The sun. [volume] (New York [N.Y.]) 1833-1916, 1877-04-15
NATIONAL AcIDnMY or DESIGN


played. If not perhaps ol tu'r Qu"'S, '"'
lfty- second exhibition pi tine Noil"nh A"ri'hN |
Is entitled to take high rink. Each Of iis five |
rooms is crowded with 'auvasns. and tho cor
ridor. the receptacle y the mis- "llanca Of the
annual shows, fairly oVtrnpws. There are mp /
vnrd- Of "A hundred moro ui0turn- on view Than /
thcrr were last Year. AMI thus iuI 'utrs IroEr's-
of soma sort nj lra-t Onf l1 ii art SIS are about
ns well represented az in iorurt yours. ana lh /
the department of lands pe tN'yhr' unusually /
etrong. In fact. whatever uNN Doe ih' suori'"m- /
ins- II the exhibition of 1917. tN' lands apes iu /
hc.1uth or principal room would alone llAH' /
Hrnan equality with am, of i,s predecessors. !
Th.v illustrate for the nn-t part. American
subjects. anu AFFORD mo- mean idaaot the rich
pU.. and diversity of our nrive scenery. In
genre and ngur, pi-aes tltrn is 10 porrcutihl'
nIvhure-wo might almost say there is no thor
otn,ly good picture in this department "ma-
uniiug from the studio of AN artist To- the manor
born and educated only hammered rep editions
of old subjocts Just varied enough In detail TO
Justify theartst in calling his work an orgi-
nal painting. The display of portraits is credit
able TO the abilities OF our resident artists ana
there is no lack IT good work by Huntington.
IL Clear. Hicks lIcaly. and some others.
SO much for the productions of tn" home
school. Our painters keep the even tenor oi their
way. and surprise us with nothing " conspieu-
Gus excellence or positive ugliuess. Not so. how
ever. with the young American painters who
have been pursuing thoir studies abroad. They
have brought home or sent homo specimens of
their handiwOrk. somewhat crude ut press nt
perhaps. in execution, butanimat,-lh y 40 hearty
n realism as 10 afford an odd contrast 10 the
jnsipidites Of painters like J. G. Brown, Lamb
din or Guy in IuNtap1sition with Whose works
their own are frequently hung. The modern
schools Of Ronv Munich. aud Paris have ea'h
one or more American representatives in this
cxhiniton; AMI white We can accord To- those
arti-t- no superlative mer.t-whIle we nul in
their work much that is hammered and harsh Ina
sentiment and troltmont-it must Voc nrkuowl-
edged that thoy have made d. Boz llthul iurugd
upon the forcibls-f'abln AMI nni.a styie of
Genro painting so pr valent among hOmc-hrai
pain Is. The foreign AMI domestic schools
are so sharply conirasied. and TIM production.
OF onfh are So equally distributed along thr
Acad my walls that tAe cNh.h.'i1n pres Ms Il
peculiarly hotero-"n 'u1- Npu 'drnu ''. Hal tAe
iorei-ners been confined Goo "a -n4le room.
the natives who have th. advantage in NUM-
bers might have borne tie siio Is oi thoir irrup-
ton into our placid art Life: aut to have To -.
YOUNGSTERS jostne the obi -'ag'rs of the Aoui-
cmy is very different matter. and We inu4lu,
the latter are not in AL instances pleased WitA
The 'mpany in which thry mai themselves.
Whit influence upon dom site art the now
styles are likely to exert il is impossible e. pre-
dict. Il is no easy mlitcrt q euriuisc even what
M l.l iations OF stvie tho Iurupcgn-e lucutei
mr. .-t- may not atppt when applying th.
meth is to Am 'ri'ln subjects. W. speak. of
conr." only Of genre or historical painters
The subjects are ~ present GrrnHn. French
or Italian. ami ra1 loosely ts. ehara.t.ri-t.-
q Oh" schools ia which tley haste br,n trained.
The clement the p lures ine h. So wantin-, in
American life that the 0fti-i who could laiut