Art in America: A Critical and Historial Sketch

by S. G. W. Benjamin

In the painting of pastoral scenes, with cattle, Peter Moran, of Philadelphia, probably shows the most originality and force; and Thomas Robinson, of Boston, has displayed exceptional vigor in painting the textures of cattle, but without much invention in composition. James Hart for the past twelve years has made a specialty of introducing groups of cattle into his idyllic landscapes. They are often well drawn and carefully painted, and are in general effect commendable, although, like most of our animal painters, Mr. Hart does not seem to have got at the character of the animal as Snyders, Morland, or Landseer would have done. Mr. Dolph has painted some creditable cats and pugs in combination with interiors; and two young artists, Messrs. George Inness, Jun., and J. Ogden Brown, have executed some promising cattle pieces.

Miss Bridges must be credited with developing a charming and original branch of art, of which thus far she seems to enjoy a monopoly. There is exquisite fancy, as well as capital art, in the method in which, with water-colors, she composes stalks of grain or wild-flowers in combination with field birds, meadow-larks, linnets, bobolinks, sparrows, or sand-pipers, balancing on the apex of a wavering stalk, or flying over the wheat or by the sands of the sea-beat shore.

Mr. Frank Rogers, who is still a very young man, takes especial interest in painting dogs, although not intending to confine himself to that branch of animal life, and has already achieved considerable success in his attempts to represent canine traits. He has trained several dogs to pose for him for ten to fifteen minutes at once. In the decided ability and success already shown by Mr. Rogers we can see that it is now possible for our artists, availing themselves of influences already at work here, combined with an intense love of nature and the ideal, to do strong original work without devoting half their lives to foreign study, and thus carry on to a higher stage the national art for which so many clamor unreasonably, not considering that new schools of art are not born in a day, nor evolved without the conditions which have invariably prepared the way for the national art of other people. Art travels by no royal road.

Our continent is not so plentifully stocked with wild beasts and game as some parts of the Old World, but we yet have the panther and the bison, although now fast fading into a mere traditionary existence before the rifle of the pioneer. R. M. Shurtleff has a pleasant fancy for catamounts and deer, and has been a careful student of their habits, of which the results appear in dramatic bits of the wild life of the woods introduced into effective paintings of forest scenery; "A Race for Life" is the title of a weird, savage, and powerful composition by this artist, representing a flock of ravening wolves pursuing their victim over fields of frozen snow, behind which the low red sun is setting; and A. F. Tait has also devoted his life to rescuing from oblivion species which are rapidly becoming extinct, unless our game-laws are better enforced than they have been hitherto. There is often too finished a touch to the style of Mr. Tait, which deprives it of the force it might otherwise have; but he has, on the other hand, painted both game and domestic animals with remarkable truth, and he brings to the subject an inventive fancy that greatly adds to the variety and interest of his works. We might add in this connection an allusion to the ingenious carvings of Alexander Pope, a young artist who not only cuts out groups of game from a block of wood with much cleverness, but also truthfully colors the grouse and teal his skilful knife carves out of pine.

There is a branch of art which latterly has attracted much attention in this country. We refer to still-life. George H. Hall, who is also known as a genre painter, justly earned a reputation years ago for effective painting of fruit and flowers, in which he has hitherto had few equals in this country; and M. J. Heade has devoted his attention successfully to the rendering of the wonderful gorgeousness of tropical vegetation. The ideal flower-painting of Mr. Lafarge we have already mentioned. Miss Robbins, of Boston, is at present one of the most prominent artists we have in this department. She composes with great taste, and lays on her colors with superb effect. Some of her paintings suggest the rich, massive coloring of Van Huysams. Messrs. Seavey, of Boston, Way, of Baltimore, and Lambdin, of Philadelphia, have produced some interesting results in this direction; and Miss Dillon and Mrs. Henshaw must be credited with some very beautiful floral compositions. The list of ladies who have been measurably successful in realistic flower-painting is very large, and indicates the strong tendency toward decorative art in the country, which must result ere long in a distinctly national type of that branch of æesthetic culture.

In arriving at the close of the second period of American painting, we are encouraged by abundant evidences of a healthy activity. While some phases of our art, after a growth of half a century, are passing through a transition period, and new methods and theories are grafting themselves upon the old, there is everywhere apparent a deeper appreciation of the supreme importance of the ideal, and a gathering of forces for a new advance against the strongholds of the materialism that wars against the culture of the ideal, combined with a rapidly spreading consciousness on the part of the people of the ethical importance of art, and a disposition to co-operate in its healthful development. At the same time new influences are entering into the national culture of æsthetics, and branches which have hitherto received little attention from our artists are coming rapidly into prominence, suggesting that we are about entering upon a third stage of American art.

V.
SCULPTURE IN AMERICA.

IT is a generally conceded fact that since the death of Michael Angelo the art of sculpture has made little progress in the expression of the ideal. It has rather indicated, until recently, a lack of steadiness of purpose, and a want of freshness and intellectual grasp that place the plastic art of the last three centuries in a lower rank than that of the Classic and the Middle Ages. It is, therefore, a matter of surprise that in a people apparently so unideal as our own, and engaged in struggling to win for itself a right to exist among the wilds of a new world, that we find that so much evidence has already been shown of an appreciation for sculpture. It is true that we have not yet produced any masterpieces that can rank with those of antiquity; but, on the other hand, some of our plastic art compares favorably with the best that has been created in modern times.

But what might have been expected under the circumstances has proved to be the case. Originality has been the exception and not the rule, even with our best sculptors. Naturally led to study the antique in Europe, and also to master there the technical elements of the art of sculpture, owing to the entire absence of facilities for art education here, it was only to be expected that they would at first yield to the art influences whose guidance they sought. It was not their fault that, until recently, those influences were conventional, and based upon a false perception of the principles of art.