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painting, and as it was understood among as the art of painting is concerned, ancieni Italian painters. It does credit qualities of color, harmony, tone, depth, to Mr. Huntiogton's study of some of the handling,-Mr. Huntington may be said old masters, and is remotely suggestive to have attained much. But the sweetof Titian and Vandyke ; in fact, it shows ness and grace of his nature, instead of great dependence upon the examples of making a wholly personal expression, the two masters of the sixteenth and have been too easily contented with seventeenth centuries. A certain de conventional forms, and this fact degree of nobility in the types, more or tracts from the merit of his work as an less conventional, an impression of re- artist. But enough. pose and size, and the dignity of the We are before a charming head of a Samaritan, render this a respectable ex- young girl, sweet and pearly in color, ample of a style of art that belongs to of a delicious simplicity in expression,

refined in form and tint, -refined like My gentle reader's face bas darkened. the lip of a sea-shell, soft as a petal,-Let me hasten to add that American a face that is individual enough to be a art has no better specimen of this kind portrait, and which is yet representative of painting save in the works of Allston. enough for a type. Well, it is only a The color is rich, the tone deep; the little girl, a half-length by Mr. Henry expression and character of the young Peters Gray, and, without excoption, woman's face sympathetic and pure; that it is, to us, the most refined and wholly of the mother fussy and incredulous and charming example of his talent that we surprised ; that of the Samaritan com- know of-a picture to covet and rememmanding, perhaps a little exaggerated, ber, it is so fine, so delicate, so delightand therefore overbearing. This is an ful in suggestion, so artless. This little example of religious art not much appre- maiden with her little ring upon her ciated outside of the pulpit's immediate little finger; a little bud of a girl dressed influence; it is not equal to Flandrin's in the simplest fashion, without a single art, nor could it well be so, for Flandrin detail, owing its whole charm to the was a pious, and convinced, and submis- positive painting of the face, to the unsive mind-pious and submissive to & obtrusive painting of the figure and backdegree hardly possible in an American ground, is really a work of art, precious Protestant with a sense of beauty and in fact, and better than larger and more of art comparable to the devout French pretentious pictures. This picture reCatholic religious painter.

presents a rare attainment in artThere are other examples of Mr. a personal and lovely sentiment of a Huntington's talent in Mr. Roberts' gal- particular form of life. The mechanic, lery-several landscapes that show a the mere picture-maker, had little to do natural sense of color, but a sense that here; the artist, pervaded with a sense seems to me not sufficiently cultivated, of his subject, has done every thing; and or rather, seems hurt by too much yet the man who painted this picture studio-work, and not stimulated enough is often in complete subjection to the by close and freqnent reference to na- very ideas which, inherited with his ture. But Mr. Huntington appears in time, have cheapened the work of Mr. all his serious and gracious qualities of Huntington. We mean ideas of imitaan agreeable and cultivated painter in ting—or, if not so frankly avowed, ideas of Mr. Roberts' gallery. His aim as an ar- repeating—the historio and religious art tist is now shared by few, perhaps by created by the painters of the sixteenth no American painter of equal ability. and seventeenth centuries. This aim is, It is an aim that made him scrupulous and these ideas are, it is but just to say, to repeat something of the glories of the the common object and property of every great Italian masters in a form which school of academic art: dominating the they have illustrated according to the life of an artist, he is listed above the suggestions of their own spirits. So far vulgar and trivial by them; yet as often


