Morning journal and courier., 1882-04-24
CORRESPONDENCE.
The Academy Exhibition of Paintings Tn New York-Some- Good Pictures and Many Poor Ones.

Many Poor Ones.
 NEW YORK, April 22.
 To the Editor of the JOURNAL AND COURIER:
 The general impression that one carries away from the Academy exhibition of this year is that it is hopelessly commonplace. There are scarcely twenty pictures that leave a feeling of unalloyed satisfaction and that one would like to thoroughly remember. This is the more painful when the bright prospects and encouraging advance of the two preceding exhibitions are considered for two years ago it was believed by many connoisseurs that the long hoped for deyel- opment of original and fresh American art had really begun. Then there seemed to be a striving after higher order of work and a desire to have done with academical conven- tionalities, but this year is prolific of pie lures in the ever-returning rut of respectable mediocrity. Perhaps this may be partially due to the counter attractions of the exhibi- ton of the Society of American Artists, in which are, as is we'll known, gathered those most freed from academic methods. Now that the popularity and success of this younger society are assured, no doubt many who formerly enlivened the walls of the staid Academy prefer to send their work where 1t meets keener competition and appreciation.
 The picture first in interest to New Haven people is undoubtedly Professor Weir group of the Theological Faculty of Yale College" This work is certainly admirable in that it is departure from those abomina- tions heretofore prevalent, where series of pink and yellow-white putty balls represented the unhappy victims of portraiture. Professor Weir seems to have had in mind some of those famous groups of Dutch Burgomasters still to be seen in many of the town aRd guild halls of the Netherlands. with all their flesh tints filled with subdued glow of life. No example more worthy of imitation for such group could have been chosen, but unfortunately the living glow has become a leathery brown, and our professors seem to have descended from Esquimaux. The like ness which is really good is that of Professor Dwight. Of the other professors Harris and Day are the best, while that of Dr. Barbour is hardly recognizable. That these likenesses should be so poor seems the more remarkable after the study of the bust of ex-President Woolsey, which is Professor Weir's only other exhibit this year, and is especially sue cessful a likeness.
 That Prof. Niemeyer's " Sancta Simplici- tas' could have been intended as serious work is impossible but as bit of caricature it is ludicrously good. It is a take of on the aesthetic style of costume, representing a young girl with sedately prim countenance and baboon-like arms, dressed in a closely clinging sage green dress and 8 perfectly round hat on the back of her head The figure is very effectively brought out by a solid background of gilt, divided into small squares For the sake of the. reputation of the Yale Art School Prof. Niemeyer should not send to exhibitions such work as his 1896 FerQusonyilIe N Y"
 One of the most pleasing things Is girlish half figure, ''Melissa, by Wells Champney. Here is shown good drawing, delicate man. agement of color and pleasing result. This artist has another attractive picture entitled A Boarding School Green Room" where some of the figures are charming. though as whole it is far inferior to his Melissa. Among the best figures in the exhibition are those in-Henry Moslers Normandy Fish women Returning" and Clement N. Swift't Sand Boats" This latter picture excited considerable favorable comment in Paris year ago. It shows thorough knowledge and skillful work, but the effect is marred by somewhat cold treatment Near these pie | turesain the north gallery is Waiting to Sec | the Doctor" by Rosina Emmet, of Christmas card fame; a painful subject treated carefully | and well, and showing the progress thi: | promising artist makes every year.
 | 4 little head of "Iroquois," the race horse | as adnllraOIy done. Arthur Nguartiey mas | characteristic marine, "A Morning of Apple dore. Isles of Shoals" w. Hart has bis usual good cattle and landscape, Beard hil humanized animals, Inness his umbrageoui trees, Hovenden his oyerwrought figures anC | painful details This tendency of many o | our artists to keep on, year after year, con l tentedly painting what they have once sue | ceeded in and mastered, is one of the mos | hopeless indications for our future artistil | development. These pictures lack the high est attribute of artistic marit-spontaneity of genius, the embodiment of an unconquer able longing to paint what the picture strfyei to represent. They are good-you would | like one to hang on your walls, for they care | fully represent nature but there is no spirit ual force in them What can be said of sucl abominations as Feeding the Swans" ''Tht | Tiff" And the Wolf Ate Up Grandma,
 ''Who Wins may Wear" and most of the DOT traits? There may be one worse style o art CD than that represented by these, sucl as the chromo like work of Moonlight a Sunset" or Gilbert Gauls theatrical ',Charg ing the Battery
 It is a relief to turn from such miseries t. 1 Bellows delightful Near the Head of Tide
 Water" Technically this is one of the bes
 pictures here. The golden hour used as tn
 base color has been carried cut most consist | ently throughout the whole picture and witt 1 such good taste and care that the result is
 surpassingly rich effect. It hangs in tn
 east gallery. In this same room is a vel
 drawn figure by c. Y. Turner, called 9Th Days that Are No More," representing wo man at the top of an old stile. It is some