Art in America Part 3

We also find in the art of this school weakness in a knowledge of--or at least in the power of appreciating--the vast significance of the line in art. Too many American paintings, which have been clever in color, have been almost ruined by the palpable ignorance they display of the elements of drawing. Inability to compose effectively--or, in other words, to perceive the harmony which is the dominant idea of true art--has also been too frequent a characteristic of this school. While in the application of colors a lack of nerve has been exhibited which gives to many of these works an appearance of thinness, that becomes painfully apparent when they have been painted a few years. These observations apply no less to the figure-painting than the landscape art of this period of American art; and a general absence of warmth and earnestness is the impression which a survey of the field leaves upon the mind of the candid observer.

[Ill.u.s.tration: LANDSCAPE COMPOSITION.--[R. W. HUBBARD.]]

There is nothing in this to surprise or to discourage, if we frankly consider the surrounding circ.u.mstances. Great art is the child of repose; the restlessness, the feverish activity of the country, eminently encouraging to some pursuits, is, if not fatal to the arts, at least opposed to their highest development; the vast multiplicity of aims agitating the people has thus far prevented that concentration of effort which meets with a response in the enthusiasm of artistic genius.

Instead of being discouraged, therefore, by the quality of the art we have already produced, we accept it as strong evidence that the American people have a decided natural turn for the arts, which only awaits a more favorable condition of the nation to reach a higher plane of excellence.

Nor does the general absence of imaginative power in our art seem to us proof that we are by nature destined to remain a prosaic people. Aside from the fact that already years ago we had such imaginative artists as Hamilton, Lafarge, Vedder, and others, we consider that the wonderful inventive quality of the American mind toward scientific and mechanical discovery argues a highly creative imagination. Herbert Spencer it is who proves somewhere that imagination must enter into the working out of the problems of inventive science. Hitherto the nation's needs have stimulated the imagination in that direction; but under new conditions there is little reason to doubt that the same faculty will become subservient to the creation of an original and powerful school of art in America.

But while admitting the weak points of our landscape art, and that the highest flights of which landscape-painting is capable have not always been reached by our artists, we should be careful, on the other hand, lest we fail to award them the merit which is justly their due for persevering endeavor, and frequently for great natural ability. Let us, in justice, ungrudgingly allow the discriminating praise that some out of a large number are undoubtedly ent.i.tled to claim. If we mention them individually rather than by the cla.s.sification of schools, it is simply because, for the reasons already stated, scarce any of our artists have founded schools; although we may, perhaps, without inconsistency, speak of the efforts of artists of altogether different styles, but treating the same cla.s.s of subjects, as a school. It is in this sense that we allude to our school of landscape.

With certain important exceptions, to be noted in another chapter, the American art of this period has, on the whole, been concerned chiefly with the objective; and it could not have well been otherwise, for any other form of art at such a time would have utterly failed to carry the people with it, and thus missed of producing that gradual aesthetic education which is the province of a national art.

Not only for this reason has our school of landscape art vindicated its right to be, and established its claim on our respectful attention, but also because it has owed little to foreign influences--springing rather from environing circ.u.mstances, as naturally as the flowers of May follow the departure of winter.

[Ill.u.s.tration: "THE VASTY DEEP."--[WILLIAM T. RICHARDS.]]

And thus, as after a long winter a few warm spring days cover the orchard with an affluence of blossoms, so at this time from many quarters of the land artists appeared, especially in the field of landscape art; and one can hardly believe that where, but a few years before, the Indian and the buffalo and the wolf had roamed at their own wild will, artists now arose, armed with an ability to discern the beauties of their native land, to direct the prosaic thoughts of the pioneer to the loveliness of the nature which surrounded him, and to make for themselves an enduring name. Ohio, the Ma.s.sachusetts of the West, for example, which became a State as late as 1800, was in the early part of this period especially prolific in artists, who, if they did not find instruction or a public on the spot, were at least enabled, with the increasing means of communication, to go to New York and Boston, or to wander over to the studios and art wealth of Europe. In other lands and ages the poetic sentiment has first found a vent in lyrics and idyls; but with us the best poetry has been in the landscape-painting which was created by the sons of those whose ploughs first broke the soil of this continent with a Christian civilization. At this period, also, we note the advent of an influence which doubtless aided to promote a more rapid pursuit of the new art impulse of the nation. Steam, the mighty magician which drives the locomotive and the steams.h.i.+p, is in bad repute with the conservatives who are not in sympathy with the progressive movements of the age; and yet among all the other results of which it has been the wonderful agent, we must ascribe its patronage of art. It is undoubtedly to the far greater facilities for going from place to place, which followed the introduction of steam, that we must partly attribute the rapid success of many of the artists who appeared in our country at that time in such unexpected numbers.

