"We have never before offered so many powerful motives to membership as the programme of the present year affords. The improvements in the Bulletin render it a publication that is almost indispensable to those who desire to have in a convenient form the most recent Art intelligence, as well as much original matter upon the subject that meets the constant approbation of instructed readers. The numbers of this work are furnished gratuitously to each member from the date of his subscription. He will also be entitled to the large engraving of Mexican News by Jones, after Woodville, and to the second part of the Gallery of American Art, which contains five line engravings on steel, by the best artists, after the following pictures: Cropsey's Harvesting, Kensett's Mount Washington, Woodville's Old '76 and Young '48, Ranney's Marion crossing the Pedee, and Mount's Bargaining for a Horse. We desire to call attention again to the fact that these subjects are all American in their character, illustrating the scenery, history, or manners of the country. They are also striking and valuable as pictures, and we should have every reason to feel proud of them in whatever contrast they might be placed.
"This project of presenting a work which shall contain in process of time the Gems of American Art, is original with the Art-Union. Its value must be apparent to every reader. It is a mode by which subscribers in the most distant parts of the country, who are deprived of the opportunity of visiting the large towns, may become well acquainted with the character and progress of our principal artists—and even those members who have the advantage of resorting to public galleries, may enjoy here the privilege of studying many pictures that from their location in private collections must be accessible to them. The first part of this work was given to the members of 1850, and is now ready for distribution, Besides the inducements just enumerated, there remains a share in the allotment of works of art purchased by the Association, and which, judging from the two hundred already obtained, will be the most attractive collection ever offered by the Art-Union. The importance of early subscriptions need not be enlarged upon at present. The opportunity it affords of securing complete sets of the Bulletin, and better impressions of the engravings, seems to be recognized in all quarters. The Association at no period of its history has had so long a roll of members at this early season."
Paul Delaroche has just completed, at Nice, a grand historical composition, which the most intelligent judges decree to be his chef d'œuvre. The picture represents a tragical moment in the life of Marie Antoinette. After a night of anguish before the revolutionary tribunals the unhappy Queen has just heard the verdict of her guilt. The President asks her if she has any thing to say in arrest of the sentence. For her sole answer, she rises calm and majestic, and takes silently the way back again to her dungeon. The artist has seized this instant, as she passes erect and still before a crowd of revolutionists. A man with a tri-colored scarf walks by her side, regarding her as a tiger gloats upon a lamb. It is the personification of terror. A single girl, too young to be cruel, yet attracted with the others, perhaps, to applaud the punishment of the Widow Capet, looks pityingly upon the Queen, her trembling lips murmur a prayer, and the tears start in her eyes. Upon the lips of the Queen there is almost a smile, a thought of disdain, for the outrages of men upon a solitary and defenceless woman. From the descriptions of which we select the prominent points, it is evident that this is another of the representations of historical incident for which Paul Delaroche has made himself so famous a name, as in his Death of Elizabeth, the Children of Edward in the Tower, Cromwell at the Coffin of Charles I, the Execution of Strafford, of Lady Jane Grey, Napoleon Crossing the Alps, &c., &c. And there is no reason that this last work should not be, as claimed, the greatest, since the artist adds to the greater cunning of his hand, the sympathies of chivalrous artistic feeling for the sorrow of a beautiful woman and a Queen of France. The picture is already sold in London, and will presently be forwarded to its destination; on the way it will remain a short time in Paris for the homage of the many admirers of this artist's genius.
Mr. Miner K. Kellogg, who since his professional tours in the East and long residence in Italy, has spent some half dozen years in his native country, has just returned to Florence, where, with his companion from boyhood, Hiram Powers, he will probably pass the remainder of his life. He is an artist of peculiar and great merits, and there is not perhaps among American painters a man more uniformly regarded with respect and affection.
The Brussels Herald gives an account of a curious and costly work of art, which a great landholder of the Walloon Provinces has ordered of the Depaepes, of Bruges. These artists are instructed to copy in Gothic letters L'Imitation de Jésus Christ, by the Abbé d'Assance. The work will fill six hundred and seventy pages, each of which will be about three-quarters of a yard in height, by eighteen inches wide. They will have to execute one hundred and fourteen engravings, from the great masters of the Flemish school, Van Eyck, Memling, Pourbus, Classens, &c. The pages on which will be displayed the Imitation of Jesus Christ, will be encircled with garlands and other ornaments, in blue and gold.
At the last annual meeting of the National Academy of Design, the rank of Academician was conferred on T. Hicks, G.A. Baker, H.K. Brown, J.A. Cropsey, T. Addison Richards, R. Gignoux, P.P. Duggan, Alfred Jones, R.M. Pratt, J.W. Casilear, James Smillie and George W. Flagg. At the same time, Messrs R.W. Hubbard, J. Thompson, and Vincent Colyer, were made associates; and Messrs. Darley, Falconer, Lacombe, Kellogg and Ruggles, honorary members.