The New York herald., 1870-04-18
ART NOTES..
Goupil's Gallery.

Goupips Gallery.
sJAMAICA,n BY +. E. CHURCH.
II Ia some time since It was the fashion to ofrcr
An entertainment consisting OF Tragedy or TWO,
several comedies and iarces with liberal inter-
| harding OF singing dancing and bufroonery, all at
one time, az graceful tribute to diversified and
| versatile public taste. 1t has not passed out OF
| fashion in art There q style remains much longer
| than In other depar nents Of human skill Second
or third rate ARTISTS have long made quantity atone
for defective quality and sought by ingenious de-
vices TO divert the attention so scatter the IN
| terest that the majority OF mankind to this
day have but tho very hazest ideas as to wnesher
the pictures OF such men are very good or whether
there only very much OF tnem 1t
Is neF, however for men OF Mr.. Church's ability.
No is surprised at any number OF murders or mys-
tories from the gifted autnoress OF ..Aurora Fioydu
One ratner looks for them. One ls disappointed II
they are wanting But fancy half dozen intrigues,
seductions and murders, with general distribution
OF rewards and punishments at the end, from the
dignited ana elegant author OF Lays OF Ancient
Rome" from the truthful ana pathetic author OF
''David Copperded.n One can imagine the shiver OF
horror which would seize the bewilderea reader, but
1t isimpossbe TO conceive the impulse which could
prompt either OF those gentlemen TO such an act.
No doubt either or them might do It, and do It, per.
haps, wen, but 1t would undoubtedly awaken some
such feeling as that with which one would see
clergyman dance the tight rope or professional
ballet dancer pausng IN his gymnastics to preach.
IL Is with somewhat kindred feelings one sees
painter, who has won and obtained position by his
poetry aud truh OF treatment III the foremost rank
OF landscape painting, take to thunder storms and
mcteorology; not bat that these are very good IN
their way they are only not In his way. One is puz
zled between the epic. the lyric and the meOdran-
attic. Mr.. Chnrch's picture possesses Typographical
Ia n0t
with topography so much as with art that we have
to do. IL Is with the truth and harmony OF nature
and art. One protests against being hurried from
the quiet enjoyment OF q luxuriant anu gorgeous
vegetation, only rvalled by the original, TO the con-
siderauon OF lurd half thunder Storm half hurri-
cane, very family suggestive OF the original Turner
has given some very line storms; but then. even he
did not undertake to treat his admirers to a deli
cately finished landscape at the same sitting Claude
Lorraine found whole canvas not more Than SUM
cient to give the full force aud spirit oi hurricane
IL IS the very essential presence OF Mr.. Church, III
all his most charming charac eristlcs, elsewhere
thronghout The pictures winch makes one regret ne
should have hidden himself behlnd the thunder
storm in the left hand corner. We nave very
lovely landscape, with a wonderfully well behaved
tornado, which leads one, knowing their character
In general to conclude that Is OF the artists
not OF natures, making. IL has come wltnIn the
perience doubtless. Of very many to see sudden
Storm from elevation where, while part OF the
scene Is Dathed IN Sunight. heavy ram may be
falling; but no one ever saw and entered into the
feelings OF both at one and the same time-the
thunder storm. VITA It's wild grandeur and the
quiet, sensuous beauty OF q sunl:t landscape: TIE
storm Is a break In the harmony OF the picture
Tney may be common in Jamaica, but that IL no
reason for srfeing 5he observer with opposing and
confcCing elements. The dignity Of the tornado Is
dwared py its subordinate importance, while the
harmonious beauty OF the scene marred by the
lurld Wnirl oil cloud ana MIST
"R0ADsIDE ELMs,' BY II. W. ROBBINS,
view ona New England road, bordered by what The
painter calls, with painters license, SORT OF artistic
metonomy--ens Tne scene, as q whole, Is charm
ing and there Is In 1t considerable Of character and
feeling. There Is all the freshness and life or |
early summer afternoon. HIS foreground with
exception the Lrees strong good; his distance
is excellent. The sunlight on the grass and the
shadows are also very creditable. IL seems. how
ever rather unfortunate that the artist snOuld have
selected the weakest point In the painting the
most prominent feature, the key note. 10 have
been told that those meaningless logs, awkwardy
thrust INTO the ground with Il snapeiess, senseiess,
sprawhng mass or green at their tops, are trees,
too much TO tell Ills deliberately they are eims.
unless an excuse may be found III the fact Of
their being considerably labelled as such. These
evils however, not irremediabe, there Is
far too much good in the picture for wholesale con-
demnatcn. When the artist learns make his
trees grow, not into bur out OF the ground they
do with very lew exceptions in nature, and throws
In something OF the variety which bright sunlight
makes on MASS OF foliage. he has the feeling and
force when VIII place MIN high III the lists Of
better landscape painters.
.ExTsEMEs MEET''--w. p. W. bANA
The dignity Of common places, II not the dignity
OF art may be considered as striKingy illustrated III
this picture. The artist has seized on the seemingly
prosac clemens OF shops, shopping snowy dress.
ing, shoe laces buttons and beQgary, and has at
least attempted to invest them with the poetry or
art. The measure OF success Is about wnaJ one
might expect TO meet with IN such undertaking.
The result is somewhat the eiect winch might be
produced were one TO meet q verse ol scripture on
a French fashion plate.
by TIE artist mag not have intended; for In no re-
spect is 1t mora singulary exempheu rhan In the /
meeting OF poetry and prose IN his Well meant WORK.
Schaus, Gallery.