The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-01-14
ART I'm ENGLAND.
Among the Galleries.

III nouilSnlng cOnultlOn In England. Nor Is the
evidence of this Improvement confined to the fact
OF more extended patronage, but Is to be found In
the higher average merit Of the WORKS exhibited.
Owing to many causes the critical taste OF the
people has become more correct, and the class OF
Indifferent works which pleased some years ago are
rapidly losing their marketable value. Of course.
IN mercantile nation, where new men are con-
stantly sprnging up, there VIII perhaps always be
a demand for mediocre paintings, but the popu-
lar1zatiOn OF
ART EDUCATION
constant contact with foreign nations threatens
to reduce this kind OF market TO the smallest pos
sDle proportions Indeed the experiment. which was
made some years ago OF introducing foreign into
the English metropolis through the agency OF the
French Gallery in PAN Mall has been att ended with
the hapDest results. For the first time the general
British public were admitted to see the works Of
educated artiss-men whO TO the feelings ana
OF the artist added the great technical
skill and hnish OF the workman. Hitherto the
efforts of the native artist who, with the poetic lee
Ing and desire to express 1t which Is the foundation
Of artistic power, were yet wanting IN the strict
AcADEMICAL TRAINING
which alone coniers the power 70 give fun and alb
sOute expression on canvas TO thought. Even the
English artists themselves had not fully recognized
their own shortcomings. The majority were as
ignorant OF what was passing on the Continent as
was The public. Wrapped up In their insular self
confidence the inferior men believed that they were
on perfect equality with those Of their own class
In other countries, and that II Was only the shining
lights OF foreign art who could pretenu to any supe
rioritv over English ARTISTS. One day an enterpris-
Ing gentleman opened the French Gallery, and
both the public anu the artists were rudely
awakened to The fact thai the fashionable
art winch mad pleased them SO much was
little IN advance OF the efforts Of students,
though characterized by mucn force and luil OF
charming sentiment and poetic feeling. 1t was I'm.
possible Tor the most patriotic Engllshmaa not TO
sec That IN point OF education ana the power OF
finishing there was comparison between the
English and the foreign artis-s The lesson was not
altogether lost the English artists, many Of whom
at once freely acknowledged how much they mad
yet to learn, and went TO their studios resolved to
see II by study they could not DO something
like their Continental neghOOrs. As a result
higher finish ana more careful work Is becoming
less Oh the walls OF the purely Eagllsh exnlDl.
tons. The french gallery has become al lnstu-
tiOn OF the winter season, ana Lately there has hcen
added another popular educator winch promises
TO throw even It's pre- IeceSsUr mo The shade.
The FLEMISH GALLERY
has created q sensation IN the English art circles
which Is out the continuation or what Was lett iast
summer " hen some iOfei9d WORKS appeared Oh me
walls 81 Inc National Academy ID dwared the
Efforts OF the native exhibitors. Great discomfort mas
been created oy TIE ui0oked Tor htruS,On Oi These
1Orels ners among those engaged IN the ininliac-
tura OF arr ald the necessity Is let all sides TO
counteracJ the acct OF these works the public
mind. As .nay well be judged tha5 very numerous
CLASS the mediocre artists, are awning but pleased
VITA the enterprIslng Individuals VINO let the ilgnt
from the Fem sn lamp ial Oh tn shady
places OF English art. In view Of me
presence be ore Inc public OF the CAREFULLY
executed WORKS Of Lhe Continental SCHOOLS there
remains no resource for the Euglsl arrIst Dub 10
cndeavoi 10 .ace himself on an c ,uaity Win the
10 ltsf ltt,rl tn In. ilnn
race there VIII, no douDt, result great hardship
to ILdivliuals, put ultimately the interests eng
tang oil
THE OLD INsULAR PRIDE
and selfasserOn VIII nave 70 DC sacrificed, but If
1t cad 10 WORK lihe that Of Tai;Ais, Gelome,
FrGre and most o. Others. england VA have no
reason u con plain. one nlng II csrtNl. tnat the
puonc very clearly perceive tue suocror merit or
iOreisn WorK. And alt .0u,h tucre Is no mai ter
upon winch tie scneral paoui are 40 av'rse 10
forming inGependeAt Oplllon is on tne suDcc UI
art Jet the ulherence Deoweel Gle executive sku
Oi the EDe li7h ANA Tue oresn ARTISTS IS 50 marked
that Is iiposaIhe lOf any one not 10 perceive now
mucn English .fG suffers oy CONTRAST Wandering
through me galleries IN the most ilsiess manner
~ arrested uy Inc magical tOfCe OF the WORKS On
Is, wno,e cXcsliences sCtiNc Us with so III icn
1orce That we are compelled 10 hal. aud accord TO
them our hearLy praise. The notion Of The RAPID
pa o ress l4n. auu In ART recGives "a rule snoek
when look al the advance Oh contemporary WOrN
IN otner nations. Al tie ia he tllle IL luli ne III
correct 70 ass.lle tnal Inc sel.-cUlgrau atoms IN
wnIcn the EL. 81 nave oeen uitler IN usalng II
altogether without foundation. For, wdatever the
T.cHN,CAL POWER
there can be no question: tina. tne average merit OF
paintings and sculpture Is higher t0-diy tnin at
any previous tinle lurnlns again To inc F.emisn
ualiery, Wnlcll mas not ina rJDraiely Deen uesl5.
