The New York herald., 1871-06-18
AMERICAN ART.
Ecns Mercier's Painting Of thu Jerome Park
Race Course.

Llcns Mercier's Painting Of tha Jerome Park
Race Course.
new aspirant to art honors has unexpectedly
turned up in the person OF Mons Mercier the editor
OF the Courier des Etdts Unis who temporarily lays
down his pen to exhibit his skill In the use OF the
brush. The result is creditable to the energy OF
Mons. Mercier. and II his work shows some OF the
defects incidental to first Efforts al least 1t gives
evidence OF GOOD deal Of art feeling. The editor
artist has made bold effort In q field hitherto
neglected by American artists, givingus
PAINTING OF A FAMILIAR SCENE
OF our everyday liie The picture under notice rep
regents the Jerome Park race course. For the FORE
ground OF the picture the artist has selected point
on the road at some distance below the Grand Stand,
evidently with view to the Introduction OF some
horse r1esh studies which are the most prominent
features OF this composition. 1t may be well to re-
mark here that Mons Mercier's picture is painted
in black and whlte there being no attempt TO intro
duce any other color. The moment chosen for the
artist is that In which the h0rsemen are pass
Ing the Grand Stand, which Is away IN
the distance, crowded with spectators, who
are seen indstinctly Excitement Is at
its highest, but though we the race
1t forms only subordinate feature and Is rather
explanatory Of the position and interests OF the
ture OF the picture The centre group In the fore.
ground consist Of very swell young fellow on
horseback, In the act OF saluting
TWO FAIR CREATURES,
who are passing in q light wagonette, driving
nigh stepping horse, and who don't seem to care
anything about the race, as they are driving OF just
as the excitement is ut its highest At least, SO we
Judge from the action Of another horseman behind
the centre group-a perfect type OF the Pari-
sian petit creue-whO Is bent over his
horses head, eagerly watching through 1eld
glass the result or the running. The pose OF this
figure Is excellently conceived, but the effect Is
spoiled by the incorrect drawing OF the upper part
OF the figure which is in the worst modern French
style the left leg Is, on the contrary well sketched
in, and exhibits anatomical knowledge. Immedl-
tire OF picture, Is carriage drawn by tour horses
also in the act Of leaving the ground. The front
seat is occupied by group whose attention is occu-
while lady and gentleman placed on the back seat
are
OCCUPIED IN FILTRATION
and are perfectly oblivlous OF everything around
them. In the treatment Of these two groups the
very haPpy. The Irritation on the back seat OF the
carriage is decidedly the best thing in tue picture
vulgar looking fellows, evidently betting men, oc.
cupy the left foreground, and behind are seen some
more sketches OF horsehesh.
grouping and character drawing OF the figures in
The foreground and In just 80 far as they repre-
sentative OF American life and manners Is the picture
to be considered success or failure. In compost
tions OF this kind we look for
CHARACTER PAINTING
and correct drawing. 1t is not enough to sketch in
horses, wagons and men in o confused manner, ana
throw vigorous action into the figures. We require
correctness OF outline ana some Expression OF posi-
i've qualities % ~ w"lcn we may recognize the cna
o H Ra Is
one figure IN that great painting which is not rep
resentativs, from sns lsnguld swela,he enylabie
little tumbing boy, who LOOKS askance at the good
things in provision hamper, which lies temptngy
life and almost every phase Of Y English @ i lie % Is
shadowed on that wonderful canvas. The picture
before US Is an attempt IN the same dircctlon but
THE DEPTH OF THOUGHT
or knowledge OF the social liIe OF the people which
is visible In Frith's painting Only few incidents
OF the most trivial ana obvious KIND have been
realized, and even In these there is want OF
naturaness aud ease In the rendering. 1t Is evident
at glance that every figure mas been placed In its
present position Tor effect. good deal OF lite Is
thrown into the animal painting but vigor is pur-
chased at the expense OF truth. Great liberty Is
taken IN the drawing OF the horses legs, which are
thrown right and LETT with but little regard TO the
welfare OF tine horses. vigorous treatment Is all
very WELL but 1t should not De given at the expense
OF correctness of drawing We cannot too much
THE FOUNDATION or ALL ART,
and in production M Ike the present. piece Of
pure chidTo 0Sct0'O-tle closest attention should
have been paid TO perfection or outline.
The treatment OF the landscape mas been more
SUCCESSFUL, duu dDSeuCe 0l color
IN the sense in which we speak 1t as distinct from
black and white, some pleasing effects have been
produced The perspective Is decidedly good, and
the painting OF the tree studies in the background
and In the distance give promise OF good future
work. M. Mercier has evidently correct IDEAS about
painting, and only requires increased powers OF
execution TO produce creditabe work. Large masses
OF dark clouds lll the sky foreground, which is in
deep shadow. The high lights proceed from the
upper clOud region on the left OF the Picture and
are somewhat abrupt. But good deal OF ieeling
and knowledge Is display ed IN
CLOUD PAINTING.
but 1t leaves something to be desired. The masses
OF the clouds In the foreground too OPAQUE, and
there Is not single indication OF the strong light
which Is proceeding from the upper cloud region
nature would represent several leagues are painted
OF a dull, ieaden color, with here and there gmpses
or the bright skies and little frngeS OF light which
show that the artist knew there was light behind,
but was unequal TO Its expression. 1t Is strange
how few artists can paint decent sky, and tle
powers of observation. The common error Is Ior-
getting that
THE LIGHT BEHIND THE CLOUDS
comes through them IN different quantities, depend
Ing on the density OF the clouds. which varies very
much over large areas. In the handling OF the
lights there Is displayed certain raw vgor, which
is not dtspleaSnQ, and though the execution Is here
and there marked by crudeness, the general result
Is certainly creditable to the artist and furnishes
abundant promise that with increased knowledge
among our American artists. Indeed there are some
hints in his picture that some OF our professional
artists might study with advantage.
TIE LATE CONSUL De FIGANIFRE,
~ u k-s-------.- --s"sns l.. =
Solemn Reauiem Mass at St. Peters Catholic