The New York herald., 1871-11-09
ART MATTERS.
Nehlis's POcnhontas.

The love OF the Indian princess for the daring
white adventurer, Captain Smith, has always been
q favorite theme with Americans. 1t was one or
the few striklngly romantic incidents which re-
lieved the correct. but somewhat dull foundation
OF the infant republic. In spite OF the cant about
sour ancestors" who came over on that eternal
Maynower. there is well founded, though not
OFT expressed, suspicion that the Pilgrim Fathers
were rather heavy set of people after all, very
much given to psalm singing, but with rather
sharp eye to business. They not good SUBJECTS
for pictures, being too angular ana demure and
not even making
GOOD RELIGIOUS SUBJECTS,
for their severity was rather that OF soldiers than OF
apostles. From this type Of muscular Christ ians
the artist turns sway IN despair ana seeks in for
eign lands kindlier subjects for his pencil.
The story OF Pocahontas and her romantic aGec-
ton for the buccaneering captain stands boldly re-
lieved IN the melancholy records OF the colonial.
tion, and, surrounded as IS by something Of the
mystery and uncertainty Of the fable, possesses an
interest that no other incident in early history
can claim. In selecting for treatment
THE srcSY OF PocAnoNTAs
the artist undertook work full OF dinculty, for
our colonial ancestors were as indifferent to the
preservation or Information with regard to
the costumes and habits OF the Indian nations of
their day as their descendants, or successors OF to
day. Owing to the want OF reliable Information as
| to the dresses OF the Indians Mr.. Nehlig was OBJ
lged to lose great deal OF time In order TO pro-
cure such Information woul enable him to cothe
his figures with something like historical accuracy.
The moment chosen by the artist is where the In.
dian princess throws herself between the captain
and his executioner. smith is bound and laid on
q rock, and the council Of tho Indians gathered
around IN dnerent postures, and his doom has been
pronounced. warrior moves forward to execute
the sentence, and Pocah0ntas mas rushed forward
and placed herself between the warrior ana
HIS INTENDED VICTIM.
The incident has disturbed the gravity and impas-
slveness OF the assembled chiefs, and wo have them
grouped with expressions OF anger or surprise,
while somo seem to await with stolld indifrer-
encc for tho denouement Tie artist has been
very happy in concentrating the interest on the
main gronp, aud has thrown much life and action
into the various figures. The subordinate groups
are well marked. and the whole arranged so as to
give
UNITY TO THE COMPOSITION.
We have the motives OF the groups well expressed
and the different emotions to which the incident
gives rise forclby depicted on the faces OF the
assistants. The action OF the ngures is appropriate
and free from all cxaggeraton. It's diflcult in a
large canvas like the one under consideration to
pay that attention to detail which alone can secure
perfection. We are not, therefore, much surprised
| 10 perceive some Inaccuracies In
| THE FIGURE DRAWING,
| and arc only surprised that there arc not more.
owing to tho absence Of good models Of Indian ma
| ture the artist has, TO great and regrettaple
| extent adopted The forms OF The demoralized
| tribes who are found on our border terri
tories, and rs q result the noble savage OF
always Presented to US. We regret that the artist
allowed existing types to have Influenced him. We
| should have preferred TO see him adopt
L A CLASSIC MODEL.
and justify himself BY reierence 1' 10 smiths narra
tive as Wen as on %stnstIc grounds Aer all when
passed we cannot expect hls figures to be portraits,
but rather antitypes OF what he conceives they
| them form. Many difficulties presented themselves
In the treatment OF the compositiou The mass OF
to SO distribute the costumes as to relieve tie SOM
bre effect required much Judgment and artistic ap-
probation The difficulty to great extent has been
overcome, and
THE PICTURESQUE EFFECTS
OF the Wild Indian costume decidedly striking,
| though sometimes little sudtien.
wn o we srye sh se 9 nee M
mGch ihat the artist allowed any consideration to
tempt MN 70 pace on canvas the emac!ated-l looking
case OF Pocahontas we miss the roundness and grace
which Me naturally M ss expect to accompany early
THE DRAMATIC EXPRESSION
q tne agnr9 is good 3D. and the story Of the
mness OF pose which lends such unspeakable
| charm 10 the movements OF young girls. In me-
gectng this important consideration the artist as
lost the interest which the contrast OF the grace
| ana delicacy or the maiden would nave offered
| among the rude forms Of the Warriors We cannot
recognize In the spare and childish form the Oeauti.
fu princess TO whose intercession the white captive
owed his safety. But In spite Of these little short
comngs OF detail, Mr.. Nehlig has produced paint.
| ing OF
! UNUSUAL POWER,
which bears traces OF close and conscientious work.
Many Of the shortcomings which mar the effect OF
subject lie deserves the credit OF being the pioneer
artist In grand national historical painting OF a
class OF subjects rich In incident and which deserve
the serious attention OF our American artists.
Historic painting Is an ungrateful task In o country
where the artist has 10 depend entirely on private
! patronage and where the government exhibits q
| most reprehensibe indifference 10
THE WELFARE or ART,
and those who devote themselves to the cultivation
| or the highest class OF art deserve especial en-.
couragement. Mr.. Nehlig's painting Is, perhaps
the most important historical work ever Produced
on this Continent, and Is singuarly free from con.
ventiona treatment, exhibiting boldness of con.
ception and full grasp OF his subject,