It was in 1841 that Leutze went to Dusseldorf to study, and thus introduced a new influence into our art, which hitherto, so far as it had acknowledged foreign influences, had been swayed by the schools of Italy and Britain. The effect was evident when, a few years later, Worthington Whittredge, a native of Ohio, went to Dusseldorf, and studied under the guidance of Achenbach. Very naturally his style showed for a time the effect of foreign methods; but he was guided by a native independence of action that enabled him in the end to a.s.similate rather than to imitate, like most of our artists at this time, and his later landscapes are thoroughly individual and American, although doubtless improved by foreign discipline. As a faithful delineator of the various phases of American wood interiors, Mr. Whittredge has deservedly won a permanent place in the popular favor. Some of his landscapes, representing the scenery of the great West, have also been large in treatment and effective in composition; but his skies sometimes lack atmosphere and ideality.

Like his master, Durand, J. W. Casilear began his career as an engraver; and the success he achieved in this department is attested by his very clever engraving of Huntington's "Sibyl." Since he drifted into landscape-painting, Casilear has produced many delicately finished and poetic scenes, distinguished by elegance and refinement rather than dash or originality; and somewhat the same observations would apply to the tender landscapes of James A. Saydam. In such dreamy, pleasant, but not very vigorous paintings as that of his "Valley of the Pemigewa.s.set,"

Samuel L. Gerry has also attracted favorable attention.

[Ill.u.s.tration: "HIGH TORN, ROCKLAND LAKE."--[JASPER F. CROPSEY.]]

The work of a genuine poet is apparent in the canvases of R. W. Hubbard.

Repose and pensive harmoniousness of treatment characterize his simple and winsome, if not stirring, transcripts of the more familiar phases of our scenery. They are idyls in color. What Hubbard has done for New England landscape, J. R. Meeker, of St. Louis, has attempted for the "lakes of the Atchafalaya, fragrant and thickly embowered with blossoming hedges of roses," and the live-oaks spreading their vast arms, like groined arches of Gothic cathedrals, festooned with the mystically trailing folds of the Spanish moss, along the lagoons of the South-west, where the sequestered sh.o.r.es are haunted by the pelican and the gayly colored crane, and the groves are melodious with the rapturous lyrics of the mockingbird, the improvisatore of the woods. If not always successful in the tone of his pictures, it may be conceded that Mr.

Meeker has approached his subject with a reverent and poetic spirit, and has often rendered these scenes with much feeling and truth.

Still another aspect of our scenery has been reproduced with fidelity by W. T. Richards, of Philadelphia. We refer to the long reaches of silvery sh.o.r.e and the sand-dunes which are characteristic of many parts of our Atlantic coast. He has often painted woodland scenes with great patience, but, as it seems to us, with too much detail, and with greens which are open to a charge of being crude and violent. But in his beach effects Mr. Richards maintains an important position; and if slightly mannered, has yet developed a style of subject and treatment which very effectively represents certain distinguis.h.i.+ng features of our solemn coasts. Some of his water-color paintings have scarcely been surpa.s.sed, as, for example, the n.o.ble representations of the bleak, snow-like, cedar-tufted dunes along the Jersey sh.o.r.e.

