, 1876-01-23
THE FINE ARTS.
South American Land
scape Painting.
Arsene Houssaye's Meditations on
the Pictures OF Ruysdaei.
The Artists Associatfon.-.Studi0 Notes
LANDSCAPES.
%r~-ar--to kk r--v i1fUnTNt F."

LANDSCAPES.
k1oNo1's "soUTH AMERICA"
Church's large picture Of South American
soonery ut O'Brion's Gallery was succaeded SONS
weeks $50 BY landscape OF equal eizo and Sim
liar subject BY another American artist the
"South America +" Of Mignot, which will remain
on exhibition for some time longer, unless sold,
Of which there is perhaps not too much danger'
rs the prico is set 1t $4,000 or $4,000. This pic
ture, as one Of tho finest examples Of landscape
exhibited here within tho lant year, deserves
roma especial attention. Louis r. Mlgnos was
South Ca1olinisn by birth and education. As an
artist he belonged to New York City, and was
recognized during his life as an eminent land
scape painter, excelling especially in Southern
aud tropical scenery. 1t the outbreak OF the
Rebellion. his sympathies being Southern, ho
left New York for London, where he died several
yea1s sgo.
The present picture is dated 1860. and must
have been ono Of his last works just before
leaving this country. The frat impulse is, OF
cou1te, to compare between
CHURCH AND MlGSoT
Is painters Of South American scenery. Besides
the differences OF color and general effect in
their pictures, which arc obvious to tho most
superficial observation, ono Of tho Chief differ
cnces in treatment lies in the extreme high
finish OF Church's worx compared with the free
dom aud manifcstly rapid execution Of hignot.
While Church polishes and rednes to the last
degres, Mignot appears to havo lard his color
ouce for all, and not, to have disturbed it after
wards; nor Was there any wasts OF color in
a1ignot's hands, for in some places this CANVAS
is scarcely concealed, 80 thin is the cover Of
sr {1,nfk ko ,rnoHA ~
Without attempting anything 80 difficult "a
comparison Of the technical qualities OF two en-
iuent landscape painters, attention may be
called to the good qualities in virtue OF which
this picture Of Mignots has been gaining stead
iiy ever since it came. in the estimation OF that
part Of tho community possessed OF Judgment
and good taste.
Undoubtedly, il We divide paintings Of scen-
cry into tuo classss as Ruskin did in the last
exhibition OF the Royal Academy,-one, OF
Natural Historic painting OF ecepoEy, which rep.
reeents objects for the sake Of good account OF
definite purpose of expression; the other, true
Landscape, which shows the relation between NJ
ture aod man and, in dne work. particular tono
OF thought in she painters mind.-if we adopt
this classification. undoubtedly this picture BE-
,loegs to the latter and superior cass true Land
acape. Since it is not very striking in its gen
oral composition and color,-bolng wide extent
of broken country covered with the luxurlaut
verduro Of the tropics, with lofty mountain 10
the remote distance, and palm tree or TWO IN
tho foregroupd,--i has probably been tho cxpe-
11ence OF many lovers Of good pictures to over
look its great s1celencies at first, simply setting
it down al good picture, and then to t1nd on
subsequent acquaintance gradual attraction 70
it until their appreciation app' cached point OF
enthusiasm. For there il, aside from the ap-
parent truthfulness OF the picture,
A DREAMY, POETIC QUALITY,
sense Of the lauguor and ease connected With
the tros ica rliate, which is doubtless the "pas-
tcular tone Of thought in the painteF's mind re-
spec:ine what he represents " which raises the
picture from the class Of Natural History to that
Of Landscape. The haziueso and softneas OF
the atmosphere is . welcome change from the
hard, clear sir OF Bierstadrs Rocky Mountains.
there is beautiful color all through it, uhether
we look At it far OF near. The impression il Of
al immense deal OF green foliage and grass.
troken here and thers by tho color Of abrupt "a
vines aud water but more careful examination
shows fine browns and blues worked in With the
green aud yellow, 10 thAt tho relations OF color,
even when examined too closely to get tue gen
eral effect arc very pleasing ~ 2 mere colloca-
ton Of tints. and ut tho proper distance for re-
viewing tbs picture Whoa which the little Ea!-
lery gives room for) hetoneh OF thecolor
are beautifully graded ana softened: Careful
drawing and slillfully modulaled aerial perspec-
tive, tho hsz.uess increasing almost bT lmper-
ceptbe degrees, unite to carry QUE plane OF ds-
tauce behind another aB the eve Lifts from the
front to The back Of the painting, and there ID
no CONFUSION or slurring to prevent the specta-
tors finding out from the picture all that he
would il hs we're on the spot
The excellence Of the foreground, which, de-
spite some critical suggestions that it Is lacking
in force and weight, stauds in decisive rolief
against the distances. consists LARGELY in the
firm and dehnte-pe1haps 1t is not too much to
say mastorIy-way in which the details Of tree,
and rock. and plant are painted, With just that
degree Of finish which is necessary clearly to
viudicate their character at the proper focus
Of the picture. It is precise knowledge and
long training OF hand that puts in palm leaves
and luxuriant grass a. these were painted. clear
and crep, true aud deSalte, with pleasure to the
artist in execution aud satisfaction to the spec-
tator in beholding.
Altogether it is picture fne IN sentiment and
excellent in execution. aud no harm can come to
copnolsssur or artist in carefully studying it,