they take him away from reality, and precious, certainly intelligent, a pictorial then he but feebly touches our feelings, witness of good sense; as a composition, while to a Wilkie, a Frere, a Millet, a notwithstanding the tableau vivant look Roussean, belongs the honor of creating of the figures, comparable to Vernet, an individual if not a national form of art, and, in point of drawing and action, but destined to outlive the more exclusive, little short of the merit of the best er. the less robust, the less natural, often the amples of retrospective historical paintfeebler, forms of art, consecrated by the ing, which necessarily fall short of the reverence of schools and repeated only quality of contemporary historical art. for tlie profit of the unthinking in such It is natural enough to be brusque and matters. We cannot help regretting positive before the works of living paintthat both Mr. Huntington and Mr. Gray ers that are outside of our sympathies; do not oftener content themselves with but before what remains vivid and tangithe simple fact of nature; that they do ble, with sign of weakness or of strength, not care more for actual men and wo- of a hand now stilled forever, we must men and children, and less for story and think and speak gently: and so we think symbol or allegory, which make illustra- of poor Leutze, so strong in his day of tive puppets of human beings. But to do being, grasping by his intellect the barthis they must resist the taste of picture- baric and violent of history, and rejoiobuyers who covet a fancy picture, a ing in the active and collective life of composition, a story illustrated by colle past times. To bim art was not an ood ventional types, and are stupid or insen- in itself; it was merely a means of rensible before the finest example of art in dering his conception of men in dramatic the unpretentious form of a study of a situations and at picturesque epochs. The head, of a figure, not knowing that the artist, pure and simple, has a different greatest achievement in the art of paint aim; his aim is beauty, and beauty and ing is a simple may, woman, or child, at its means of expression are to bim inthe best or most pathetic moment of separable. their existence. And yet this is a con- The interest of Mr. Roberts' Gallery clusion which must seem ill-advised in would be strong were it only furnished the gallery of Mr. Marshall O. Roberts, with the three popular pictures, just before so imposing an example of his mentioned, by Huntington and Leutze; torical art as the late Mr. Leutze's but these, chief though they be in Ame“Washington Crossing the Delaware '' rican art of yesterday, are but a portion -a picture more widely known than any of a large collection, which includes other American picture—a picture which works by most American painters, and commands respect in Paris, is admired not a few by the leading contemporary in Germany, and doubtless is highly French painters. One Meissonier, one thought of by the artists of the English Gérome, three Freres, specimens of WilRoyal Academy; for, viewed from the lems, Jules Noel, Plassan, Vantier; standpoint of a school, its art is on a several pictures from the Düsseldorf level with its subject—it is heroic and school of painting; three large landeffective. Most of us recollect the de- scapes by Church, two pictures by S. R. preciation to which injudicious and en- Gifford-a charming sketch of a woodvenomed critics subjected the painter road and a masterly picture of sea and of this picture but a few years ago: shore a little after mid-day; two landthe reaction against his art was violent scapes by James Hart, one by William and inconsiderate of personal feelings; Hart and one Kensett; here, too, you but after all is said, we must admit that can see one of George Hall's best-known Leutze the painter was on the same pictures, liis“ April Shower :" plane as Bancroft the historian, and that torical picture by Irving; Robert M. this historical composition is a clever Weir's “Embarkation of the Pilgrims; " and vigorous piece of work, expressive Lang's Beatrice Cenci in her la-t sleep; as an oration, and if not profound, if not Hay's Herd of Buffaloes; a landscape

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study by Hicks; a Venice by Cranch, place of honor in Mr. Roberts' gallery, also a bit of the russet woods by the for he has no American genre picture same artist, and one of the best speci- comparable to it. Many of our older mens of his talent; an interesting, and, readers, doubtless, are well acquainted in some respects, a fine picture of Corph with this picture, for we believe it dates Castle by Cropsey: these pictures, of from the old Art-Union days in New varied rank, some of no rank at all, in York. The artist has painted a group art, are instructive to the lover of Ame- of men on the stoop of a country Hotel rican art, and show what effort has been and Post-Office, listening to the host, made by some of our older men years who stands in an anxious and eager attiago to give grace and beauty to our tude, devouring with his eyes the excithome-life. George A. Baker is repre- ing news from the seat of war, which sented by a lovely head of a young wo

he reads to a curious and varied group man, and a cabinet picture of a group of old and young. Character, expression, of girls, pleasant in color, but too gene- action, grouping, are alike good- I will ral in style to do credit to the painter's say more, remarkable—in this thoughtstudy of nature. A charming portrait ful and well-designed picture, wbich has of a child by William 0. Sione, sketchy more good sense, more brains, in it, than in execution and broad and delicate any Meissonier we have ever seen ; and in effect, is worthy of attention. Two certainly it is more appropriately placed heads by Merle, & Venice by Tilton, a on the walls of an American gallery large landscape by Gignoux-Indian than most examples of foreign art. Summer in Virginia—a rocky coast by Luxury and ostentation, with undiscrimAlexander Wüst, four pictures by East- inating pride, will covet and boast of man Johnson, a sketch by Homer, seve- foreign pictures, but real love of art will ral pictures by Gray and one by Mount, be as responsive to the extraordinary

