The New York herald. [volume] (New York [N.Y.]) 1840-1920, 1872-03-23

Ak MAI IEhS.
Beaufrnin Irvins's "End Of the Came"
We have had on more than one occasion to regret
the comparative neglect OF genre and historical paint
ing by our artists, and our consequent dependence
on foreign schools for examples in what Ii perhaps
the most attractive department Of art The causes
that dispose our students to landscape painting
are obvious enough to those somewhat acquainted
with the difficulties that lie in the way Of the study
OF the figure In this country-difnc ultles that
no devOuon and no energy on the part
OF the student can remove Want or schools. Rai
leries and even OF models deprives him OF all the
aids that guide ana support the more fortunate
European student from his first step taken In art.
But in spite Of the many obstacles there are found
individuals so devoted to
ART FOR ITS OWN SAKE
that they will disregard worldly interest to do what
their own feeling tells them is right, at whatever
cost or sacrifce. Such devotion to ideas Ii little
comprehended by that great world that measures
every mans value by his success It's, therefore,
almost entirely confined to those who md their
happiness IN the contemplation OF ABSTRACT truth
measure re- Of success according to their
varied power, a small knot or men have struggled
hard 20 establish school OF genre painting among
u.s. Their efforts hitherto can scarcely claim to take
rank with the works OF art OF the higher order OF
acnIeved Q really Respectable position. Owing TO
want OF generous appreciation In their own country
sought new homes IN foreign lands, where they
have clear field ana no favor, and where, we may
PREJUDICE TO COMBAT.
The favors enjoyed BY men like Boughton among
strange people Is proof IN itself that we are no.
wise lacking In the essential mode OF th0ugnt upon
which art Is based Notwithstanding the eminently
practical turn Of the national mind, evidence Is not
wanting that side by side with the rugged energy
which bridges over torrents and burrows through
granite hills there turks deep poetic sentl-
ment which from time to time finds expression
The WORK which we notice to-day comes as
when our wealthy classes learn to recognize merit
wnen 1t appears without name. Arllstic patron
age Is just now III vogue, but we fear there Is not
enough OF that nice dlscernment IN It's bestowal
which Is necessary to produce the best results
the canvas rather than by the value OF the thought
that Is Swallowed forth or the skill displayed IN the
manipulation OF The materials.
Mr.. Irving has been happy both In the selection OF
his story ana his manner Of illustrating It, In or
color the artist chose the age Of Louis XIV, ana we
see In the careful and elaborate manner In which
he has worked out the details OF the picturesque
costume That ne was resolved to make the most OF
his advantages.
can be regarded as almost literal rendering OF
| u scene common enough IN the days OF the Grdnde
MonarQue. and tar from being unknown even IN
ings little modiaed TWO gentlemen engaged in
gambling have quarrelled and appealed to the arbl.
ns o. ar iss IS That as he
seasS woanS ana fails into ne arms
man who has resented an injury ratner from sense
OF duty than from passion, out whose natural anger
blinds HIM to the gravity OF the act he has done IN
deprlving fellow creature OF life. HIS second,
anxiously IN the direction. Of the dying man.
The drawing and expression OF thus group
are admirable G.9n: But Il Is to the ngure
naturally drawn (and here the artist has made
real success me fatal wound has COM
pIetely subdued the fierce passions that but an
we see PAIN and anger coniending in the face OF
the dying man. who still leebly grasps his now
useless sword. In the de:inealion OF the passions
which are moving The actors the artist has
SHADOWS OF DEATH STEALING OVER THE FACE
OF the wounded gentleman, driving before tnem
the traces OF the stormiul passions soon to be
hushed forever In the stiffness Of DEATH This sug-
gestlOn Of transient feeling has Deen produced by
the most minute and subtle painting OF the face
and displays rare power OF pOrtrdying character
Inc general treatment OF the picture Is eminently
dramatic, without any undue sensatl0nasmi
though must be confessed the nature Of the sub
ject offered strong temptation 10 seek effect by
other tnan legitimate means. But this danger has
been avoided by the artist, to whom we ieel under
an obligation for toe calm, self-cOntafned figures
that balance the action OF the main group In addi-
ton to It's merits Of composition the work
gives proof OF Mr.. lrving's exquisite feel
ing for color. This picture recalls the
we'll known work "Apres lie Bal, >" which Is some.
what similar In subject. 1t Is DestOwing no nggard
| praise on Mr. lrving's work when we say that 1t Is
| not unworthy to be compared with the French
| painting. We hope that Mr. Irving Will receive
| rOnage as an incentive 10 Others to work Is hard
| and perseverngly by proving to them that merit
| will meet with ready and generous support