarvos has hearty
dislike OF "inane sentimentalists of the Powers
| class" and doubts whether William Story has any
SAVIOR of genius lie does not applaud the Eyes'
Judiths, Clcoparas, Medeas. Sapphos, and White
Slaves, "crude fances of secondhand sentiment, or
bad eiiges in stone of imperfect nudiyin the ileshi
Mr. Jarves thinks that when the pure ethics of the
Gospel Of Jesus shall rescue religion from narrow
ness bgotry, IrratiOnalSm, and disturbing influences
| of dogma the freed Imagination VIII see VISIONS OF
celestial things more radiant than ever. But when
will that time be? And what will be the signs OF its
coming9 The greatest art has been, as he maintains
| inc mir a1 l,v ral
TO the passion for scnsuOus beauty which was char
| acterstic of the Pagan ideal. Medieval art gave
form and color TO the moral ideal, the enthusiastic
aspiration after spiritual life, and the dream OF
| bliss in a heavenly world In modern society, and
| especially in America religion tends more and more
to become practical ethical, phianthropic, humane
It's enthusiasts mingle with those of politics. bcne-
fcencc and reform, and are confounded with the
currents of social impulse that set from different
| quarters towards the moral advancement of cOmmu'
mites. What expression art will succeed in giving
to this phase of the religious life be matter of
pure conjecture The two immortal moments from
which much was expected the War of Independence
and the War for Nationality have not justified the
sangune antcipations of those who looked for great
works in sculpture and painting. Neither the serti
men of Liberty nor the sentiment of Patriotism has
acted with any power inspiration to genius.
The complete triumph of the republican principle
would even effect a social revolution among us;
but would 1T lend impulse to art Mr. Jarves
appears to build hope another possible epoch in
our destiny which shall decide as firmly and finally
the principles of religious liberty have been those
Of political and material progress" But the results
OF such a struggle suppOsng it to come and to issue
as all good Americans pray it might would show
themselves rather in intellectual and social than i'll
aesthetic manifestations IN forms of truth rather than
in forms Of beauty That art will have future
can seriously question That American art VIII come
when il does come the child of our spiritual
life our enthusiasm, faith and hope, social,
political and spiritual convictions, is equay certain;
but it is much less easy to foretol how painters and
sculptors will be moved to represent these subtle
principles through the Imagination. So long
cioy is in transition state art will be also. Ameri
can art is in satisfactory condition, the whole,
as American literature S Both are unsatisfactory
| hut both have been worse and both will be better
So much say, that art is, year by year. becom
| ing more natural pleasing, wholesome and consci-
entious. If il goes improving in these qualities
it will Justify its existence and hold title to respect
| though it may not for many day reach the high
| standards of antiquity.
Mr. Jarves, though lacking the metaphysical
! power of Ruskin and the scientific knowledge Of
Iaine. has a clear perception Of the relations that
| exist between national art and national life. The
most instructive portions Of his book are those that
describe the moral condition Of society in different
countries and periods, and under different forms of
government, and then show how all this reports
itself in the works Of the painters sculptors and
| architects. His account of modern Italy and of
| modern France is painfully vivid. His analysis of
of the present state of American life is thoughtful
and sincere not at all discouraging the contrary
suggestive of hope in the time to come. But through
II all as through the whole book runs the strain of