At Home and Abroad; Or, Things and Thoughts in America and Europe

by Margaret Fuller

Then why should the American landscape painter come to Italy? cry many. I think, myself, he ought not to stay here very long. Yet a few years' study is precious, for here Nature herself has worked with man, as if she wanted to help him in the composition of pictures. The ruins of Italy, in their varied relations with vegetation and the heavens, make speeches from every stone for instruction of the artist; the greatest variety here is found with the greatest harmony. To know how this union may be accomplished is a main secret of art, and though the coloring is not the same, yet he who has the key to its mysteries of beauty is the more initiated to the same in other climates, and will easily attune afresh his more instructed eye and mind to the contemplation of that which moulded his childhood.

I may observe of the two artists I have named, that Cranch has entered more into the spirit of Italian landscape, while Cropsey is still more distinguished on subjects such as he first loved. He seemed to find the Scotch lake and mountain scenery very congenial; his sketches and pictures taken from a short residence there are impressive. Perhaps a melancholy or tender subject suits him best; something rich, bold, and mellow is more adapted to call out the genius of Cranch.

Among the sculptors new names rise up, to show that this is decidedly a province for hope in America. I look upon this as the natural talent of an American, and have no doubt that glories will be displayed by our sculptors unknown to classic art. The facts of our history, ideal and social, will be grand and of new import; it is perfectly natural to the American to mould in clay and carve in stone. The permanence of material and solid, relief in the forms correspond to the positiveness of his nature better than the mere ephemeral and even tricky methods of the painter,—to his need of motion and action, better than the chambered scribbling of the poet. He will thus record his best experiences, and these records will adorn the noble structures that must naturally arise for the public uses of our society.

It is particularly gratifying to see men that might amass far more money and attain more temporary power in other things, despise those lower lures, too powerful in our country, and aim only at excellence in the expression of thought. Among these I may mention Story and Mozier. Story has made in Florence the model for a statue of his father. This I have not seen, but two statuettes that he modelled here from the "Fisher" of Goethe pleased me extremely. The languid, meditative reverie of the boy, the morbid tenderness of his nature, is most happily expressed in the first, as is the fascinated surrender to the siren murmur of tire flood in the second. He has taken the moment

"Half drew she him; half sank he in," &c.

I hope some one will give him an order to make them in marble. Mozier seemed to have an immediate success. The fidelity and spirit of his portrait-busts could be appreciated by every one; for an ideal head of Pocahontas, too, he had at once orders for many copies. It was not an Indian head, but, in the union of sweetness and strength with a princelike, childlike dignity, very happily expressive of his idea of her character. I think he has modelled a Rebecca at the Well, but this I did not see.

These have already a firm hold on the affections of our people; every American who comes to Italy visits their studios, and speaks of them with pride, as indeed they well may, in comparing them with artists of other nations. It will not be long before you see Greenough's group; it is in spirit a pendant to Cooper's novels. I confess I wish he had availed himself of the opportunity to immortalize the real noble Indian in marble. This is only the man of the woods,—no Metamora, no Uncas. But the group should be very instructive to our people.

You seem as crazy about Powers's Greek Slave as the Florentines were about Cimabue's Madonnas, in which we still see the spark of genius, but not fanned to its full flame. If your enthusiasm be as genuine as that of the lively Florentines, we will not quarrel with it; but I am afraid a great part is drawing-room rapture and newspaper echo. Genuine enthusiasm, however crude the state of mind from which it springs, always elevates, always educates; but in the same proportion talking and writing for effect stultifies and debases. I shall not judge the adorers of the Greek Slave, but only observe, that they have not kept in reserve any higher admiration for works even now extant, which are, in comparison with that statue, what that statue is compared with any weeping marble on a common monument.

I consider the Slave as a form of simple and sweet beauty, but that neither as an ideal expression nor a specimen of plastic power is it transcendent. Powers stands far higher in his busts than in any ideal statue. His conception of what is individual in character is clear and just, his power of execution almost unrivalled; but he has had a lifetime of discipline for the bust, while his studies on the human body are comparatively limited; nor is his treatment of it free and masterly. To me, his conception of subject is not striking: I do not consider him rich in artistic thought.

He, no less than Greenough and Crawford, would feel it a rich reward for many labors, and a happy climax to their honors, to make an equestrian statue of Washington for our country. I wish they might all do it, as each would show a different kind of excellence. To present the man on horseback, the wise centaur, the tamer of horses, may well be deemed a high achievement of modern, as it was of ancient art. The study of the anatomy and action of the horse, so rich in suggestions, is naturally most desirable to the artist; happy he who, obliged by the brevity of life and the limitations of fortune, to make his studies conform to his "orders," finds himself justified by a national behest in entering on this department.