, a Marie Antoinette by Muller, a little merit of our best native talent as it is picture by G. Lambdin, an elaborate hospitable to the famous or admirable study of the details of vegetation in the painters of modern France. It is for autumn woods by W. T. Richards, a re- this reason that I congratulate Mr. markable and invaluable picture by Roberts upon being the owner of WoodWoodville, and several foreign pictures, ville's 6 War-News from Mexico." in addition to those we have mentioned, There seems to have been a generous constitute the body and force of Mr. impartiality presiding over the formaMarshall O. Roberts' private gallery. tion of Mr. Roberts' collection of paint

Now that we know what we have to ings. Native and foreign art are replook at, mindful of our “gentle reader," resented without any thing like excluand yet without stopping to consider siveness, although Church, Huntington, Leutze's “Expulsion of the Moors," one and Leutze do cover the greatest amount of his latest works, singularly like a of space on the walls of the gallery. piece of tapestry in effect, we will look But size is not a measure of interest, of at Woodville's “News from the Mexi- merit, or of cost, in matters of art, and can War.” This picture is to Mr. Rob- therefore we suppose the little Meissoerts' collection what Homer's “Prisoners pier, the well-proportioned Gérome, and from the Front" is to Mr. J. T. John- the historical picture by Muller, represton's gallery. It is expressive of an sent as much art and as much wealth, epoch; it is a bit of local history of if less of patriotism, than the enormous vast significance, painted with adequate examples of native talent just menknowledge and the right purpose. It is tioned. more elaborate art than Homer's pic- Mr. Roberts' Gérome, in point of color, ture; the direct and simple talent of the is the finest that we know of in New painter is less, his study and experience

York. Prisoners and slaves, guarded by greater, than Homer's. . This picture is Arabs, are

seen moving towards the a gift to all of us, and it should have a spectator on the sands of the East. The hot and dusty look, the strange and posi- shade among the pathetic remains of tive types, Nubians and Abyssinians, and the pride of yesterday-pictures that a brawny negro from the Niger, coupled we cannot boast of before a New York with wooden shackles, heads wrapped journalist, much less in face of an inin the sheltering folds of white kaiks, structed and exacting lover of art; but while arms and legs and feet are bare to they are pictures which fill one with the sun and sand, are rendered with the sadness, and suggest the sere and yellow hand of an unsparing, indefatigable, and leaf of artistic fame, and remind us masterly observer. What a group of how difficult it is for us who last but surly and repugnant animals, subjected a little while to make a work that shall by treachery, or force, to the will of last. A great subject is not enough; the covetous and unscrupulous masters! It matter is often of so little importance is in a picture like this that Gérome's in art, that the manner alone seems to accuracy and thoroughness do us a be the part that floats a work and keeps great service. Here the painter who a name fresh in the memory. But, travels is as much as he is eren more shall a Meissonier, with his marvellous than-the photographer, Here is & execution, touch, and tone, and drawing, representative picture, which shows us and expression, employed on mean or the actual conditions of life in the inter- poor or common subjects, last, while course between the races and tribes hosts of painters of sacred subjects, and bordering the great desert. This picture pictorial and retrospective historians, is wholly interesting-interesting as art, have done to show them reverence ! interesting as a glimpse of the populous Shall patience and dexterity of hand and and barbaric East, where, under burn- exact observation do more for a man's ing skies, and by the shores of sluggish name than his power to sympathize rivers, or across desert-sands, the ani- with the noble, the good, the beautiful? mal, the brute in human form, obeys In the immortality of this world the those natural rulers of men-Cunning shaping power, the power to give form and Force. This must make us pause and budy, is the only pledge of the duand think of desting and fate, which ration of a man's work and name. His hold so many races in the ruts of time, sympathies, his intentions, all that makes and bestow no glimmer upon them of hiin a delightful and attaching social be that light by wbich we live and hope ing, counts for very little in art for, in and love—the light of an ideal civiliza- art it is not the matter, but the manner, tion.

