New-York tribune., 1870-04-30
FINE ARTS.
THE LANDSCAPES AT THE ACADEMY.

| TIE LANDSCAIES Al 1iE hCADEhf.
| When it is remembered that the exhibitions
at the National Academy are, purpose being exhib
tons Of IT exists in the community large that
they displays Of choice paintings by artists OF
established fame but collections OF paintings sent in by
men and women OF no reputation often and accepted ON
easy terms OF merit the number excluded being It Ia
understood, quite small and none being refused that
have any claim to call themselves works OF art 1t must
be admitted that the present exhibition deserves good
deal Of praise. Is the Academy becoming more hospa-
blei or the artists becoming ambitiousi We
| hope that both remarks are true that the Academy
means to encourage and develop the resources OF art
and that art to establish it headquarters In tho
Academy. We will be hopeful and hail the present large
display pledge Of even better things in the future
For some years past the walls Of the Academy have
not tempted purchasers The artists of acknowledged
emnence, b. giving private exhibitions OF their works,
diverted attention from the galleries In Twenty
10 such extent that they ceased TO be the gathering
place for connosseurs; and consequently 1t became
necessary FOR the young TO follow as well as they
could the practice and seek market elsewhere Tor
their productions The new management WILL We trust,
reform all this by making the Academy the center OF
attraction. This the artists are well represented
Some who have been long absent put in welcome ap-
pearance and Others who beginning to think OF alb
sontng themselves altogether once more come cheer
| 'ully in.
The next thing to be acquired is sefreliance the
part the artists courage to be simply true to themselves
TO leave cOnvenonay behind TO abandon the imitation
OF popular modes to give up the attempt to please GER
| tain class Of humdrum picture buyers, and dare to
educate taste, 1t would be at once pleasure and An
haa0r TO satisfy The call now for original work not
necessarily great work. for that demands genius and
genius rare for fresh work. original in the sense OF
reng independent Whatever praise feel disposed to
estow the present exhibition and we are inclined to
praise literally, this praise must withhold. Never
been struck than we are this Spring with
the sameness may the monotony OF the pieces on
the walls pleasant they some of them very sttrac-
tive; few charmng none discouragngly bad Still, In
passing from one to another, experience little relief
only now and then surprise The themes are but little
varied the key is prevaingy the the tone Is but
slightly mpded. There is the old passion for Autumn
scenery, account 1t must be presumed OF the easy
effects that are produced by the gaudy colorng The
bright and yellow leaves put in everywhere some
it would for the purpose OF giving live
illness to q scene which sincere art would render lively
| enough without them.
There is rage too for hazy atmosphere that envelop
the distant hills, and conveniently hide from view the
outlines Of rock tree, and shore. Is this never an ex
cuse for careless handlng never an escape from the
| painful duty OF drawing anything well The evil
minded will think 1t is whether justly or not These
faee effects are deusve and suspicious II they do not
| spring from incompetency they suggest it.
The landscapes Of the exhibition start another re-
| lection Ths-that the artists allow themselves to run
|
single idea. They paint tho same pictures over and
over endless repetition, saying the things In the
same words Having hit on profitable vein OF senti-
ment dainty trick OF light secret OF color, that Is
attractive they 90 doing that and nothing but that
year by yeaI-church painting, sunbeam, nothing else
The pictures are called "Heart Of the Andes" "Damas
| cusp Jamaica" Niagara" "The Mountains or
Edom" But there ia just feature that characerzes
| them ALA beam OF light, now streaming through
gorge, now blazing waste, now flashing in rain
bow, now glowing on volcanic crater now burning
behind rancloud The rest of the painting is in each
case substantially the one foreground or back
ground would answer for them all. The first time the
glory burst sight, it beautiful surprise; up
TO the tenth twentieth time, It its attractive
ness though in constantly decreasing but ii no
longer either surprises or delights.
g. r. Clifford has the art OF painting luminous at
mosphere He does Il wonderfully well. The two pieces
here In the Academy the best he has ever given u.s.
The "Tvon" is delightful, and the "san Giorgo
fairly floats peary glory But It is time he did some
thing else McEntee makes the sentiment Of the Au-
his sraoiatv No one feels the Autumn pensve-
ness as he does imparts his feeng deIicatey to
others Having done that, nothing remains for him but
10 do il again. His picture OF Venice is not good la
Fargo paints the soft fog Of Hewportalways that
and nothing without that. He has eight pieces in the
galleries. differing widely subject studies In landscape
painting portraiture; but the Newport fog is in
them ALL this ETHEREAL yapor that imparts to his
flowers their exquisite spirituality, to his landscapes
their delicious warmth but one pece is as good as
Dozen George Hall paints grapes, pluns peaches, as
nobody else does He calls them boys and girls Spanish
maidens and by other ancful names but the rich color
OF the fruit is all there is to admire. De Haas tells
the same story Of the Sea- L. w Nichols fingers amid
Autumn foliage describing 1t this time twice to tho
pleasure Of behoders, but depending the gorgeous
light for effects. We pleased 20 see Kenset leaving
the hard water and cold rocks where he had said quite
too long, and painting new picture His Meadows at
Cold Spring" confirms the truth OF the old proyerb at
is long lane that knows turning" Cranch, too, we
are glad to meet in Yerpancks Woods at Fishki where
really home, and where his eye for color has
a quiet satisfaction in placid beauty.
This tendency to small spccaltics though badly over
worked, is not to be wondered at There is no mort
reason Why artists should haveiseveral ideas than why
writer's and speakers should But we have the same
right TO tire of their monotony that have to tire OF
any other The protest against monOony everywhere is
gooS protest and the warning to young men 10 beware
ofuis wise warning IL is painful to see so many can
vases on the walls Of the Academy that prove the
waruiI & is needed
For the reason above gyen pictures Of the older
and better reputed artists interest less than these OF
the lore obscure and younger painters The fuidre Of
art ia deeper concern than heipresen Of art Those
who need praise should have it rather than those whom
| all are prsising.
There are many artists for whom good words should he
said now in order that they may deserve better words
herea.. = l. NJ. Wies, for example, whose clustering
Day. though deficient think In codness and sparkle
the foreground lacking strength, too somewhat fs In
many respects an admirable piece Of work; evidently
face to study Of nature in one OF her Wild moods
Edward Morans nine pieces are OF unequal merit but
they show an activity Of mind that Is comTnendabe ana
most promising. Henry Ferguson, young artist pos
eesses remarkable decacy Of perception and sweetness
Of feeling; yerging y daintiness perhaps but
genuine in their way. Brevoors Chilly Winds OF Au-
tumn indicates power than his other pieces when
arc vacue and dreamy This is rich in color and grave