The sun. [volume] (New York [N.Y.]) 1833-1916, 1879-04-13

err tho oruciaxion mo se7). with its appro-
PIRATE quotations In the catalogue Essayists
upon art have maintained that deeply con-
tomplative and religious temperament was
essential to all really effective and suitable
treatment OF religious subjects. as no spiritual
insight or deep sympathy with the motive OF
such subjects could exist under any other
conditions. 1t follows therefore that this great
work. on the line. sets at rest any doubt what
ever that any one might have entertained about
the moral jeopardy OF Mr.. Renhart Its rever-
ential quality the originality OF the compost
ton its ins irrational atmosphere the charming
appropriated esa of the types chosen for the dif-
feront figures, the majestic calmness and COM
posture Of Death. as conveyed by the delicate and
noble lineaments Of the recumbent 1gure-all
these things compel ones mingled awe and adj
miration. 1t. too. is intensely academic.
Mr.. J. @. Brown exhibits a series Of studies
made on the coast OF New Brunswick last sum
mer. which are very interesting. They are. for
the most part OF weather beaten. bronzed. and
hardy "toilers OF the sea-" taken In various
phases Of their avocations. and they are full Of
character. vitality. and interest. and remarkably
bold and spirited in treatment. We have no
more faithful. sincere. and thoroughly con-
soientious artist than Mr. Brown. and 1t is i'm
possible not to admire the way In which no
works IL one cannot always have the same feel
ing for the results that he attalns. In these
sketches there IL a sense OF sunshine. OF free.
pure air. OF downright wholesomoness OF execu-
ton and real feeling for and sympathy with the
subject that Ii not always found in his finished
and possibly more ambitious pictures In the
latter he too often combines quality Of mechanl-
cal itoralncss with forced scntimentalism. and
appears in the finished work. clever and popu-
lar though II may be. completely divorced from
his better self. His Merry Air and a Sad
Heart tNo. 67) and his German Band" tho.
1861 are both instances OF this. although both
furnish examples OF really remarkable work
manship. The former is popular but only
in trivial way. because It tells a story
that touches natures whose coarser nbres
OF sensibity are on tho outside. and
that are peculiarly susceptible to obvious
and premeditatcd sentimentality. 1t is very
low form OF art and art has very little to do with
those qualities OF II that made some one who
was chagrined at finding II sold to another. send
Mr.. Brown "t5 to be handed TO the model
any how" Tho action did equal honor to the
head and the heart Of the gentleman who was
moved to IL. but II did not prove that the
art OF the picture was Of a high order. II did
show what true and absolute literaness and
realism always have been able to effect ever
since the time the birds flew at the grapes that
the painter OF tradition had put on his canvas.
down TO the period Of Mr. Harnett. whose paint
ing OF familiar objects Of still life are so familiar
in the corridor at the Academy each year. Mr..
Brown paints his models assiduously aud faith
fully. and presents them Just rs they are. And
II a lazy fellow who poses for n figure in his
German Band" ceases to dlstend his cheeks.
and allows the mouth piece Of his instrument
to rest on his chin. so absorbed is Mr..
Brown in his workmanship and in the de-
velopment OF his technical accuracy. that he
paints just what is before him in all
Inconsistencies. and subordnates the spirit
and motive Of his picture to "A mere ambition
OF execution. This is our loss well as Mr..
Browns. because one cannot but feel that he Is
always upon the point OF going beyond this
limit. and that when he does he will do some
thing that will be very gratifying indeed.