that constitutes the particular glory of The absolute Gérome, whose talent is the artist. If the subject, if variety and sufficiently understood by people inter- fulness of meaning, were more than the ested in the subject of my article, was, style, Oertell's “ Father Time and his as the French say, never better inspired Family" in Mr. Roberts' gallery would than when he painted this picture. It have made bim more famous than Meisis one of his masterpieces, being more sonier was made by his “ Chess-Players." solidly painted, more vivid in color, And yet, it must be said that the greatmore mellow and harmonious in effect, est art must be the greatest subject esthan most of his paintings.

pressed in the grandest manner. We are The “gentle reader," somewhat ne. disposed to ignore this, for no American glected for the reason that he is some- figure-painter has ever given us so much. what indifferent to Gérome's work, has Allston alone, were he now living, might not been forgotten. We have observed do it. He had the mind, the culture, him poring fondly over some of the pre- the heart for it; but he lived when artistic examples of American art in Mr. painters were bound by tradition, and Roberts' gallery--poring fondly over seemed exclusively retrospective, and little futile bits, feeble sketches, and be- were, assuredly, conventional. fore great canvases that were painted We are now before Mr. Roberts' Meiswhen he was young! He is a tender sonier, It represents the costume of a

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soldier of the seventeenth century, and picturesque and vivid realism. But will the face of a very modern fellow. It is you not gladly turn from Meissonier's & beautiful piece of painting, clear, guardsman smoking, to contemplate & bright, exact. On this little pannel the picture which, by its subject, at once art of the painter is expressive of traits raises you to a higher level, and makes of character which must always com- you think of the grace and majesty and mand respect and sometimes adıniration. tenderness and gentle firmness that may But if at any time in the study and ad- be compounded with human clay, to miration of art, save when before a make a martyr-woman, the wan and Vernet, a man may be excused for

worn Marie Antoinette, seem to you one thanking God he is not like this man, it of the most awful and lovely and pashould be before a Meissonier. We all thetic figures that human eyes have ever understand that he is uprivalled in his contemplated? You are before Muller's genre, that he is a positive fact in art as Marie Antoinette replying to the namein life, that he is no trifler, no loose and less accusation of "scandalous Hebert." careless and listless worker; we all And how well the artist has rendered know bis power of application, bis love the mother in the dignity, firmness, and of clothes, weapons, furniture, and the proud scorn of her outraged nature! material life of men; we all call him Art is of double service to us here-it master, and salute him. But would it serves our historical sense and celebrates not be well, out of respect to the gran. an awful and heroic moment in the life deur and loveliness that may be in art' of a woman. To us, the Christian marbecause it is in man, to ask, now and tyr, virgin or mother, under the cruel then, what is the world to Meissonier, eyes of a persecuting populace, waiting, what does he introduce us to, and is not breathless, dumb, or exalted by religious his work most appropriately placed in hope, for the devouring beasts of the the galleries of unthinking and heartless Roman Amphitheatre, is not a more men? elsewhere it can have place only awful spectacle, not a more illustrious as an object of curiosity and fashion. witness of the dignity and heroism of Thank God, there are but few Meis- human nature, than Marie Antoinette soniers among painters—that is, men before the human beasts of the Revoluwho limit our sympathies and perer ap- tion. Something of the noble and firm peal to the ideal, never seek for the bearing of that high-bred and lovely beauty that is in all the fresh and natu- woman, grief-struck and appalled, yet, ral and spontaneous and uncorrupted as mother, wife, and woman, an object objects that bless us in life.

sacred and immortal in history, the artThe insensibility of Ingres to contem- ist has caught for the eye to appreciate porary life is better than Meissonier's, upon his canvas; and with this noble because he was infatuated with old picture, the thoughts it quickens, the Greek and Italian types of beauty. feelings it touches, we will leave you in Meissonier's art is illustrative of soldiers, Mr. Marsball O. Roberts' gallery, where drinkers, gamblers, duellists, chess-play- the historical department of art is largely ing gallants, sometimes in tragic situa- and impressively filled, and upon which tions, never in tender or humanizing Mr. Roberts seems to have bestowed ones; yet he makes all these costumed much intelligent and generous appreciaoreatures wonderfully attractive by his tion.

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