Year: 1871




Some cause, which cannot be easily discovered,
stands in the way of everything like satisfactory
exhibition OF paintings by local artists. With few
exceptions, gentlemen distinguished In their profes.
sion seem ndsposed TO let their works come before
the public through the medium OF the exhibition
room. This state OF feeling is to be regretted, 1t
has an unlavorable influence on the interest Of art
In which all the members OF the profession are con-
cerned. This TACT. which Is patent TO everyone
ought to recall such artists as hold them
selves in selfish isolation to sense OF their duty
their profession. 1t Is not fitting tnat the followers
Of high should think only OF their selfish inte
rests, and pursue their noble calling in this spirit OF
trade. The artist owes something to the public and
art. HIS ought TO be to instruct and delight
not alone the small circle OF fortunate rich people,
whose wealth enables them to purchase the enjoy
ment OF powers that are conferred for the general
benefit OF humanity. The disposition to withdraw
from public notice evlnced by many OF the leading
artists has been attributed to selfish desire OF
centrating patronage on themselves well as
escaping the undue severity OF the critics. Both
motives are unworthy ones, and DISPLAY at once
a want OF confidence in their own powers and In
difference to the welfare OF art Perhaps the most
painful result is the general level Of medocrity
which most OF the artistic exhibitions are reduced
by the policy OF abstention, for though we have no
very great artist among us


THE GRADATIONs OF MERIT


are pretty well preserved, and the absence OF dis
tingushed name Is more likely to affect the general
result Of an exhibition with than where there is
higher average merit. The rapid advance In taste
which is visible among the public and is in no
small part due to the influence Of the highest
European art on our travelling cOuntrymen The
rapid increase OF this Glass; and the consequent art
education OF the. rich, render 1t more than
ever necessary to raise the standard or our
local exhibitions, In order that patronage be not
turned into foreign channels to the lasting detri-
ment OF our native School OF Art. The present is q
most important moment In history OF art on this
Continent, as the future direction OF the national


taste M m Hars o. on
Our artists do not appear to recognize the import
ance OF gathering ali the available talent which we
can musterint strong


ART PHALANx.


with which to bear down on public sentiment and
trary. they divide up their forces and frltter away
their strength, SO that when we enter an exhibition
room good work Is the exception, and is so lost
amid the crowd Of bad or ndiierent works that we
are thoroughly depressed before we come upon IL.
No doubt when found it often shines by con-
but this IL an lgnoble triumph which can satisfy no
true artist II may well also be questioned II our
power OF admiration and appreciation be not
impaired by contact with number OF works pos
sessng no merit. II appears 10 us that the directors
managers OF other local art exhibitions. In their
desire to MI their walls they have not sufficiently
exercised their power OF rejection. This is the
more regretted understand the '.Paleite''
Is not without preteDtions as reforming agency in
SION II would be dicnt to explain its existence IN
view OF the large amount OF at the disposal Of
the National Academy OF Design. We suppose that


WORK OF REASONABLE MERIT


would be rejected by the latter society In view Of
the number Of works without any merit which are
given place. After saunterlng through the pies.
ent exhibition, however, we confess TO misgi wing
IN the "Paleite' az ref0rmer. That there works
OF considerable merit the collection we hasten-at
once TO admit but unfortunately they are not numer
ons we we notice quite u number OF paintings ana ana
no explanation. We are rather inclined 10
think inat even the Receptlon Committee Of
the Academy OF Design, Notwithstanding their
well known liberation Of very Indifferent pic
lures would have rejected many OF those to
which the Palette has accorded place. Sculpture
is relatively better represented than In the National
Academy, though we regret to say this branch OF
vitality. One statue and some dozen busts consti-
tute with statuette OF LOrele, the representations
OF the sculptor's art 80 lar AZ the stat.ette OF


is concerned art has not much to be thankful for,
and we are sure that ever the artist ventures TO
n0at down the classic Rhine the syren Will
Injustice he has done .ner., MIR. BuberI's
action, Dut Is not wanting In merit. The outlines
are good, out the flesh modelling Is hard. bust
work. but the idea OF painting It bronze color was
mstake besides, the light III which IL Is placed de-
aa e nSnnas al ns wecn character to
this exhibition Mr.. Moran's New York Bay from
the Battery" IS specially deserving OF notice. we
have here painting OF q familiar scene from which
oil attempt at trick or sensatiOnalisIn ~ absent
There Is an air O naturaness and animation, with
out apparent effort which Is quite deighLul. Inc
waves seem to swell with the peculiar


MASSIVE MOTION


which we observe In the sea- and the idea OF weight
and force which they impress upon us Is weli
caught The color OF the picture IS cool ana nar.
monious. little further on the same line we nnu
an example OF an enllrely different class OIL ART,
which bears internal evidence OF foreign iunucncc.
Mr.. EnQefs embarrassing Question" ID = very
gln ami tnH IA
behind her back, mas been drawn with Iecuo y
and nrmness that wc do not often ind IN wofks Dy
our local artists; the merits OF the work are py no
means confined TO this excellence. Inc composiuon
Is exceedingly simple and natural ~ comoines
grace with appropriateness. 1ho col0r ~ strong
and evidently Influenced ny the Northern schooi.
we have the story told directly and wltnout anv