New-York tribune., 1876-10-28

W
subject for is not possible with the space at Our COM
mand 10 quote here. Turner has been unfortunate IN
the pictures which have to this country to
show us what his stands for. TIE Slave Ship"
owned by M. John Taylor Johnston, and now in the
Metropolitan Museum Loan Collection, is splendid ex
ample Of his power when it highest, but it has
been fairly here, owing to the pate-glass
which it, and it suffers terribly too by being in
which is filed with modern French and German
pictures holly opposed every quality that goes to
make picture. It's hurts it too. as 1t leads US TO
expect literal treatment Of definite subject, whereas
nothing Is more probable than that Turner put in the
ship as excuse to get his drowning ngures
which he only cared for an apology for the
fish, for which he only cared because they gave him
chance to fill the lower righthand with the most
beautiful color imaginable. II the Turner watercoors IN
the Of the Vassar College could have been put
into the room with the "Slaye SHIP small as
they are, they would have done something to explain 1t
and H. instead Of sending this dull diploma picture,
England could have shown hafdOzen OF such OF his
waercolors would have stIl further supported and
led up the Slave Ship" there would not have been
so much strivngs Of heart among the name OF
this great artist there have BEEN II needs 70 be said,
however, that Turner like every great original man. Is
cruz taste and perception, and that u Is
worse than useless 20 attempt judge him by matterof-
fact commonsense scientific principles. Turner's paint
ing when he had shaken of his conventional teaching
pictures Of the diploma sort, was pure poetry,
and, in spite OF Mr. Ruskn's splendid DEM
Onstrltion to the conrary-a ha"less demon
strati0n from imagined facts-had 10 more scientific
truth IL than all the highest poetry has, and no more
Mt any time than Turner chose to put into II. The
man Of science and the poet nature with differ
eyes, and each apt to believe his eyes are the only
ones that at all IL IS in reality Of little use 70 apply
the method Of either 10 the analysis OF the other and IN
the present may AZ well Try b" anayzc Shake
sptarc's And those eyes-the break II day Lights
that do uislead the mOruW or Ben JOnsons Here
she was wont 10 60! and here anl here! just whore
those Roses, Pinls and Yiolcts grow: TEa World may
Gnd the spuns by following her" as to analyze pic
ture by Turner mis- prime. When people stand before
the Slave snip and the iron hacklcs Of drown
ing slaves slipped from their limbs and resting on the
waves which they cast reflections, think tn sight
ought in reason 10 hem pause and VAIN them that
this is not Newt0u's bu NOmln's Lni. Yet Turner was
but mad north northwest. He knew q hawk flor
Landsaw.
JOAN Constable, l776ls37, was the greatest Of
Turner. oo.emprrarics in landscape painting Born
yeac later than Turner, BE not elected TO the
Academy until 1929, whoa lac was 53 years old Turner
was chosen az @i The diploma pictures OF both artists
are hung here ,lc 10y side In the same 'oom Turner's
is "a, we have .epn the DOlbadcrn Castle" COusta
bIrs The Lock"a subject from the Sussex scenery
90 which hc was md which he so deeply loved, and
which says Mr. Tom Taylor held bis heart all his lite
lie paints always the same s,encry-nay, the same
,ocre, and ALWAYS under tine same cOady ana dropping
sky" great weather. Fusel said a5 'a stood
bcf c one o. h- pictures. lie the imm'c ate sue
c,ss1r iu bis lst of Gau-borough hut where Gains
borough came 10 the study " nature a1-r having
sturd the work y Inou -t and tired ~ IT, Con
stable student ~ nature from the hr't
and never knew any other teacher. Leslie
saws that Constable. with whom he was very
Intimate and for whom be had great
affection, thanked cod he had Iasinau'n, but he
explain, thar Constable meant only that bis imagna
non din not lead him into what be called the yaca
field. OF la.s-l' Nobody knew better thdn Constable
that without imagination there could I've no tue art
Si there are g.tlas of Imagination, and II Constable
had that faculty it certainly took different form ir"m
wlatIt showed m Turner. Turner belong. among tie
highest o. o.. Yoctcal interpreters of Nature Consta-
DIE beouEs tine order OF mines "a Covper II Is
easy 90 why Constable had SO much Influence with
tuc French whose modern school % lnds artists,
la.Iuuus with Tlu Huet 1901, embraces the great
uam.. or Theodore luusscau, lsiJ' thirics f1neoi-
pulleu' I~I7. aud torJt, Huo, though bonn in 1896
lIlot olII, uu;i. I--7 the same yr with iIuet In
Ii. l,y. f th- some se,ua which le painted over ld
o.os-"l l..ag, thc .arG. o,rrthe same s.y-tle sane
.p.r.-th. Same mi.'--i. saline H,.lo"--tIc sai."
fi,ri ITO quote again from Mr. Tom Taylor iG his love
~ tIc luw hung clouds. tlo ragged rim, Of thunder
bracdug low with -hidows.rraks ~ rain,' ,he rare
Smiles ~ f-lu-iDt. and the dislike ~ brilliant coior-iE
800 these points Iru.N land capt painters are I'D tull
.,mpithy with Cons bic aud hook mp 90 hiil as their
master. Yet hi- picture. are rare ia Franc, though So
mu,h admired, a4l 10 is only within year or two that
, tIr rto -.r Richard Wallace tho Louvre a, become
r0.....eG ~ Two important pictures of Constable.
L.4,Ips ,hc cr.tt mpu and fhc distinguished men,
Whose. works Gl tlr small room iu Mrmora Hal. de-
voted 90 deceased Eu-I-h painters, We s,or moment
before the pictures OF nuc aL1 seems to have place
bore rcr1s from convention, Daniel Macis", once "a
n4rr f charm by br' % udIlr thl, grows les, and
less ASA true sense OF tle poetic end The romantic De-
rolo- more aud more posse son OF the many rather
Hn.f On. s.v and a, artist, OF IcIl feeling for native
,nd I poNr, of expression crowd into tAe background
tuc ,,r OF trick luI the seekers ai.rr sensation.
5ri,..-r bad uI,ali.y hardly single valuable quality as
IN rii.t ar i. cuu.iJr ttou iu which Lc Was held in
If. lifetime s Impossible far one uu. an EuElishImn
tom!.r.tlu' Ur is rl'y aul completely rcprr- nicd
here ny his 1.-THE Ghost ~ H.nquo appearing at the
.iiuourt 81 Nlcbh ,hc SORT of picture m which be
.liglt,I aud 300 which hs c0rt ymen ga large numbers
deli -lt,I rs Nell. Maci-t had no invention no seut-
rn,ut no Imagination, and hc forever choosing sub
i,, that called Tor aii thesc-uy, thIt wcre no,Lng
without them. lie had uo scuso Of coor-not even Of
il,i' color; aud Will, ht could not draw Well he was
afraid to draw % and in tine effort 10 L.Ie hi, weakness,
committed tho most uuuccc-s iry mistakes. Probably
tl secret OF .s succa,. was his commonpaceueNS his
irlbi.ous mctosry. H. was in painting "hat MI
r,p,er i. I'm poetry and few Lave had 'uch fol-
,., i,,.,,s ,lr Tuauer {.
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