[Ill.u.s.tration: "THE PARSONAGE"--[A. F. BELLOWS]]

The extraordinary variety of the effects of American landscape is again shown by the gorgeousness of our autumnal foliage. It has been objected by some that it is too vivid for art purposes. We consider this a matter of individual taste. There is nothing more absurd in trying to render the effects of sunset, or the scarlet and gold of an American forest in the dreamy days of the Indian summer, than in undertaking to paint the splendor of many-colored drapery in an Oriental crowd, which is considered a legitimate subject for the artist who has a correct eye for color. It is not in the subject, but in the artist, that the difficulty lies. Some of our painters have seized these autumnal displays with fine feeling and excellent judgment. Kensett is an example; another is J. F. Cropsey, who, beginning life as an architect, became eventually an agreeable delineator of our autumnal scenery, and at one time executed a number of paintings remarkable for their truth and artistic beauty. His later work has scarcely sustained the early reputation he justly acquired. At its best, his style was crisp, strong in color, and sometimes very bold in composition. Mr. C. P. Cranch, who was a.s.sociated with Cropsey in Italy, and who is well known as a writer, has exhibited in his Venetian landscapes a correct perception of color, while his method lacks firmness of drawing, and shows traces of foreign influence more than that of many of our artists who studied abroad at this time. R. H. Fuller, who was a night-watchman on the police force of Chelsea, Ma.s.sachusetts, and died in 1871, was an artist whose educational opportunities were excessively meagre. But he had a fine eye for color and atmospheric effect, and some of his landscapes are painted with a full brush, and are tender and beautiful. F. D. Williams, before he left Boston for Paris, also developed a strong scheme of handling and color which was at once pleasing and original. F. H. Shapleigh has likewise shown an excellent feeling for some of nature's more quiet effects, and his coast scenes are attractive, although lacking somewhat in force.

[Ill.u.s.tration: LANDSCAPE WITH CATTLE.--[JAMES HART.]]

As one considers this field of American art, he is increasingly astonished to find how strikingly it exemplifies one of the leading traits of a national school in the entire originality and individuality with which each of our prominent landscapists of this period interprets nature, even when he has studied more or less in Europe. Whatever may be the general defect of refinement rather than strength, and other weaknesses characteristic of our school of landscape art, it must be admitted that its representative artists have been often st.u.r.dily independent, and that their merits as well as their defects are entirely their own. What difference there is between the carefully finished but rich, ma.s.sive foliage of David Johnson, suggesting the strength of the old English masters of landscape, and the dreamy, mellow pastoral meadow lands, wooded slopes, and dimpling lakes of our Green Mountains, veiled by a luminous haze and steeped in repose, which are so delicately portrayed by the brush of J. B. Bristol! Few of the landscape-painters of this school have produced more agreeable results with their brush.

What points of divergence there are, again, between the landscapes of W.

L. Sonntag and A. F. Bellows!--the one adopting a scheme of tone and color apparently out of the focus of nature, yet so using it in rendering ideal compositions as to achieve results which place him by the side of our leading poets of nature. To him landscape-painting seems to be not so much a means to give faithful transcripts of actual scenes as to represent the ideals of his fancy; and as such we accept them with thankfulness, for they not only serve to give us pleasure, but also to ill.u.s.trate the many-sided phases of art. Bellows, on the other hand, both in oil and _aquarelle_, has attempted minute reproductions of nature; and, while sometimes suggesting the impression of labor rather more than is consistent with breadth of effect, has faithfully and charmingly interpreted the idyllic side of our rural life. If he had not been a poet in color, we might have expected of him pastoral lyrics imbued with the spirit of Cowper or Thompson. Early study at the school of Antwerp, and the pursuit of _genre_ for some years, have enabled Mr.

Bellows skilfully to diversify his attractive village pictures and representations of our n.o.ble New England elms with groups of figures. He is justly ent.i.tled to be called the American Birket Foster.

It is instructive, in this connection, to observe the first landscapes of George Inness, which properly belong in style to the early and distinctively American school of landscape, while his recent method has identified him with the later graduates of the ateliers of Paris. Samuel Colman is another landscape-painter whose art is identified both with this school and with that of the period on which we are now entering.

Educated here, and influenced by a fine eye for color, foreign travel has broadened his sympathies, modified his technique, and led him to look with favor upon later methods.

The landscapes of William and James Hart represent still another phase of our art. Both began life as apprentices to a coach-painter, but gradually identified themselves with the great throng of all ages who have become the votaries of nature. There is cleverness and dexterity in their work, a fine perception of the external beauty of the slopes and vales and woods of our land, and brilliant color; but it is sometimes marred by hardness of handling, and lack of juiciness or warmth of feeling; in other words, it is too exclusively objective, as if only the physical and not also the mental eye had been concerned in the painting of their works. James Hart has of late years added cattle to his landscapes with excellent success, and holds a prominent position among the very few respectable painters of animal life whom the American art of this period can justly claim.

