New-York tribune., 1873-02-26
CONTEMPORARY ART.
LECTURE By WM j. HOPPIN-CONDIrIONS AM
PROSPECTS OF ART IN EUROPE.

LRCrURE BY WM. j. HOPPIN-CONDIrION5 AND
PROSPECTS OF ART IN EUROPE.
William }. HOppin delivered, last evening,
to large and apprecaye audience the sixth lecture OF
the course before the National Academy of Design In the
hall at FOurthaye and Twentythirdst. After some in
troductorY in regard TO the fallibty OF art
criticism Of which persons, no thought are more con-
scous than those who have paid the most attention to
the matter Mr. HOppin announced as the subject OF his
lecture The condition and prospects OF Cotemporary
Art in Europe" referring Art in its limited sense and
not Poetry, Music, or the Drama,
He stated that instead of being neglected, Art was en-
couragod TO remarkable degree at the present time,
ana that its popularzaton would be considered
OF the characteristics of the century In proof OF this
general fact he showed: First, the establishment by
European governments OF schools of design for children
and workmen describing particularly the operations at
South Remington; secondly. the great increase and I'M
proyemont Of museums and galleries, referring especi
ally to the National Gallery OF London; thirdly, the
extraordinary beray OF individuals in giving or lend
ing their collections for public purposes and IN paying
the generous and perhaps exravagant prices for
works of art The lecturer then proceeded to inquire
how European art itself had hrved under this unusual
stimulus. and for this purpose divided its productions
into two classes First those which relate to private and
interior fe which he called domestic art; and secondly
those which relate public life, which he called monu'
mental art. He proposed to illustrate his remarks,
chiefly by references 20 the pictures displayed In the
Great Exposition at Paris in 1887.
In treating domestic cotemporlry art, he asserted
that among other characteristics the following APP
peared First, II showed great general excellence In
mere technical qualities Secondly it showed want Of
elevation and dignity in the subjects 1t selected.
Thirdly 1t was chiefly successful In genre, and
landscape and marine painting and that it failed in
portrature In speaking Of the general technical excel
lence of contemporary paintings, Mr.. HOppln showed
the difference between the excellence which springs
from talent and that which proceeds from genius and
cited as instances OF the two kinds Ger0me ana KEN
brandt. In his remarks upon the commonplace and
sometimes meretrc0us characters OF the subjects par
ticularly In the French section of the Exposition, lie
alluded to the neglect by artists OF those important
questions OF life and manners which were at that time
occupying the pens OF the best French authors The
Venus Cabane seemed TO be the chosen divinity OF
the great Exposition, and the spirit Of youptuousness
of which this picture was the symbol also appeared 70
be ruling power OF all Paris In striking contrast TO
Cabane avorite court painter and the artist OF the
Venus, was the; OLD KepuDncan Couture, VINO nag
painted 90 years before the Romans OF the Decline
the last French picture in the grand style and which
seemed be prophetic OF the existing state or things
In connection with this part OF the subject the lee
tuIer mentioned how few religious and historical PIE,
lures were exhibited ana tue lndHerent characters OF
sucn were shown, making an exception however IN
favor OF the excellent works Of Baron Legs OF Belgium
In treating OI genre pictures ne tooh ooeasiy,l "
Knaus MeissOnner, Wiems, aud stevens. lie spoke ol
range Of subjects which the habit OF trayehs
had given 10 artists and Oh tle lncIsaseu G,Spy ~
archaeological knowledge IN their WORKS, partCuil.iis,
those Of Alma, Tadema. and POINTER lie mehtiVhen
OF peasant life by jules Breton and Miot ~
exceptions TO the charge of riyolty ana lndcoeo) aI
gave passing notice OF Tue LhSlsn Pln'I 49,
Firth In speaking Ot landscape art ne delenueu tno
termngling Of ina ginatye power win stllot 'ation
OF nature IA shown the works OF ROsseau auu Vhei
aud expressed great admiration for the productions OF
English watercOOr artists lie oOneludei ms sAetch OF
co art, ny showing tue
y,ncp5I i1f,rioriIv of tne pOrtraituro of the
present day, aud computing ls prOdnc-
non, with those OF Ingres and Sir Joshua Rey-
uolds In taking up the subject OF public or monumental
ART te lee turer confined himself TO stating few olin
ions illnstrafed by,cetan modern examples. lie dis
commemorative statues and the rules that should
ooyern their treatment. He showed that monumental
srt tn he Effective must have cGrtan ldcas Dchnd1t
ana cited the recent mural paintings In the Antwerp
Museum and the memorial 10 Prince Albert as proofs OF
nm, rue expressed the opinion that there are no
great dominant beliefs IN Europe AT present IN elmer
religion or politics, which require manifestation ia aIt
underlying outward he M America wnith' ~honoNoT
tho cultivation vi the people a1.a lha deNviJpmehl Oh