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with her. And, come to think of it, Lieut. Campbell's hand was on the I don't believe I was quite civil to him," door-latch when he heard her speak she said. “I didn't thank him, nor say his name, and came quickly back to good-night. I was wild to reach you," her. She mused a moment, with her eyes up- "I thought," she began, then stopped. raised and fixed on the lamp-flame; From his height he looked down with then added, more softly, “But I recol- smiling eyes upon the dear girl, with lect he said something before he turned her frank, bright, blushing face. away. It sounded like. God bless you!' “I'm afraid you will think I don't That was very good of him. Young know my own mind," she said in some men don't usually speak so. I would distress. “But when I saw you going, rather one should say that to me than I thought that may-be I know well pay me the finest compliment."

enough now, without waiting a week. Unnoticed by her, Judge Fanshawe I'm pretty sure that if you and papa are watched his daughter closely while she willing, I am-that is—I meant to spoke. “That is a young man whom I say”. esteem highly," he remarked quietly. What His Honor's Daughter meant "Do you ?” said Rose, with a pleas- to say must forever remain a matter of

? ed, unconscious smile, her color deepens doubt; for that sentence was never ing softly.

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PICTURES IN THE PRIVATE GALLERIES OF NEW YORK.

II.

GALLERY OF JOHN TAYLOR JOHNSTON.

A PRIVATE picture-gallery means and colors that express the particular something more than the munificent tastes of individual men, which we endisposition and refined taste of its joy because we are curious—because we owner : it is significant of many things are interested in more things than men of general interest. It may even be ex- of the pagan or of the pagan-Christian pressive, to a certain degree, of the epoch. range and scope of our social life, of But it may be said that all art our intercourse with nature, of our un- is a representation of the particular derstanding of much that is related to tastes of individual men; so we must our affections. An adequate account make this distinction : while the parof pictures in modern galleries would ticular tastes of the old painters were be a comment on the ideas, the tastes, more or less limited to madonnas, saints, the sentiments, the manners and cus- and goddesses, the particular tastes of toms, of the men and women of our our modern painters carry them over epoch.

every form of contemporary life. The For example, we are in Mr. John old painters depended upon the natural, Taylor Johnston's gallery, which, in the permanent, and typical; the modern number, interest, and value of the paint painter relies upon the occasional, the ings that it holds, is second to no gal- customary, and the characteristic, and lery in New York; and, with one or he is under the rule of propriety. The two pictures more, it could be made su- modern painter is secular in his aims, perior to any. It is wholly modern. and the ancient was religious; and Instead of representing a few simple while he was religious he was not neideas, like a gallery of ancient art-in, cessarily ascetic, but bore as free and stead of presenting to us symbols and uncorrupting witness to the loveliness types—instead of giving us the reli- of material beauty in the figure of a gious and exalted,-it shows us forms boy, girl, or woman, as, to-day, a pious girl does when she paints a wreath of Now, just step with us to the opposite flowers. But we make a distinction be- end of Mr. Johnston's gallery. We are be tween the beauty of a flower and the fore a picture by Knaus, a famous paintbeauty of a woman, We look upon er, who cares nothing for the Greeks, the undressed loveliness of the first who loves the homely, the characteristic, withoute reproach; but the undraped the humorous, and who is inimitable in form of a girl is generally excluded his way. He has painted an old bean from our art-galleries. Not only is our and two young German peasant-girls in philosophy at fault, but our sentiment the group before us,—the two girls of the beautiful is feebler than our no- laughing, hearty, honest, sitting under tion of propriety; and the suggestions a tree, the old peasant standing before which come from minds not free from them. What could there be in such medieval prejudices against what is a group to alarm & Christian? And called the flesh-are attributed to beauty how much must there necessarily be in itself, which is irreproachable.

