The sun. [volume] (New York [N.Y.]) 1833-1916, 1879-04-20
THE NATIONAL ACADEMY

there were two pictures by Mr.. George Fuller
which tho gentlemen Of the Hanging Committee
were not quito nble to understand When 70
this hesitation they added the fact that the plo-
tures came from Boston. they concluded. and
not altogether unreasonably. that the safest
thing to do with them was 10 sky them. They
accordingly nut one securely up ovar door
and made e~ay with the other in the South
Room with the work Of an aggressive and stall
wart AcademiciHn to stand guard over tho roA
mains. In majority OF similar instances such
n decision would have boen righteous enough.
but in this their instructive disrust Of pic
lures Of the class In question, together with tho
considerations Of local origin mentioned. had
mised them. This waa peculiarly unfortunate.
for 1t was an inauistional year and there were
large number Of ill-disposed people about
who seemed to have no other object in view
than to make life uninterestng 10 the older
Aeademieians and the members Of tho Hanging
Committee in particular. These speedily dis
Inferred Mr. Fullcrs pictures and summoned a
largely attended inquest. Of which the finding
was that they were very good works Of art
This year. Mr.. Fuller has been handled with
gloves. and his two contributions have been put
upon the line in places that are ne conspicuous
as those assigned him last year were Obscure.
One picture IN the south room is entitled The
Romany Girl" mo 1851. and the other which
is in the west room. And She Was Witch"
tho. 42ll. While neither has tho marked and
distinctive excellence OF the Turkey Pasture"
OF Inst year both are interesting and notable
examples OF his woodwork OF which It may be
said II stands alone. so far. among all the rest
TINT has been done by American artists. II the
picture Of last year brought 10 mind tho work
OF Millet. and mt the came time forbid even q
suspicion that II was initiative OF TINT master.
the "Romany Girl" OF tho present Academy
Ind fp,fi ~ No
son. however. OF MI. Fuller's work with that Of
other artists 10 which II might bear come re-
semblance. would be likely 10 be attended with
any great profit. In this instance, he has
painted gypsy girl. and. true to the new made
traditions OF his locality. has quoted couple
Of lines from Mr.. Emerson. to convey tho idea
Of his having chosen n race type for his sub
iect. This. as matter OF course he has not
done. and the acquisition OF title is in q
measure BIT Of pardonable affcctntlon. II not
an instance Of Misrepresentation Of tho actual
character Of his own work after he had finished
1t, that is not uncommon with even artistic OF
high rank 1t is three-ouarters length study Of
n young girl. the face nearly full. and the back
ground arranged go as 10 convey the gloom and
mystery OF some woodland recess. its tone and
detail sufficiently subdued TO give the requisite
relief TO the figure and tho proper emphasis to
its underlying motive. There Is no atfectation
Of sentiment in II; on the contrary It IL a
straightforward and unconscious effort ond the
impression that II produces is Of n simple and
unambitious poetic ideal. something that has
been deeply felt and sought after with all posi-
bic sincerity. Quietude and repose. evasion Of
all harsh contrasts OF sunlight and shadow. and
the quality of gentleness allied with strength,
are the more characteristic features Of Mr..
Fuller's style. They are not inconsistent with
the attainment Of vitality. depth OF expression.
and distinct individuality. qualities which make
this girls face. commonplace and material as II
is in its stru ctural detail to glow with quick.
spiritual feeling.
In his other picture. And She Was a Witch"
Mr.. Fuller's intention to combine strictly sub
jective method Of treatment with poetic and
quietly imaginative literary interest. is moro
apparent. and Is eminenty successful 1t Is an
effort TO subordinate the latter for tho sake OF
striking a single chord OF sentiment-to convey
varied but delicatey seneuous impression OF
the relation between tho distinctly human in
terest Of the action that lie implied aud tho ar
tistic expression Of II and the conditions that
surrounded IT, Mr.. BouRhton. for instance.
would have made II the occasion Of some ex-
Quisite and erudite painting OF costumes. and
! would have given an elaborate study Of the
emotional opportunities that were afforded. Mr..
! Fuller hos preferred to throw n veil over that
| entire aspect OF IT, through which one Is allowed
20 see merely q sufficient indication Of the action
| Of the figures 60 set ones Imagination at work
TO supply the rest. The whole tone. spirit and
general character OF the picture come to aid
one in doing So and the result is that delicate
and exduisitely poetic motive is revealed with
an utter Inconsistencies OF effort. and in
way that is far more effective and far more
deeply felt than if 1t were sought after by the
coarscr processes OF elaborate and painful pre-
| cision Of detail. Unless 1t excite such sympa-
| thy with. and apprehension Of. It's artistic pur-
| pose 1t cannot interest any one very much any
more than certain forms OF poetry. 10 which il
i bears a we'll marked analogy. can move people
| who. by disposition or training are unable TO
see anything more than the superficial and ma
| terial result. which in the ono case is mere
paint and in the other unmeAnine words.
Mr.. George lnncss has contributed several
pictures this year. and they furnish some dis
quieting examples OF HIS unevenness. Mr. In
| ness has been frequently accused OF initiating
! Oor0t. because in some Of HIS landscapes thero
| axe 10 be found trees which are treated very
much. In purely mechanical sense. after the
manner Of Cor0t. That is 10 say he produces a
misty and underlined tree form. and runs a very
definite trunk and branches through it, and
thereby attaiLs direct technical resemblanceto
| the simple superficial technique Of the French
| landscape artists work. This is u very little
Gor5t. nor YET an imitator OF him No land
| scape painter that ever lived was more modest
l than Corot. He was one OF the humbest pupils
that ever alPT9ached Natures tootstooi, and
his most ambitious estimate OF himself was
given when he likened himself to a meadow
lark hidden in gray mists and tril,ing little
songs. He was content 10 study the
more quiet. and !subduod moods Of ma
ture. and found his excitement in noting
the nrst bushes Of spring the rich ieafage and
mystery OF his s0us-COis haunts, and IN peopling
his simple Landscapes with tender ideals al hu-
man interest Mr.. Inness does not DO this to
any marked degree, and Il he felt called upon
TO select an ornlthologic figure that should con-
vey his idea Of his own quality he would prob
| ably select the cnRle, and intimate That he
habitnally soUred above the regions af-
tectcd 10y mere songsteTs. He flies M
the violent aspect oil nature: all his SYM
patty i, with her more turgid moments. with
the bowling winds. the wrack and turmoil Of tho
eements-or with the suen. rrscptiui splrh
Of dark lowering clouds and the feeling Of a
storm that T. coming. or that has gone and lott
IT. ruin behind II; 1t must notbf supposed ihat
he IL unequal To the EXPRESSION OF these thiugs.
lust rs they move and affect him. or that In his
treatment OF ,congeninl themes he does. not
often approach and even touch the sublime
itself. THIS he certainly doce but tor IN artist
Of his power. Independence. md 90, tie thu
he IL a. lpt al of a a