New-York tribune., 1877-05-05
ACADEMY OF DESIGN.
VI.

allowed TO test their power of arresting the visitor
But the average American likes to the best per
formance At he Is rarely interested In seek
ing for the evidence Of artistic talent in the |
work of unknown hands or IN quarters |
which signify mere liberation the part Of the
Academy. Positive he may be in his utter
ances, he s at bottom little doubtful concerning his
unaided Judgment and s hence ready TO profit
by the least hint sign OF intelligent authority But
except the architectural design of Mcssrs Yaux and
Radiord there ia really much TO for cram
ing his neck the railing and trying to what
not be satisfactorily. OF Mr.. Erxieben's haliozen
crayOu drawings. his "Promelheus" is the best yet he
can only claim a certain acaJemio SKILL not Imagination
or independent conception Of form.
Most OF the crayons grouped together at the south
western corner Corridor There from - to 30 in
all few fancfu but the most land to what extent Is
becoming impossible TO say) based on Photographic real-
In the latter OF IL is only the technical
execu0nthe decIcy OF the grays and the ocanness of
the deepest shadOwswhca call TOR any criticism, since
the forms mechanically supplied OF the former. Mr.
f. Church Is the principal representative lie gives us
os prepusterous yet nevertheless interesting gro
tesqucs, and simple sketch NO. so, which appeals
to the imagination and fingers in The memory. Mr. Mum
zig only succeeds IN exciting learning for the work
OF Mr. ROwse who il conspicuous by his absence Mr.
C. ]. Turner's POrsrait Of Lady" Slows refinement
and ntelli ence, ana hints Of capacity for i'm
pOrtant work The strongest and most thoroughly ind-
viduazed head is called La Zngaa" and signed Lola
dc Ruiz The execution rather crude but the charac
expressed with equal pcturcsqnoness and force
II suggests color which crayonirawins does not often
succeed in doing.
with the exception of thrco pieces. the sculpture Is
huddIed together under the window In the Norti-Wg,'
Room, where the light falls perpcudcuarly upon it
that only tTeo OF the buss DO tOeIauly vel
seen The exceptions in the West Room where they
suffer the same way. though not to The extent
Miss HbiOrOO has wordcd c1EsccntOlSy upon her bust
NJ Eryaut an to have portrait.
W. say seems because have tried IN vain to It IN
t.e proper light Ths might be partly accomplished
b. sitting upon the floor; but the Academy IL so
constantly tIrOngcd with visitors that the ex
pertinent would produce too much OF scnsa-
tion. Miss Hoibrook's drapery, however ia um-
fortunately chosen 1t rises into prominent high fold
which at once suggests hOTse-cOIr ami gives us the
impression OF head shrinking between the shoulders o
A huge deep chest For bust Of this size there should
have been no dTapcry whatoycr Mr oheahcnS " Gus
trs Last Charge" would have been original If he
hal SIMPLY given the probable fact There was n0 hand
tnaand fighting with sabcrs and knives aud it would ne
much more effective to have represented the gallant
officer shot. dropping the rcins and on the point al
slipping his saddle. NJ. OD1Doyan's bust of MIR
IL Clear excellent pOrIfdt-pcihas the best IN the
exhibition.
OF ,he Is works in the Northwest Room. Mrs Longs
stu, for Head Is the most prominent, III pnin, ~
expression ana character. II is the hero OF POes
Raven" pecring into tho darancss or listening 10 'ne
f,ct:tiun of NeyermOrew The ace is lntrnsa That
Uc forget examine critically th5 details 0 s model
ing; but the greater faculty inciudcr The lo5Ser and 1t
viii be Ms Longs own fault if she does not acquire
whatever she sill lanGn. Mr. Harllcy's &" King Ker6s
Daughter il graceful rather anSid, and We cannct
md that her pose approved by lifting her loft foot
anon u stool while right Is planted on
the floor. The "DiogenCG" is better, although Ii
attempts sonctEn;- that sculpture can hardly cX-
pres Eycry body knows ile story 10 is t1c bnt just
tp tT0T
Of sarcasm ard cynciam and the lantern very liIe
watchnans Ia.ej should not have been held aoii at
e. 9Th, bit thr 81 forward as II illuminating some
bod,r face. We nl Mr. Hartcy's bust OF inHosa' the
painter, satisfactory than his -iaiu'S Th"re Is
only ordinary poitr ii-wurk IN the bGsts by Mcssrs.