nateu ~ CONTRIBUTION toTarl5 the clements vi
artistlc educa'ion,' we propose g,ancins ala CIV
vi tue WORKS wn.cn nave made SAGA All Impression
on tns puolc mind as 10 SOW Vie seeds OF Il revolu
on III En- Sn are and force tue stubborn ISLANDERS
into the adoption vi something ike acadcmic
cduca,On Of ,nelr artists. lhs picGare % wnclslne
influence has most felt, pernaps, historic
D.
Inerese, the grandalueeu OF Austria. IN the acC OF
nursing II ,easaurs chud. Tle poor moLuer las
sunk exhausted Whiie tne queen, with rne feeling
OF "a true woman, mas takeh the ilant to Der
breast and, WITH a pityin., p.otec.I ing smile, ,ae
artist has LnrONn INTO the expression ol TIE queen
the most
INTENSE HUMAN SYMPATHY,
combined wln great dignity. Ine attitude OF the
hgare Is strAingly siinJe am natural, Du scrupu-
lousy modest, dlsplayins tne utno,s delicacy Ia
the treatment. Another striking and p0serful out
unpleasilg work, nom tne brush VI Louis
Gal,ait, reveals all that artists MISERY over
painting human misery. nis insight into what IS
SAD and narrowing Is alnOsG repuisive. Tie SuO.
Ject OF tae pic.uie III the Flemish Gallery Is Tor
quato TaSsO la PRISON. anu IL Is sucn q powerful
picture o. human woe that sensitive vistors turn
away with an unpleasant, uneasy lee my. SPAN
Ism pupil .. the celebrated MISSIONER VINO promises
to rival his master. II lie does not 90 SO already,
conriou,es some or those WONDERFUL miniature
WORKS Tor wDicn this school Is remarkable. IN u
little composition called
THE SPY"
he displays marvellous powers in the treatment OF
the heads. Tie name OF inns artist Leon
Ecoscura.
IN THE FRENCH GALLERY,
which has become sucn popular IavOrlte, Frere Is
present win MS group Oi children, iuil OF SYM
pathetic force, anu THAT cnarm wnicn lie knows 80
well now To lmpart. Inls artists WORK Is
familiar TO AnerlcLus That there IL need Of
dwelling on its excellence. Anna Iadema mas
managed to make a charming picture out Of o con-
mon place SUBJECT. To II nc has Impaired so much
grace and nalurdlne,s that one ~ aslonls6ed to
kno, IN wnaG consists Its charm. IL Is 50 simple
IN subject ana composition mat IL ~ not easy
10 account Tor me Influence II eXerts over
The observer. The SUBJECT Is 'Potters Painting"
buJ the artist mas gone back 10 the classic
uays aud gives US one of those scenes lnat might
nave n .ppcuea Two THOUSAND years ago. group
a,e working at taDie. vi these the prdclpa, fgure
IL "A young grl, VINO mas lusl completed one Of those
maln,fccut vases wncu the mOucfns are not even
abe w copy well. she IS evileliy well pleased
WIN The result OF her labor, and Mods II up adj
mirIngiy, Nu.hng can be more grace vi Vr beduti-
mi tai the figure vi this young glr, so