the nude figures of Gleyre to question When we get our Phidias and our Ti. on the score of modesty and propriety? tian to work with our Darwin and our Possibly you might think this. But Huxley, we shall understand that God's just look at the face of Knaus' Old unimpeachable manifestation is not less Beau! As nature, it is wonderful-far in the natural than in the spiritual, and beyond the pure and beautiful contours that it is as blasphemous to impute evil of Gleyre's nude figures; but, as sug. or corruption to the beautiful, as to ac- gestion, as companionship, infinitely less. cuse God of wickedness. Who can be. Look at the old peasant with his senile lieve that the beauty of the Venus of Satyr-face; look at him with his moist, Milo ever inspired a debasing senti- sparkling eyes, his flabby, slobbering ment, or ever made a corrupting sug- mouth, his effete figure, and familiar exgestion, in the mind of a man? But pression—nothing more ignoble, nothwhen Satyrs carve, and Fauns paint, ing more disgusting, than that face. It the expression of animal life must domi- is only because we can laugh at it, it is nate in art. Our mistake is, that we only because it amuses us with its libidiabuse the animal, instead of frankly ac- nous senility, that we tolerate it. This cepting it when nature reaches no high- old beau belongs to art as Falstaff beer expression. How much the painting longs to art. His face is inimitable-a of the nude figure may represent all wonderful portrait of reality, replete that is most sacred in our minds, we with vulgar suggestions ; while Gleyre's may see, perhaps, in a picture by Gleyre, dude art is replete with pure and lovely recently added to Mr. Johnston's gallery, suggestions. Childhood, an incident of and representing two Greek women in home-life in antiquity, the morning bath, the classic atrium of a Greek house- a chubby boy plunged into a rose-marone, a mother, about plunging a rosy ble fount, a lovely nude figure seen in child in a rose

marble fount; the other profile, leaning upon the marble basin, a wholly naked and strikingly natural and the cold and severe and elegant acgirl — natural, like Palmer's “White cessories of a Greek interior, to localize Captive,"-who stands contemplating the subject-these make a picture which, the struggling and vexed boy. It is a save the novelty of so frank, so real an frank example of the nude in art, and exhibition of the nude in art, is not it is wholly free from any thing corrupt- only instructive as a faithfully studied ing or debasing. We use the words representation of a pagan household, corrupting"

" and "debasing,” because but is also pleasing as a representation they express the influence commonly of home-life in an artistic and charming imputed to any thing like nude art, form. Gleyre is no colorist, but he and, as commonly, are supposed not to loves a pure line and a clean tint. His be present in art which belongs to the flesh-painting is thin, but delicate, and epoch of hypocrisy or of clothes. he is a fine artist, but not a great paint

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er.

Knaus' Old Beau is an admirable absence of dryness and paintiness in the piece of painting, and the color is touch-a touch remarkably light and brighter, and the touch in the old man's fleeting and suggestive-is worthy of head delightfully spirited, crisp, and attention. The scattered lights tell as brilliant. If we are honost in our pur- light, and the gray, dim green of the ism, we would prefer Gleyre's nude woods is finely rendered. No style is figures to Knaus' Old Beau.

better adapted to the subject; it is close If we are broad, complaisant, indul. to it. How far is the false and the artigent, like Shakespeare, we will heartily ficial from Corot's pallet! But this enjoy the striking and vivid character- wood-scene is a melancholy picture; it painting of the German painter, and no is a picture that would be good for the more trouble ourselves about his condi- eye of a tired man, and make a soothtion than about Mr. Beard's “Jealousy" ing solitude for his reverie. We can

picture which we recall, in which imagine a positive man taking infinite jealousy is expressed by an absurd and pleasure out of Corot's art, precisely bedistressed rabbit witnessing another pre- cause it is so uncertain and harmonious, ferred to himself. To the natural man, and so tender in its meaning; for do we the triumph of instinct is not a subject not ask another to give us what we lack of satire; it is a subject of satire only ourselves? But perhaps your sympain a corrupt society, and in men who thies are not in the direction of such dishonor impulse. But, from pictures art-expression. Perhaps you like éclat which raise such troublesome and deli- -the dazzle and force of effect of full cate questions as the two just spoken of, daylight. Such suggestions of damplook upon that fine specimen of Corot

