The sun. [volume] (New York [N.Y.]) 1833-1916, 1885-03-29

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~ traditions apd proca.,es peculiar .yle 10
fesisn cad "a equally peculiar iAsts IN eoior-
ias-sil Contributing 10 the smn1difosnl -
national ifsal. present IN 'ho minds - ;hr a..
tists Of the sans oountrY ~ tie sam" time" Il
10 Just the absence % madonna traditions that
sirisss one most forcibly IN stuiyin. Enz.i.h
rA.ntins. and 10 10 only therefore Tor the sasc
os rom psndious expression. that VI. Ctssn@au
sfoups togsthsr under the name 81 Englsh
school" ell the separate nan lisstAtions which
renrsrsnt the nations at. Cndsrstood svon
4 q this vague sense. tho English schoo, dates
hack no further than william Husar;h. whom
rhs author regards a. tie earliest OF Eng And's
odd masters"
The praise Of Hogsrth IL At on.e hearty ard
hiecriui mating. We ar, no. suffered 10 forget
that the author OF the Itsc's Progress and
Marriage 4 Ia Mode" was primarily moral
ist and only subordinate!y an artist: and that
ths fact. wherein In his own time aud country
Jay hts strength. would in our day constitute
his weakness. were he TO be- Judged according
L. a.. 4
following sentence sums W the conclusions
reached In . prolonged examination OF the
pictorial satirist: Although wanting in grea.
artistic qualities. In spite Of frequent faults OF
drawing. OF . heavy and for the mos. part
sombrs manner. Hosarths pictures rive, ones
sttsntton. Their humcr. animation vigor and
bitterness OF satire firmly Gx in the mind the
works OF this I'm perfect painter; but in an ar
tist these arc only secondary qualities" We
are further reminded that it is the reverse OF
cred!table to Hogarth's pictures that they can
10 perfectly interpreted by engraving. for
no work OF a true master can undergo such
process without losing the chief part Of its
beauty"
Sir Josh a Reyn olds Is pronounced IAN artist
worthy Of the highss, eulogium. His portraits
are true pictures and 1t matters little to know
tho persons whom they represents they are
81 ficisnt Of themselves as works OF art" Some
qualifications OF this judgment are suggested
IN the remark that Reynolds has succeeded
in artfully concealing and blending in a unity
entirely bis own the numerous contributions
he has gathered Tor his palstt4." We note a
Ike insinuation that he lacked originality In
the averment that " R-ynoldss talent is "A mag
uiflcent victory OF the will" NJ. Chesneau looks
upon the portrait OF Nelly OBrien as the
masterpiece OF this artist for here his
initiative habi: Is most skiliuily concealed.
We are told that everything in This excellent
painting belongs entirely 10 Reynolds. or rather
he has hero made his own all the IDEAS that he
has borrowed In his travels from Leonardo dc
Einci. Correggio. VelasqueZ and Rembrandt
But judging impartIal!Y this exquisite face. 1t
must be said that in com parison to any Italian
masterpiece. Nelly O'Brien" is an unhealthy
work produced by a deteriorated mind and a
corrupted art. 1t IL the result OF an ultra
refined civilization forced In the temperature
OF a dollhouse" On the whole. II. Chssneau in.
ciIes to rank Reynolds even in portrait. paint.
Ing below Galnsborough, who. 1t is to bs borne
In mind. was also remarkable landscape pain.
ter Thus. In comparing the two artists. he
contends that while 1T is by the ar,ifico Of a
perfected science that Reynolds obtains such
striking effects In his portraits. GainsborouGh.
on the other hand. regards his model In the
samo way as no regards nature" It's thu model
itself. and not the recollection Of old
masters. which in each new work supplies him
with artistic ideas. He SECS for himself those
half-tint reflections which Reynolds calculates
beforehand. - He holds himself as far
alooi from the skilful trckeries Of Reynoids rs
from the naive coarseness Of Hogarth: he is
innately true" Nevertheless. Galnsborough
- an artist 10 mot perfect: his drawing is
weak and often careless; he generally paints
tho accessories and drapery with u breadth Of
style rather In the manner OF decorative art.
but his coloring seldom fails to be exquisite.
Moreover. a. a portrait painter. 1t is to the
human countenance that he devotcs all his
attention. He ahows us not only the model.
but the soul OF the model. which. like divine
melody. perrneates the whole picture"
OF tho fashionable portrait painters who sue
cesded Reynolds and Gansborough the au-
thcr's candor will not sulIer him to peak with
out many notes OF disapproval. Thus he de.
scribes Lawrence as AN attenuatod Reynolds.
He cannot draw well. yet his subjects are l.s-
Ike: his coloring Is not good. yet his faces have
. certain harmonious brill!ancs. lie neve-
understood other power or truth. he is
Al. IL.