The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-08-30

IN the Bogardus Gallery.
II is to be regretted that artists possessed OF
tain power will yet condescend TO minister 10 the
diseased taste or that portion OF the public which Is
nothing If sensational. Seeking after sensation
whether in literature the drama or in art, Is the
vice OF the period which threatens to corrupt not
alone our manners, but our hearts, and render us
Indifferent to
THE GENTLER TOUCHES or NATURE,
In which dwell the highest and purest influence for
good the spirit of man. Whatever tends to
weaken this elevated sympathy with the higher and
more refined feelings OF our nature is opposed to the
true end and aim OF art, and should be carefully
avoided by all who have Its interest at heart.
These reflections were suggested to US by one OF
Mr. De Haas late works. "The Wreckers" at pres
ent on exhibition IN the Bogardus Gallery. The
scene IL laid on coast OF Long Island and repre-.
sents ship stranded the waves breaking over her
side and stern The Grst thing that strikes us Is the
ncongruity OF the incidents and the title of the pic
ture. Our notion OF ''wrcckers'' Is strongly con-
nected with
DARK, STORMY NIGHTS
and the exhibition OF false lights TO tempt the un-
wary mariner TO his doom. Then the class OF men
who engage in wrecklng are popularity supposed 70
combine all the vilanous traits OF the smuggler
and the pirate without any OF the bold qualities that
relieve, If they DO not redeem, the chara cers OF
omewhat surprised TO discover the group OF men
on the beach engaged In the noble work OF endea
voring to save the crew; for such we esteem to be
the object OF establishing the line between the shore
and the ship. The presence also, Of lady and gen
tleman who are
SITTING cooILY on THE STRAND
In the foreground has certainly nothing In common
with the idea OF wreck and, for the sake OF our
common human nature. we hope that there are not
two people in America who could sit so unconcern-
eddy by while number OF their fellow beings were
in momentary danger of death. However, we do
not wish to lay TOO much stress on the shortcomings
OF dramatic power IN the figures, as the artist evil
IDENTITY intended them only accessories and
meant to tell his story in the angry waves and
THREATENING, LURID CLOUDS
that ill up the background He has. doubt, pro-
duced striking picture, but 1t is at the sacrifice OF
what makes picture really vauabie-truth to ia
ture and harmony OF tone and composition
The sun Is going down and is hid behind a mass
of clouds, through which luminous night Is break
ing, and, falling along the shore line, bathes The
white foam dashed on the strand by the waves, In
food Of golden light that,
NINGLINa WITH THE sILvERY SPRAY,
produces infinite variety OF color. This erect,
though perhaps bad In itself, we confess IN all
our seaside experience never to have seen anything
IL
the scene, and only introduced as kind OF line
light eject for the purpose OF contrast. similar
want Of fitness is exhibited in The selection OF q
| clear, graysn blue sky, tnged with faint yellow
| light, while tie mass OF the clouds In the back
! ground are dark and terrible. Through one large
dark gray patch Of lower cloud that, separated
from the heavy masses. Goais away into space,
| GOLDEN AMBER TINGE
Is breaking and gives US real cloud effect, for
,fnp niy
this luminous cloud sailing across the sky, TIL
man effect is sought in the mass OF coud-yellow
| white and gray-from behind which bursts tn
! hood of sunlight The cloud forms are well painted
but the light and dark effects are too sudden. anC
| by their
WAIT OF HARMONY
destroy all tone in The picture. Nor is there any ex
| panation why the storm SKY OF the background
should be accompanied by the calm clear, cold, blue
sky of the foreground Not a drifting cloud ex-
plans TO that, though past, the storm has been.
In the cloud painting the artist has gwen beau
| tiful piece OF purple sky rich In color and well In
! form, which Ii
GEM OF THE PICTURE.
The effect OF the purple light over the dark head
! land in the background is also very pretty but nn
| fortunately none OF the picture will bear too close
Inspection IL very much to be regretted that the
arust allowed this painting leave his easel in its
present crude state for there not wanting in the
picture Itself indications that he could do much bet
ter: ana If there were not internal proof of better
things quiet nshing scene in the same gallery
which we Will notice IN few days, would convince
the most sceptcal that the
VERY GLARING FAULTS
| In "Tne Wreckersr are due not 80 much TO want 0
power as To over straining after effect, ana hast
execution. The cloud drawing in this work Is IA
ABOVE the average in American art, and display
Indeed by separating the different efects ana look
ing at them sngy, without reference TO the genera
composition. could find
| MUCH To ADMIRE:
but taken together the want OF harmony In th'
colors as wen IA their too strong and sudden con
trast destroys the good qualities OF the parts anC
creates an unpleasant Impression on the eye.
III marking the points In this work which i'm
| pressed US most wildly we naturally turned
TO where the burst OF white light from behind the
clouds irresstioly attracts the eye ana draws OF
| attention from what after all should be the main
interest OF the pictureto wit, the ship and the sea-
We confess the artist has almost succeeded in max
ing US forget that his painting is picture, and
| we half EXPECT some cjup Dr. thei,re which viii
replace the snip anu sea and give place TO
| A LIME.LIGHr GODDESS
strolling melodramatcaly on the sea shore In that
Hood OF golden light which seems so inappropriate
| IN the terrible circumstances OF wreck. great
| painter would have surrounded the scene with
! gloom and the only light effects he would have
given us would have been the lurid lightning
nLuMNING THE rEWPEsrUoUs SEA-
To any VINO has fet MS heart sink and the sem
tituent OF ttlenesS ana impotence creep over him
| In presence or the immense, majestic pillows,
led with leagues Of white dazzling spray, that
! IN storm roll on In seemingly resistiess strength,
The weak, Dodiless waves Of Mr.. De Haas picture
! are poor representation OF az angry sea. On the
right the waves are dark and threatening. but want
ing in grandeur and MAJESTY. When the sea is
| deeply agtaed the waves
| ROLL IN HEAVY, SWELLING MASSES,
| with the spray dancing on the top, but always
carrying with them the impression OF force aud n
| resistIDe power. This peculiarly the artist mas
failed TO render. though the sea form is not bad. III
|
| sea on right are eXcellently conceived and In Der.
feet harmony with the idea OF storm and wreck, not
wIthstanding the defects OF detail we have pointed
out and a certain want OF transparency la the water
which Is shade too eaden In color. IL Is perhap.
too mucn 10 expect that picture gotten up for the
market should be perfect In all those trinlng detail,
which go to make perfection but the truth Is dc
| not recognize trade In art, and expect that the
| artist VIII not allow work 10 leave In.
easel while he feels he can Improve It, and Is I'm
| possible 10 stand before Mr. De Haas .Wreckers'
and not feel that the artist has done himself MUS