[Ill.u.s.tration: "SUNSET ON THE HUDSON."--[SANDFORD R. GIFFORD.]]

Mr. Horace Robbins, successful in seizing certain aspects of mountain scenery, with a fine feeling for atmospheric grays, and Mr. Arthur Parton, who very pleasingly renders trees, and some of the sober effects of our dim November days, although among our younger painters, justly belong to this period, as do also Messrs. James and George Smillie, who have been equally happy in water and oil colors. The former is another of our many landscape-painters who began as engravers on steel. The later style of these talented brothers has been evidently modified with advantage by the influence of foreign technique, although they have studied wholly in this country; and they now display an attractive vigor and freshness in their landscape pieces, and a somewhat original choice of subjects.

The style of each of the artists we have mentioned can be distinguished at once. Individuality of expression is stamped upon the canvas of all; but among them there is no one more thoroughly original than Sanford R.

Gifford, who, if he had lived in Persia or Peru two thousand years ago, might well have been an enthusiastic fire-wors.h.i.+pper, or daily welcomed the rising sun with reverent adoration. To him landscape-painting, whether of scenes in our own Far West, or on the legendary Hudson, or in the gorgeous East, has been alike the occasion for giving expression to his feeling for glowing atmospheric effects, for lyrics which on canvas reproduce the splendor of the sunset sky. But it would be a mistake to suppose that Mr. Gifford's poetic sense has been confined to the contemplation of serene and glowing atmospheres: he has also successfully rendered the lazy mist, the trailing vapor of morning enmeshed in dusky woodlands by the silent lake. His style combines to a remarkable degree deliberation and inspiration--a happy union of the a.n.a.lytical and emotional elements in art.

The objective school of American landscape-painting has found its culminating excellence, as it seems to us, in the art of Frederick K.

Church. In his art-life the tendencies and aims of the chief national school we have produced during the last half century have been typically represented. In his works the technical weakness of this school is apparent, and, at the same time, its n.o.ble sympathy with nature, and its love for the grander aspects of the external world. It also represents the restless, unsatisfied genius of our people during this period, ever reaching out and beyond, and yearning, Venice-like, to draw to itself the spoils, the riches, the splendors, of the whole round globe. To our art the paintings of Mr. Church are what the geographic cantos of "Childe Harold" have been to the poesy of England, or the burning descriptions of St. Pierre and Chateaubriand to the literature of France. If such a topic is permissible in letters, may it not also be allowed sometimes in painting? Whether the one is as lofty as epic poetry, or the other as great as historical painting or subjective landscape, is a question which we do not need here to a.n.a.lyze. It is sufficient that each holds an important position; and to carry off the palm in either can only be the result of consummate genius. Yes! what "Childe Harold" did for the scenery of the Old World, the art of Church has done for that of the New. The vastness and the glory of this continent were yet unrevealed to us. With the enthusiasm of a Raleigh or a Balboa he has explored land and sea, combining the characteristics of the explorer and the artist. A pupil of Cole, he has carried to its full fruition the aspirations of his master, first gaining inspiration along the magical sh.o.r.es of the Hudson, and amidst the ideally beautiful ranges of the legendary Catskills. Our civilization needed exactly this form of art expression at this period, and the artist appeared who should teach the people to love beauty, and to find it among the regions which first rang with the axe of our pioneers.

[Ill.u.s.tration: A COMPOSITION.--[FREDERICK E. CHURCH.]]

But, although dealing not so much with nature, as such, as with some of her little known and more remarkable and startling effects, there is a very noteworthy absence of sensationalism or staginess in the paintings of Church; while, on the other hand, the somewhat too careful reproduction of details has not prevented them from possessing a grand ma.s.sing of effect and a thrilling beauty and sublimity. "Cotopaxi," the "Heart of the Andes," or "Niagara," may transgress many rules laid down by the schools, but the magnificent ability with which they are represented disarms criticism. Church's first painting of Niagara occupies the culminating point in the objective art of this period of our history, executed by an artist who up to that time had never crossed the Atlantic, and whose merits and defects were entirely his own.