ness and melancholy as Corot's wood-a wood-scene-recently added to Mr. road make you shiver, and you ask to Johnston's fine collection. If Corot's art feel warmth, to see color and sunlight is still a secret to you, look at this pie- , in a landscape. ture until you are permeated by the In Mr. Johnston's gallery, Jules Dusentiment of nature which it expresses, pres will give you what you want. This and understand the delightful, easy little canvas, not much larger than the (although, in fact, we suppose it to be printed page you have under your eyes, the result of very great labor), natural is a remarkable piece of effect; it is style which it exhibits. Every thing is bright, vigorous, and rich in color, and cool and dark, but not cold and black, free and full in style. It is open to the in this picture. The daylight hardly charge of being forcé or artificial in gets into the woods, but you see it is color, but it is vivid, and it is capable outside in the spots of light that are of giving a sensation. However, while seen through the trees at the horizon. you enjoy so much effect, while you And how fine is the rendering of light! marvel at the very solid painting of the how transparent and cool the shadows! lights and the very transparent and thin how light and leafy the masses of foli- painting of the shadows, you must let age, at once airy and penetrable! It is me remark, that the tree is not beautia French wood—that is, a damp, dark ful in form, and that bitumen may be place, with elegant and thin trees, not said to play too great a róle in the picgrand and solemn like our American ture. And yet this little picture is one woods. These tall, reed-like trunks, of the most instructive in its method of these scattered branches, this freedom painting-so instructive that we believe from undergrowth, is unlike the tangled it could teach many of our landscapeand profuse and varied vegetation of painters just in what respect their meour forests; but it is nature, and it is thod is monotonous and feeble. It is nature as painted by a gentle and naif the work of a master. Why is it that man. The painters of our woods could both of these specimens of French landbe taught something by this specimen scape-art are more interesting and of Corot. The quality of the color, the charming than any American landscape in Mr. Johnston's gallery? It is be- represented here by characteristic piccause, in their style and sentiment, or tures. method and feeling, they are superior The series of landscapes known as to manner and feeling in the examples Cole's “ Voyage of Life” are not to be of our American painters. And we say considered as landscapes; they are good this in front of the finest picture over allegories and poor landscapes. They painted by Mr. Church.

represent Cole's ideas in a graphic but The “Niagara "—the first Niagara conventional manner. Were they less painted by Mr. Church-is the only ade conventional they would be less intelliquate representative of American land- gible; and we require an allegory to be scape-art in Mr. Johnston's gallery. The perfectly manifest and expressive. Cole's drawing of the water, the rendering of pictures of the “Voyage of Life" must the movement and character of the cur- always have a charm for Sunday-school rent, is finer than any thing we have ever teachers; they must always be striking seen of the kind in landscape-art. This and admirable to people who write and “Niagara” is a remarkable study; it is read tracts. They are not very close to a great part of the fact of nature, but nature, but they are expressive of a its interest is closer to ecience than to common and universal conception of art. It appeals to the intelligence, and life. But there is no mighty invention it is the work of a good, cold unders in them—invention such as makes & standing. We respect the talent of the part of the glory of Milton; there is no artist, we admire the picture, but both intense reality, no clutch upon fact, as are without charm; and, as art, the in Dante. And what are symbol and picture has very little that we care for allegory in the hands of any but exquiBut in these bits of French landscape, site or powerful masters ? Consider 80 unpretentious, so strictly within the Cole's “ Voyage of Life," and be wise. means of art-expression, so charming in Symbol and allegory are means only for suggestion, so natural, we have some- the great ones, as the epical is an aim thing that expresses a love of nature, only for the greatest man. They are full of sentiment, and indicate Mr. Johnston's gallery is rich in an artistic aim. We do not wish to examples of the most celebrated condetract in the least from what is justly tinental painters. He has a Horace due to Mr. Church as an artist. He has Vernet, perhaps the finest in this city, a very pronounced merits next to very large picture representing a cavalry great defects. He is the only landscape- charge upon brigands in the mountains painter living who has any thing cosmi -a spirited and vigorous picture. The cal in aim and idea. But the very com- velocity and energy of action in the picprehensiveness of his aim, creditable as ture are extraordinary. But you should it is to his ambition, is hurtful to minor remark that this world-famous painter charms and precious truths in landscape has no precious element; that his talent painting. Mr. Church's “Niagara” is wonderful while his genius is inferior. justly holds a place of honor in Mr. But the quality of his mind is as good Johnston's gallery, for it fairly represents as Walter Scott's. He simply belongs some of the most striking, some of the more to the present. There is one critimost studied characteristics of American cism to be made upon every picture landscape-art. But, for the poetry and painted by Vernet—it is, that he never beauty of American landscape-art, we appeared to caress his work into beauty, must look to Mr. 8. R. Gifford; and yet or linger over it in love. He painted the little specimen of Gifford in Mr. rapidly, as though his brush were a Johnston's gallery is a minor, if not sabre with which to dash through his an inferior, example of his talent. subject. His just observation, astoundWhile Church is at his highest level ing memory, and uncommon facility of in the “ Niagara," all the other land- execution, always enabled him, howscapists of our school are merely ever, to produce something striking and

