‘In my bachelor visitations to my married friends, I have often chuckled over the bashfulness, contending with love, which distinguishes the YOUNG FATHER. In the pride of his heart, perhaps, when his little man has first given evidence of that degree of mental exertion called ‘taking notice,’ he clasps the crowing baby in his arms; he rests its lily feet upon his knees; he endures with philosophic patience all the ‘gouging,’ and pulling, and kicking, with which the young hero may testify his triumph; and while the young mother stands by, her eyes beaming with mingled love and pride, he becomes warmer in his romps; makes faces, as the nerveless fingers of the little one seek, with more earnestness, his eyes, or pull with a greater effort at his lips; and amid screams of laughter, he chases the flying hours, until at length a ‘pale cast of thought’ flits over the baby’s face, like a cloud in a summer sky. This is the signal for immediate seriousness. The father grows grave—then frightened. He raises him gently from his lap, and with a single exclamation of ‘Take him mother!’ consigns the precious charge to her arms, and darting a hasty glance at his ‘pants’ he walks in silence from the room. Nor do we bachelors always escape with impunity. Anxious to win a smile from some fond mother, more than one of us may have dared to approach, with a kiss, the hallowed lips of her darling. But mark the quick wing of vengeance! Darting from its lurking place in the mouth, out flies the little doubled fist, and slams a well-beslabbered biscuit into the face of the intruder. He recoils, with his ‘reeking honors fresh upon him,’ and the little squab coos in triumph at his failure.’
National Academy of Design.—The growing interest felt in relation to the Fine Arts in this country, and the influence which the National Academy of Design has had in producing that interest, make it imperative upon us to notice the pictures which are annually sent to this exhibition. In passing through the Academy with this object in view, we have been at some loss to know where to begin. Finding however by chance at the end of the catalogue an alphabetical arrangement of the exhibitors’ names, we have adopted this as the best method of laying the merits of the several pictures before our readers. We therefore begin with:
V. G. Audubon, A.—Mr. Audubon exhibits four pictures this season: of these, No. 133, ‘Grove of Palm-trees’ in the Island of Cuba, we prefer. This picture appears to be a faithful representation of the scene, and is handled with a free and firm pencil. The trees are perhaps a little too literally represented, to be agreeable to the eye, consisting as they do of so many equally straight and unpicturesque lines. No. 237, ‘Moon-light Squall coming up,’ is a pleasing representation of one of Nature’s poetical moments. The light is clear and silvery, and the water transparent and truthful. The whole scene is interesting, and there is but little to find fault with; although perhaps parts would admit of more warmth of color.
J. D. Blondell has six pictures, the majority portraits. No. 80, ‘Portrait of a Lady,’ half-length, is a pleasing picture; warm in color and carefully painted, and gives evidence of rising talent. The head is perhaps slightly deficient in careful drawing; but few artists are competent to paint a lady’s portrait; and this gentleman should not feel discouraged, though his work be found slightly deficient in that grace which is so difficult of attainment.
Boddington, (London,) exhibits three landscapes, all in a style peculiarly belonging to the English school. They possess great charms; facility of execution, and delicacy of handling.
Bonfield.—No. 168 is perhaps the best of his productions. If it were not for the pinky hue of the sky, this would indeed be a charming picture.
F. Bayle.—No. 25; ‘Picture-Dealer.’ A deep-toned, carefully-painted picture, and evincing much promise in so young an artist. We are glad to perceive that it is purchased by the American Art-Union.
G. L. Brown.—No. 400; ‘View of the Tiber.’ Too much of an imitation of old pictures. In seeking this quality, the artist has lost sight of the truth and freshness of nature.
Chapman, N. A.—Mr. Chapman presents nine pictures this season, and all in his usual brilliant style. No. 116, ‘Peasant Girl of Albano,’ is exceedingly rich in color, and forcible in effect: a few cool tints about the head-dress would give perhaps still greater value to the warm tones. No. 189, ‘Hebrew Women,’ is this artist’s gem of the year. Well composed, pleasing in color, and carefully finished, it expresses the occurrence with fidelity and truth. No. 204, ‘Boy in Indian Costume,’ is an attractive picture; but No. 213, ‘On the Fence,’ is more to our liking. The story is well told; the city beau is carefully and truly represented; and the dogs are admirable. No. 263, portrait of Doctor Anderson, the father of wood-engraving in this country, is capital. No. 266, ‘Lazy Fisherman,’ is Laziness personified. No. 341, ‘Sketch from Nature,’ in water-colors, is an exemplification of this gentleman’s versatility of talent.
J. G. Clonney, A., has two pictures in the exhibition, Nos. 7 and 160. No. 7, ‘The New-Year’s Call,’ is decidedly the best. The negro is well painted. Mr. Clonney’s works generally evince great observation of nature in this class of subjects.