Mr. Church's "Niagara" is doubtless familiar to many through the fine chromo-lithographic copy made from it; but those who have not seen the original have only an incomplete idea of the grandeur of this great painting. It grows on acquaintance somewhat as does the cataract itself, until we seem to hear even the roar of the mighty waters that rushed over those tremendous cliffs ages before this continent was trodden by man, symbolizing the endless, remorseless, and irresistible sweep of time. The green flood pouring evermore into the appalling abyss veiled by mist wreathing up from the surging vortex below; the distant sh.o.r.e lined with foliage, touched by the burning tints of October; the rosy gray sky over-arching the scene, and the ethereal bow uniting heaven and earth with its elusive band of colors--all are there, rendered with matchless art.

The subjects of Mr. Church's more recent works have been taken from the storied sh.o.r.es of the Mediterranean. We perceive in them no sign of failing power, but more breadth and less opulence of detail. The artist has treated the splendors of cla.s.sic lands with the dignified reserve of matured strength and a higher sense of the ideal. The melancholy grandeur of the Parthenon in ruins has been painted with a stately reticence in consonance with the character of the subject; and the magnificent composition called the "aegean" may well hold its own by the side of some of the superb Italian canvases of Turner.

A landscape-painter who chose a range of subjects similar to those of Church, and accompanied him in one of his South American trips, was Louis R. Mignot, of South Carolina, who died in London some eight years ago. He was inspired by a rapturous enthusiasm alike for the tender and the brilliant aspects of nature, and appears to us to have been one of the most remarkable artists of our country. He can be justly ranked with the pioneers who first awoke the attention of the nation to a consciousness of the beauty, glory, and inexhaustible variety of the scenery of this continent, which had fallen to them as a heritage such as no other people have yet acquired. Mignot was at once a fine colorist and one of the most skilled of our painters in the handling of materials; his was also a mind fired by a wide range of sympathies; and whether it was the superb splendor of the tropical scenery of the Rio Bamba, in South America, the sublime maddening rush of iris-circled water at Niagara, or the fairy-like grace, the exquisite and ethereal loveliness of new-fallen snow, he was equally happy in rendering the varied aspects of nature. It is greatly to be regretted that the most important works of this artist are owned in England, whither he resorted at the opening of the civil war. "Snow in Hyde Park," which he painted not long before his death, is one of the n.o.blest productions of American landscape-painting.

[Ill.u.s.tration: "A WINTER SCENE."--[LOUIS R. MIGNOT.]]

The American marine art of this period has been represented by a number of artists, although they have been by no means so numerous or capable as the maritime character of our people would have led us to expect.

William Bradford, by origin a Quaker, has made to himself a name for his enterprise in going repeatedly to Labrador to study icebergs, and has executed some effective compositions, which have won him fame at home and abroad. Some of his coast scenes are also spirited, although open to the charge of technical errors. Charles Temple Dix, who unfortunately died young, painted some das.h.i.+ng, imaginative, and promising compositions; and Harry Brown, of Portland, has successfully rendered certain coast effects. But our ablest marine-painter of this period seems to have been James Hamilton, of Philadelphia, who was beyond question an artist of genius. His color was sometimes harsh and crude; but he handled pigments with mastery, and composed with the virile imagination of an improvisatore. Errors can doubtless be found in his s.h.i.+ps, or the forms of his waves; but he was inspired by a genuine enthusiasm for the sea, and rendered the wildest and grandest effects of old ocean with breadth, ma.s.siveness, and power. We have had no marine-painter about whose works there is more of the raciness and flavor of blue water.

When we turn to the department of animal-painting, we discover what has been hitherto the weakest feature of American art, both in the number and quality of the artists who have pursued this branch of the profession. T. H. Hinckley at one time promised well in painting cattle and game, but his efforts rarely went beyond giving us Denner-like representations of stuffed foxes with gla.s.s eyes. The hairs were all there, the color was well enough, although perhaps a little foxy--if one may be permitted the term in this connection; but there was no life, no characterization, there. William Hayes showed decided ability in his representations of bisons and prairie-dogs and other dogs. Weak in color, he yet succeeded in giving spirit and character to the groups he painted, and holds among our animal-painters a position not dissimilar to that of Mount in _genre_.

[Ill.u.s.tration: "s.h.i.+P OF 'THE ANCIENT MARINER.'"--[JAMES HAMILTON.]]