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natural. You will see, in Mr. Johnston's compared with Vernet's; and, to us, in fine specimen of Vernet, just as much as point of action, it is not less spirited, a gallery of Vernet's pictures could en- while for character, expression, variety, able you to see. His merits and defects color, and tone, it is infinitely superior. are constant-blood-relations which he Perhaps there is no such piece of melcannot shake off. Every thing has the low, rich, and harmonious color in any same texture in his work, and very gallery in New York as we see in this much the same value as color. All Decamps. Certainly, nothing in Mr. differences are expressed by positive Johnston's gallery is equal to it as a light and dark, or by warm and neutral work of art. The painting of Oriental colors ; he gives nothing of the grada- stuffs and weapons, the painting of the tion and delicacy and mystery which faces, is what we understand as the you find in the work of a colorist. A most expressive, the least obvious, the much finer work of art, and equally most powerful and subtle. The surface spirited, is a remarkable specimen by and solidity of bodies, the play of color, Decamps. It is a subject in which ac- the depth of tones—all that we may tion and character are just as necessary suppose would be cared for by an artist as in Vernet's soldiers. It represents an and a painter-are powerfully rendered Oriental officer of rank, surrounded by here. Vernet's group could have been his guard of armed runners, going rap just as well expressed in a black-andidly through the street of an Eastern white sketch, or in a drawing; but this city.

sensual, brutal Turkish Patrolman, with If you wish to see the difference be- his armed foot-runners, these walls, this tween the works of two very remarks splendor of light, this gloom of shadow, able men—both men alike interested in glowing or transparent, is quite beyond action, in the gesticulation of figures, in any slight or cold means of art-expresmanners and customs, in the character- sion; it is beyond mere science; it is istic-both men positive, emphatic, bru- the result of a gift, and it is the sign tal-you must consider Vernet's and of genius, of the untaught; it is incomDecamps'. Both were interested with municable, like poetry, like the art of similar subjects, but their gifts are so great painters, like the eloquence of different, that, while Vernet never rose convinced and impassioned men. above the level of a clever journalist, Mr. Johnston has another fine speciDecamps reached the expression of an men of color in a picture by Roybet, original artist. He may be said to which represents a jester and a page supplement a Vernet's rapid, matter witnessing a cock-fight. The subject, of-fact report of the action and locali- perhaps, is only a pretext to make an ty of a group of figures, with an art interesting picture of a scarlet doublet ist's expression of the sensuous and next to a black-and-gray costume. And subtle, wbich seems to us at the bot- what a superb scarlet is that of the jesttom or in the life of most things, er's coat! But this picture is probably and the presence of which, visible or more interesting to painters than to invisible, unindicated, unsought for by average lovers of art, who do not care an artist, classifies him at once among so much for style as for story and charthe prosaic and limited as a Vernet, acter; and in Roybet's pictures the a Church, a Bierstadt. Now, here is style is the chief aim of the artist. Just Decamps, once one of the most dis leave this picture, and let us stand beputed names in French art, to-day fore a peasant-girl, by Breton. A single understood as a remarkable colorist, & figure; the girl is knitting as she tends man of imagination, and with a taste her sheep; the afternoon light lies on for the barbaric. He never studied the the sea and warms the sky. This is no figure as Vernet; he could not draw pretty peasant of fan-painters; it is no with the same power and certainty; but English idyl of rustic life, at once tame here is one of his finest pictures to be and elaborate and insincere. It is an

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