Cushing Shrahtu, NGd Edmund Palmer thc lalicr At
trnpis little too much ia No. 67J IL may bc possible
successfully t0 represent smile under mHsdcLe IN
marble and ia counterfeit geam IN he eyr by rin"s
nu the pupi; bat sculpture always ventures on danger
nus gfund when IL tries Ia do the work ~ painting We
reserve nevertheless, the right To modify our judgment
regard to all these works whenever we nav" cn''
iu sga t6rIu ~ "a httlns light.
The artist, Of fixed reputation suffer comparatively
s7 The disposition O Their works by the Hanging
Committee those who ltllc known ana d'irons
uf a fair chance ot recognition 1hcio ho 'h'c" Vo'
traits ,y ir w.t. 50 "syci" That We overlooked them
fir a tuci Ju they finally asserted themselves as r.
isns bo cli7scd with that mcchnncr portr"i-ar 81
which every annual cxhihtiOn contains more or less
There is clear individuality I'm each. good drawing ana
simple solid painting The eshtius lack just the same
amount OF color Mr MiCt, for instance adds MS
snhlocs; they have a slight tendency 10 bro"hhrSHi
hut the key If low carefully preserved throughout
each piciurr, and with agreeable result VIZ nave
never met with Mr. Wits work before, and are glad to
call attention to his meTte portrait Of the Kew DF'
Bacon los MIR. Harry Thompson, IN the Corr'l"r al
| though very much in shallow. shows Us also we'll
painted head The figure and accessories are o Tie con
vrntouul character. such our hcoogans, scioutS'
ana statesmen rarely escape, and the careful! eNrcnjH
OF the head might therefore easily eluae obSeryacn
Tine uo-rt Of br Charles Gaylcrby MIR Phillips IA recog-
Z ll. from the distance at which 1t mus he seem nht
we cannot form the least idea OF its artistic character
I'm dcscribng The landscape art Of the Exhibition we
accidentally omitted a mention Of Mr. 7anir C'in'hS
principal picture" The Merchants OF III Lagoaa' {"
ro,fe between tho Toll and thg Desert. Algeria Atlas
Mountains IN the Distance" No. 12i, South Room Ihc
scale color is the smpest-brown for the pll'' ana
gray the sky and mountains yet the sense OF suy
African heat is thoroughly expressed the orrSr""u
it, soidy and the texture of the gravel ana crisp grass
is admirable: the gradatons Of the middle dis
tance are given with truth aud dccacy; aGd we 90 uo
immediately understand the sugEe5iion OF hardness III
the higher SUBMITS of the Atlas. This. however Is an
effect frequently found In nature the concentration :"
hot haze the Intervening valleys blurs alidelsoi t'
mountain slopes beyond. white the peaks ana ridges III
an upper purer stratum of the atmosphere re'am
their sharpness Of outline But this Is an eiect WHICH .
rarely if ever agreeable to the eye in actual landscape
and we cannot find in hir ColminS picture iiiS
sky, simple "a may appear represents an a'mo9pnVp
mood very difficult TO paint aud true instinct mas cu
him to stop short Of the SUI.
We have already briefly mentioned Dir. Macye
Autumn" in the South Room. closer examination oI
the small pictures has enabled to make acquaintance
with four other works by the same artist wich give
welcome testimony Of decided native TALENT although
sull under tutelage and seeking ITS own uis"n''
individual expression Tho best of these Is MS