T. Cole, N. A.—Mr. Cole exhibits but one picture, and that comparatively a small one. It possesses however many of the admirable characteristics of his works, particularly his early ones. It would be difficult to find a middle-ground and distance surpassing those of this picture.
T. Crawford, (Rome.)—Mr. Crawford gives us two full-length statues, in which the charm of the marble is strongly apparent. Mr. Crawford, we grieve to say, is evidently too impatient in the finish of his works to produce that correctness which is essential to a high effort of art.
J. F. Cropsey.—No. 68, ‘View in Orange County,’ is a careful representation of nature, and has the appearance to our eyes of having been painted on the spot; a practice very rarely to be found in young artists. A continuance in this course will place this artist in a prominent position as a landscape-painter. The sky is faulty in color, being too purple to meet our views of nature; and there is a lack of delicacy in the more receding portions of the work. But the fore-ground is carefully painted, and full of truth.
Cummings, N. A.—Mr. Cummings has but one picture. It possesses however the careful finish, gentlemanly character, and general truthfulness, so characteristic of this fine artist.
T. Cummings, Jr., a young artist. No. 149, ‘The Ball,’ is his best work. In thus attempting a subject of great difficulty of execution, he evinces promise of future ability. The picture has many pleasing points, marked however with some errors, which time and practice, let us hope, will correct.
C. Curtis.—Mr. Curtis has two pictures in the exhibition, and both of merit. No. 196 is among the best heads in the collection.
J. W. Dodge, A.—‘Miniature Portraits.’ Those of Henry Clay and Gen. Jackson are the most prominent. The likenesses are good, and the pictures carefully finished; a merit in works of this character frequently unattended to. There is, however, a want of dignity sometimes to be found in Mr. Dodge’s portraits, which we could wish to see remedied: it would give an elevation to his paintings which they at present lack.
Paul P. Duggan.—‘John the Baptist’ is a model in plaster, which displays greater knowledge of anatomy than we are in the habit of finding in the works of even older artists. In this respect it possesses great merit. We understand it is his first effort in modelling. As such, it is truly a work of the highest promise.
Durand, N. A.—Mr. Durand has contributed largely to the present exhibition, in every sense of the word. His most prominent production is No. 36, ‘The Solitary Oak.’ For an exhibition-picture, perhaps it is not so striking as some of his previous works; yet it will bear examination better. Without any effort at warmth of color, it has that glow of sunlight which it is so difficult to express. A veteran tree, standing alone upon a gentle eminence, stretching forth its giant arms, that have withstood the storms of centuries, is truly a noble subject for an artist of Mr. Durand’s reputation; and most truly has he depicted it. The distance is beautiful, and the introduction of cattle seeking their evening shelter gives an interest seldom to be found in works of this class. Should we attempt to find a fault, it would be the want of a little more warmth and clearness in the dark parts of the fore-ground. No. 134, another charming landscape; true to nature, of a silvery tone, and most exquisite sweetness of color and delicacy of touch. Nos. 181 and 258 are two careful studies from nature, wherein special care has been given to the trunks of trees, a feature in landscape-painting upon which sufficient attention is rarely bestowed. No. 244, ‘Emigrant Family,’ is full of interest. The travelling family are encamped under the shade of the trees, and the kettle hung over the fire shows that they are evidently preparing to refresh themselves for farther toil and journeying. The foliage of the trees is elaborately executed; the distance is well preserved; and the whole possesses great truth to nature; perhaps however, like all ‘green’ pictures, it is less attractive in an exhibition than works of a warmer color. No. 163, ‘Portrait of a Gentleman,’ has great force, and shows the artist’s versatility of genius.
F. W. Edmonds, N. A.—No. 105, ‘Beggar’s Petition,’ is a spirited and faithful representation of the cold indifference to the wants of others, displayed in the miser’s disposition. The figures are of life-size, and well drawn. The female supplicating in behalf of the distressed, is graceful in attitude, and admirably contrasted with the hoarding miser. No. 205, ‘The Image Pedler,’ is an effort of a higher order; for the artist has attempted, and successfully too, to elevate the class of works to which it belongs. In short, he has invested a humble subject with a moral dignity, which we hope our younger artists, who paint in this department, will not lose sight of. An independent farmer has his family around him, apparently immediately after dinner, and a strolling pedler appears among them, to dispose of his wares; and this gives interest to the whole group. The grandmother drops her peeling-knife, and the mother takes her infant from the cradle, to gaze at the sights in the pedler’s basket. The husband, who has been reading in the cool breeze of the window, turns to participate in the sport; while the grandfather takes a bust of Washington, places it on the table, and commences an earnest elucidation of the character of the, ‘Father of his Country’ to the little children around him. All the figures are intelligent, and the whole scene conveys to the mind a happy family. In color, light and shade, and composition, it is masterly; and we see in it that minuteness of detail and careful finish are not incompatible with a broad and luminous effect.