The Arkansaw traveler., 1886-01-09
Thaeksray as an Ar, Critic.

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 In June, 1858, the 6rst of his art criti- cisms appears. Thackeray was then twenty-seven years old. He had seen much of life in various countries; at Wei. mar, where he enjoyed the society of Goethe at Rome, with lngres, the French painter and at Paris, among all sorts of people. His first intention was to be- come painter. ltis doubtful if he would ever have succeeded as an artist. He had all the artists imagination, and some skill in sketching and in caricaturing ;; but his drawing was deficient in finish and faulty in perspective. He copied some of the most ceLebraed pictures at Paris and Rome but, after all, it was rather for enjoyment than as a serious business. At that time his means were ample. When, atterward, it came to working for a livelihood, literature, not art, was his chosen medium for address ing the world. His hand was not equal to the execution of the scenes in which his imagination reveled. Beyond sketches of which hundreds are found scattered through the books be read-apd the illus tration of some of his own novels and stories, none of his art-work is known to exist. Yet there is freedom and power in some of these which more than makes up for their evident defects. Who would miss the striking individuality of his rep resentations-such, for instance, as Miss Swar,z Rehearsing for the Drawing room or Mir. Osborne's Welcome to Amelia- for any amount of technical skill and superiority
 Perhaps, the earlier part of Give New come's career is fair representation of his own that half jocose, half earnest playing at art, which never makes an art ist. Yet such study as in his youth he gave to painting he atterward turned to better uses in literature. The satirical saying that the critics are those who have failed in their profession does not apply to Thackeray. Never was more kindly. or generous, or appreciative critic of painters. If there was any excellence in a picture, he was sure at least to try to find it; and if he could not say anything good, he said nothing. He never learned to wield the bludgeon or the broads~ord. His whole spirit is helpful and encoursg- ing to every kind of merit. Nowhere can one find an expression of his concerning a picture which is not good tempered, honest and frank. His own failure did not sour him, nor awaken any jealousy toward others more successful. His sense of justice told him the verdict was a cor rect one.
 His first published essay on art matters is under the rhythmical title, "Suic,ures on Pictures" It is in the form of letter from MT. Michael Angelo Titmarsh, and bears date, with all that particularly which distinguishes the correspondence ot Englishmen, Lords hotel, New street, Covent Garden, Tuesday, 18th May, I83S.' It is addressed with equal mi nu,cness of detall to !" Monsieur Anatole lsidor Hyacin,he Achil!e Hereuse de Bucabrac, Peinire d'Histoire, Rue Mouf- fetard, Paris" It gives an elaborate account of the paintings exhibited Tn L ondon, in the spring of 1858, in the three picture galleries of that city. It is full of the warm enthusiasm with which he always rejoiced to recognize merit in his contemporaries. and the bright hu- nor and satire with which he always equally reIoiced to attack pretension. His anger is reused by the place of exhi bition The Royal academy exhibition is held " in one wing of little building like ginshop," He is so impressed with this that he repeats the same comment the next year. He then goes on: Thanks to your (the French) goverO ment patron age, your magnificent public galleries, and above all your delicious sky and sunshine, there is not scavenger in your nation who has not feeling for the beauty of nature, which is peither more nor less than art" This love of the beauty of nature is the very keynote of all Thackeray's writings about art. Without that, art and art criticisms are impossible.