The New York herald., 1870-05-18
ART NOTES.
National Academy or Design-s0uth Room
COntInued.

NOS 8oo 357 ana S6S are three pictures wn1cn seem
almost too bad to be allowed even to pass with
silent contempt The two artists seem to have con-
trved 70 combine an amount OF bad drawing and
general bad taste In these small canvascs, which
awakens no less wonder than disgust. wretched
In every respect there to be but one redeeming
trait-their insignificant stze. One is utterly at
loss to account for their presence at all; for their
concct and audacty seem to preclude even the pos
sibility OF future Improvement. The miserable.
smirking figure in 357-''Sunday Out''-has the
negative merit Of involving no one but the artist
himself; the dreadful libel, however, the unf0rtu
nate Mr.. Tennyson's popular poem Is far more pre-
tentious. We are told with an efrrontery which Is
somewhat excused by the manifest Ignorance, that
the pink dressed, pink checked child, lean
ing on the family Bible, is the May Queen;
and, In calculation OF that statement are
furnished with two verses from the 'New
Years Eve," containing the dying words Of
the child. who, 1t viii be admitted, must have been
at that time IN very different condition from that
represented on the canvas. Even the beauty OF
Mr. Tennysons verses, which the artist has 80 dis
ngenuousy misconstrued is insufficient to palllate
natural feeling OF contempt for the whole work.
359-THE VILLAGE ROAD.
This painting represents manufacturing town,
judging by the length or the chnneys, In flames In
the distance. In the foreground, bordered by
brilliant but somewhat confused suggestion OF
autumn foliage Is road, down which Is scamper-
ing flock OF yellow. sunstricken sheep, terrified
apparently by their keeper, whom they very natu-
rally have mistaken for o scarecr0w. There seems
to have been q most lavish expenditure Of means
enough, indeed to have supplied even toleraby
painters with some half dozen subjects-and no
small EFFORT which makes one wonder at the result,
which could not easily have been worse.
s3-sOLITUDE-ARTHUR PARTON.
Even apart from several merit0T0us points In this
picture the artist has succeeded In something
which, especially with this class OF subjects is not
often accomplished thorough rendition. Through
out the whole work Is dominant the idea which has
furnished the subject Of the picture. With the aid
OF q catalogue it is sometime, not impossible to
recognize some abstract idea an artist has under
taken to render; but here even without that aid,
there is unmistakably a pervading sense Of deser
tion, loneliness, solitude. The picture might have
been called anything ese There would still be
OF warmth, companionship and brighter things.
The very ray of sunlight which falls athwart the FORE
ground forms strong contrast to the surrounding
sense Of desolation. Here, on this little pool
embosomed amid deep-shaded trees, with the
water lilies resting on its placid surface there
reigns an air Of utter quiet and solitude.
The only living being one secs is bird
wlngng its way westward. A boat has drlfted
IN among the low brush and bushes and lies tenant
less-deserted. One could have wished q little more
mystery In the shades OF the trees and bushes the
shore, and that the clouds had been somewhat less
woolly, or less suggestive OF bOmDardment; but the
main idea has been well understood and gracefully
as7wrHE MOUNTAIN BRooK-HERMANN FuEcHsEL
The composition Of this picture is not bad, but the
rocks and water are wonderfully free from anything
like force or quality, winch would seem to be not
altogether unimportant elements In such compo-
sitt0ns.
This picture was noticed before It let the studio.
but it seems to improve somewhat BY acqualntanc,
and by comparison with several others from kindred
subjects
374-THE AFTER GLOw-F. e. CHURCH, N. A.
Unquestionably this is one Of the great pictures Of
the exhibition, both in subject and for mastery
treatment. There must be an immense variety Of
opinion about 1t, as there always Is about every
work which departs SO far from the time.honored
and beaten tracks In art out no one can deny that
the picture In isself Is great one. Mr. Church's
name alone would be. and doubtless is, to many,
quite ndependent0f any intrinsic merit OF their own;
but he must be lar TOO great an artist to take avan
nctures re mn NAV be exposed. In ons or two OF Ills
later works there has been evident desire 10 rise
above the beautiful detail and epic poetry for
which ne has become so prominent among American
thought ana feeling in art It would be unjust TO
wo as attempted so t. Tnoretto and os diosene @
among the Italians, and Dhrer and Kaulbach, among
spheres aud characterstlcs stand forth prominent
among those who have striven to elevate tn sir art
in the Interpretation Of higher thoughts and noole
fanctes, to the region where the intellectual dcmi-
nates aided by instead OF confi citing WITH feeling
and sentiment. The present picture appeals more
heart What there Is in it or poetry or feeling Is
rather accessory than dominant. lie has aimed at
m haVe q an
peculiar effect, which he calls 'After Glow is one
which re9res no nsS ordinary study os ana
b0rdel ed with translucent red and gold, stretches
along the horizon; through its substan OF unequa
density stream the broad columns of light, throws
into greater relief by the intervening shadows,
1 splky rays from burning sun. Far up toward tlt
mid heavens toat the tremulous waves or colder
| light throbbng and glowing from the departed
orb-ever growing fainter and fainter till tpey mel
away IN the soft warm grays OF approach
and appreciation that the grandeur OF such
scene appeals. 1t requires painter of no ordnar,
middle distance the cold, chill msts Of evening ar
rising from the valleys beneath In strong contrast u
the glowing light above ana beyond. The foresroan'
which has already been offered to other works Q
must q painter, because he does something well
and il he does not the fault is scarcely Mr. churchs
how exquisitey that artist finishes his oregropuds
aqa ansy IL aSs T O.
on the foliage here might as easily have fallen o.
broader masses and ones less minutely treated Tn
great Idea seems moment lost sight OF IN cOnside
fatOn Of the vines and bushes SO luxurantly, II
accurately developed under the sklful touch OF th
! painter. Apart, however, from this the work Is
great advance toward d school from which we ma.
hope much, inau.,tratsd by an artist or Mr.. Church,
understanding and painter OF his skill and ability.
37S-NARRAGANSET-J. r. KENsETT
Nothing could be more charming than MIR. Ken
setts whole manner and 1eeiing In treating tn
class Of subjects Faithful study ana true feeling
have rendered him almost unequalled. He seem
to know 1t, too and tnat may be the reason why he
INDUCES the public with so many OF them. tn
depth and distance Of his skies, the character OF hi
beaches ami rocks the truth and spirit OF the wave
and water are all too well known and appreciates
already to dwell upon. This picture combines man
OF his most charming characteristics, and Is mos
favorable representative OF his style ana subjects
His 'Autumn is less satisfactory. 1t seems to hav'
just missed being poetic, ana comes little short
| being weak IL Is somewhat wanting in FEELING ant
! lacks life and the strong character one has r rig
! to expect FROM painter OF Mr. kensetps acknoW
lodged ability. F
WEST ROOM.
This room seems to contain an astonishing amour
OF work which scarcely rises above medlocrty in tn
aggregate, and falls pitlfully below 1t in several Il
stances.