Leaving the landscape, we find the figure compositions of the year not very successful, if we except the "Aztec Princess" of Mr. Hicks, which we understand is a study from life of a Mexican woman, but which is treated in so large, and thoughtful, and skilful a manner, that it is most impressive for character and color, and gives the key to the whole side of the room upon which it hangs. This artist exhibits also some portraits, which have never been surpassed by any modern portraits that we recall. No. 128 upon the Academy Catalogue is the most brilliantly-colored portrait upon the walls. It is treated with all the happy heroism of a master, and while many quarrel with its spotty color, the initiated perceive that easy mastery of the palette which with genius is the secret of artistic success. No. 405 is equally remarkable for its vigorous moulding. This portrait shows the accurate knowledge, as No. 128 reveals the sumptuous sentiment of the genuine artist. Mr. Elliott's portraits have the same quiet truthfulness as heretofore, the same easy success, but we would gladly see more confidence in color, and a likeness more as the subject appears to the mind than to the eye. Mr. Shegogue's productions are certainly very pastoral. So sheepy are his sheep that all the figures, trees, and landscape, are unmitigatedly sheepish. Mr. Flagg's portraits are not successful. There is an unnatural smoothness and hardness in his works. Mr. Kellogg's General Scott is vigorous and effective. The action of the figure seems to require some explanation, however. It contrasts well with the monotony of its pendant, Mr. Vanderlyn's General Taylor; but no spectator in regarding this latter work has a right to forget that it is the production of one who has grown gray at his post, and the winter of whose age has not yet frozen, and can never freeze, the freshness of enthusiasm and single-hearted devotion to art which are for ever young.
Mr. Lang's No. 44 is a very large likeness of a very comely lady, but the work will hardly live long in the spectator's memory. Mr. Rossiter takes the field boldly with "The Ideals, Types of Moral, Intellectual, and Physical Beauty." Except for the brilliance of color, and a certain sentiment, by which the light proceeds from the moral type, we do not much admire the picture. The difficulty with the spectator will be, we are sure, that he recalls within his own circle of friends types more beautiful for each ideal. Mr. Rossiter's portraits of his brother artists, Messrs. Darley and Duggan, are admirable likenesses, each somewhat mellowed in expression by the artist. The sharp intellectual precision of Mr. Duggan's countenance, and the bright nervous sensibility of Mr. Darley's, are both somewhat subdued upon the canvas. What we candidly say of these pictures we say boldly, because we recognize and appreciate the fine feeling which animates the artist. Mr. Gray's No. 54, "King Death," attracts much attention. But is it the "Jolly Old Fellow," or the "King of Terrors," or the "easeful death" of which the poet was enamored? There is something fine in the picture—a strain of Egyptian placidity permeates the features. And such colossal placidity is full of fate. There is a latitude allowed the artist in these themes. Yet we do not feel satisfied, much as we like the picture. Mr. Rothermel's No. 5, "Murray's Defence of Toleration," is a very pleasant picture of the Düsseldorf style. We like one thing in this work, and that is its preservation of the balance of history, by showing that the Catholics were not always the persecutors. The contrast of the religious repose of the rear with the jangling fanaticism of the foreground is in harmony with the differing qualities of light. It is a thoughtful and beautiful picture, Mr. Freeman's 359, "Study for an Angel's Head," has a Titianesque fascination, and the earnest regard of the faces is extremely lovely. It is none the less charming that it has a mortal loveliness—if we might say so without treason to the immortality of all beauty. We have no doubt, in our own critical mind, that any beautiful woman would make a beautiful angel. Mr. Mount's No. 118, "Who'll turn Grindstone?" is one of his characteristic Yankee incidents. It is very true and genuine in feeling, but the picture is too white and streaked. No. 344 is a natural and spirited portrait of the poet Stoddard by Mr. Pratt.
But we must pause here, leaving many works of which we would willingly speak. At the Düsseldorf Gallery, Lessing's "Martyrdom of Huss" is still the great attraction. It is a work so full of careful study and skilful treatment that we are not surprised at the universal pleasure in its contemplation. We cannot in this space, however, enter into a consideration of its artistic claims and character, but must record our impression that it is not in the highest style of art—if there be in art a higher style than the adequate representation of the simple incident. The dexterous detail of the Düsseldorf pictures is remarkable, but the fault and tendency of the school is to direct imitation, and consequently to a hopeless struggle with nature. These pictures are the worst possible models for the student of art.
The Art-Union Gallery is by no means full, but certainly does not merit the harsh criticism of the daily press. The pictures are on an average quite as good as usual. The names of most of the distinguished artists are on the catalogue, and the specimens of their works are characteristic and admirable. There are several poor copies of famous pictures, and these undoubtedly somewhat neutralize the effect of the native works. Beside, the Art-Union does not profess to open its gallery with a complete collection. It buys as the pictures are produced, and the criticisms, thus far, have been no less ignorant than ill-natured. It does not follow that fifty thousand dollars' worth of good pictures are annually painted because that sum may be subscribed to purchase good pictures. Nor is it at all true, as we would undertake to show, had we the space, that artists are necessarily the best managers of a popular institution for the advance of art.
The Exhibition of the Artists' Association offers little for remark. We are not sufficiently acquainted with the secret of the origin of this association to speak of the institution itself, but we observe many of the names familiar to us at the Academy and the Art-Union, and can truly wish that the pictures were upon the walls of one of those galleries.
On the whole, we remark an unwonted activity and interest in art. It is impossible not to rejoice at the fact, and at the brilliant proofs of artistic ability that illuminate the walls of the various galleries. The contemporary exhibitions of foreign capitals do not, altogether, surpass those of their younger sister. American books are now not all unread, and those who delight in galleries in which only Turner, Kaulbach, and Couture are eminently great, could not be unjust to these promises of American artistic success.
Leutze, the artist, has been again distinguishing himself by a work just exhibited in Düsseldorf, "The Amazon with her Children." It represents a beautiful and majestic woman, lying half-erect, arms and neck bare, contemplating the gambols of her two naked children. The brilliant golden-tone of the complexion is said to be entirely worthy of the masterly skill in color of the artist, and was perhaps inspired by the poet's dream, "I will take some savage woman; she shall rear my dusky race." But in respect of composition and drawing it is called an attempt to imitate the art of the old Italian virtuosos. The artist is proceeding with surprising rapidity with his Washington. A portrait of Roting by Leutze is most highly commended. Roting is in the same atelier with Leutze, and is busy upon a scene from the life of Columbus.
The Managers of the Art-Union promise rich returns to the subscribers for the present year. We quote the Art-Union Journal: