The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1871-08-27
ART MATTE r S.
Magrath's "Sunset" and Johnson's "Lako
Gesrge'' In the Bogardus Gallery.


aspect that the eye is in danger OF passing it by
peglectfully and without needing its mysterious
beauty OF
GEM OF ART
1t Is a landscape, with the evening shadows fall
ing softly on the ground, where the plnking sun
still struggles with the mastering night The left
OF scene Is occupied by dark wood on q gentle
slope. locomotive is just emerging from between
the low hill, ana seems advancing like
some dark spirit out OF the gloom. In the
background We see dark, smoky town, with
Its countless chimneys looming up with
impressive indistinctness, and beyond the
GLORIOUS SAFFRON LIGHT
Of the setting sun has turned the clouds into
field OF mellow, shadowful golden light. The con-
trast is striking but the gradatons OF tint are so
gentle that the deep gloom 0verhanging the city
melts into the golden light OF the sky, without one
harsh or sudden change OF color. We have hero
rural landscape, not q mere local photograph.
From every line ana every tint comes forth thought
and
EXQUISITE FEELING,
breathing Of intimate sympathy with the beauties OF
nature.
The artist felt that landscape should speak to
the heart and to the intelligence as well as to the
eye, and working out his high conception he has
painted for us q sunset poem. 1t is impossible 10
stand before this little picture and not to feel our
THE MYSTERY OF LIFE
and we can imagine that the engine crossing slowly
from behind this hill drags after It, in It's tosome
progress q weight of human sorrow. Peerng into
the shadow OF the great town. the abode of sin and
despair, and we are awestruck BY the Deep I'M
fathopable gloom, while beyond the region Of light
calls spirit to the hope OF the great hereafter.
The quiet evening sentiment OF the landscape Is not
broken by the presence Of animal lie, ana we are
left at liberty to
PEOPLE THE SHADOWS
with forms OF our own creation;
As study OF color the painting is excellent, full
OF exquisite contrasts, with gentle dying Of the
lights INTO one another perfectly charming. Though
this painting is full Of interest," there is total abb
sence of that offensive sensatonalism which
generally accompanies the Introduction OF railway
scene into picture. Full OF the calm ana mystery
Of evening, this painting is very
ORIGINAL IN CONCEPTION,
and though purely landscape, Is full Of dramatic
suggestiveness. II some other OF our landscape
painters would take a leaf from Mr.. Magrath's book
and try to give us something more than colored
stereoscopic view OF nature there would soon be
marked difference in American art works. Unror-
tunatey most OF our artists do not understand that
10 copy the forms which we select TO make q pic
ture and to copy the picture itself are too widely
Lacking the power Of invention which enabled
to paint landscapes which we never see in nature.
but which, nevertheless. combined the most striking
natural effects without serviley initiating the
local features Of particular spot, our artists In too
many instances, take refuge from the difficulties OF
original composition TO the mere copying OF nature.
Thus abandoning
THE HIGHER AIN OF ART,
for as there is no thought In the composition, no
But Mr.. Magrath's picture appeals to our higher
nature, ana belongs TO the more thoughtful lmagln-
csption and in execution. II We venture to ind
fault at all 1t must be with the trees on the left,
which not well studied as they might be; but
we confess That
lends another charm to the painting ana breaks the
monoiony OF the soft and peaceful shadows. There
Is world Of promise IN this little painting and we
sanguine Of great things from the exquisite feel
| Ing ana sense 0f color exhibited.
LAKE GEORGE.
| In the same gallery we find Lake George" very
pleasing picture remarkable for the coolness Oh It's
cOors and the harmony OF its tones. 1t is in direct
contrast with Mr.. Magrath's picture both IN point
tempt beyond producing the local form and colOrs
| OF very pretty scene. Within its own range OF
subjects II possesses quite number OF good quail
ties; the artist evidently
WORKED cONsCIENTIOosLY,
and endeavOred to reproduce truthfully the scene
that spread out before him. In the course Of our
CRITICISM We shall be compelled to repr0ach him.
at least in one instance with a TOO literal adhesion
must state that there is so much TO be commended
In Mr. Johnson's picture that we are half inclined TO
dispense with criticism OF what appears was capable
OF Improvement, IN consideration OF the
MANY RXCELLENT QUALITIES
OF the work.
The scene represents 'Lake George" as the soft
shadows OF an early summer afternoon are Degin-
ming to fall, and so cool Is the tone OF the painting
that we might almost imagine 1t was early morn
Ing The right OF the picture Is occupied by rocks
barren Mills extending to the horizon. The silence
and stiffness OF the water Is only broken by man
be difiicult to imagine anything more peaceful or
FULL OF RBPOsE
than the scene on Lake George and the artist has
shown a good deal OF refinement Of feeling in his
treatment OF the subject.
The early summer foliage Of the trees is green,
but has lost the vernal unts OF spring, and the
leaves are here and there deepening into an autumn
nal brown that breaks the m0nOtOny Of the color.
A tree study in the foreground has been cOnscien-
tiOusly painted but the artist has failed TO mpart
that graceful form which we look for In tree stu
dies. So far from any attempt having been made TO
IDEALIzE THE TREE FORM,
the artist seems deliberately to have chosen the
tree for the uginess OF ITS lines and 10 this paricu
beautiful images. The introduction OF grotesque
objects into u painting like Lake George is grave
mistake, and interferes with the Wilderness OF the
composition. Nor can we see what charm the ar
tis could md In the angular and broken lines Of the
THE CHARM OF VARIETY
to the scene, they offend the eye and make MS turn
lief Truth to nature even is excuse, for Is the
business OF an artist to select not alone what
TO correct accidental deformlties by his knowledge
ana right feeling. Sufficient attention has not been
paid to the painting OF the trees In the wood, which
are
sKETCHED IN HASTILY,
and without any serious attempt at detail. The
drawing OF the tree ramidcatiOn IS also wanting In
knowledge and displays lnattentlon to this mpor-
tant branch OF study. What is the object OF intro.
ducing the dead. leafess tree IN the foreground
1t Is entirely out OF keeping with the scene. and Is
besides, stifly and unnaturaily drawn. Nor can We
much admire either the form or color Of the rocks
IN the foreg round, They are certainly
NOT TRUE TO NATURE,
and we are not able 10 regard them as an improve
ment IL Is pity that more attention was not paid
to these tribes which are for the most part the
result of carelessness. These little imperiectionS
tApfNrn xxsitn thn a
Ing picture.
Mr. Johnson has modelled well his hill form, and
treated successfully the scant, yelow-tinted verdure
wnlcn Il made to harmonze with the more pro-
nounced green OF the trees The right OF tne lake.
The distant erect OF the hills dying away on the
horizon Is excellenty rendered. and gives great
depth to the picture. good deal OF care has been
expended the painting OF the sky, when Is very
good though the lower cloud forms are not as well
studred as they might be- nor Is there sufficient
sRSsB OF ATMOSPHERIC;
but, with these drawbacks. the sky Is natural, and
wlfnnut sIIaInng Alter eject. In tone IL Is de-