Walter M. Brackett, who has been able rarely well to enjoy the triple pleasure of catching, painting, and eating the same fish on a summer's morning by the limpid brooks of New Hamps.h.i.+re, has justly won a reputation as an artistic Walton. If he would but paint his rocks and trees as cleverly as he renders the speckled monarch of the stream, his compositions would leave little to be desired. Henry C. Bispham has given us some spirited but sometimes badly drawn paintings of cattle and horses; and Colonel T. B. Thorpe, an amateur with artistic tastes, in such semi-humorous satires as "A Border Inquest," representing wolves sitting on the carca.s.s of a buffalo, struck a vein peculiarly American in its humor, and carried to a high degree of excellence by William H.

Beard, whose brother, James Beard, can also be justly ranked as an animal-painter of respectable attainments. Mr. Beard, although remarkably versatile, has made a specialty, if it may be so termed, of exposing the failings and foibles of our sinful humanity by the medium of animal _genre_. Monkeys, bears, goats, owls, and rabbits are in turn impressed into the benevolent service of taking us off, and repeating for us the old Spartan tale of the slave made drunk by his master as a warning to his son. Of the skill which Mr. Beard has exhibited in this novel line there can be no question. The "Dance of Silenus," the pertinacious, iterative, pragmatic ape called "The Bore," and "Bears on a Bender," are masterly bits of characterization. There is also a deal of comic satire in "The Bulls and Bears of Mammon's Fierce Zoology,"

which, with a mult.i.tude of struggling fighting figures, takes off the eccentricities of the Stock-exchange. Beard can justly be called the American aesop. It is a.s.serted by many that this is not art. The fact is that it is exceedingly difficult to draw the line, and to prescribe what subjects an artist shall choose. In art the result justifies the means.

And this certainly seems as legitimate a subject for the brush of the artist as the graphic pictorial satires of Hogarth, or the mildly comical genres of Erskine Nicol.

[Ill.u.s.tration: "WHOO!"--[WILLIAM H. BEARD.]]

In a previous chapter we alluded to some of the figure, historical, and _genre_ painters of this period. William Mount was the precursor of a number of _genre_ artists of more or less ability, among whom may be mentioned Thomas Hicks, a pupil of Couture, and one of the first of our painters who studied at Paris. In this admirable school Mr. Hicks became an excellent colorist, although of late his art has appeared to lose some of this quality. He has painted landscape and _genre_, meeting with respectable success in the latter, but portraiture has chiefly occupied his attention. His portrait of General Meade is a striking and satisfactory work. Then there was Richard Caton Woodville, who followed Whittredge to Dusseldorf, and promised much in _genre_. His paintings show very decided traces of German influence, but behind it all was a strong individuality that seemed destined to a.s.sert itself, and to place him among our foremost painters. But he died young, and (shall we not say?) happily for him, since little fame and less appreciation are destined to the artists who come ere the people are ripe for their art.

George B. Flagg at one time promised well for our _genre_ art, but his abilities were too precocious, and unfortunately the splendid opportunities he enjoyed as a pupil of Allston, and as a long resident in London, do not seem to have been sufficient to give growth or permanence to his talents.

About this time our frontier life was coming more prominently into view, and that picturesque border line between civilization and barbarism was becoming a subject for the pen of our leading writers. Irving, Cooper, and Kennedy, Street, Whittier, and Longfellow, were tuning the first efforts of their Muse to celebrate Indian life and border warfare in prose and verse, while the majestic measures of Bryant's "Prairies"

seemed a prophetic prelude to the march of mankind toward the lands of the setting sun. "Evangeline," the most splendid result of our poetic literature, attracted not less for its magnificent generalizations of the scenery of the West than for the constancy of the heroine, and the artistic mind responded in turn to the unknown mystery and romance of that vast region, and gave us graphic pictures of the rude humanity which lent interest and sentiment to its unexplored solitudes. It is greatly to be regretted that the work of these pioneers in Western _genre_ was not of more artistic value; from a historical point of view, too much importance cannot be attached to the enterprise and courage of men like Catlin, Deas, and Ranney, who, imbued with the spirit of adventure, identified themselves with Indian and border life, and rescued it from oblivion by their art enthusiasm, which, had it been guided by previous training, would have been of even greater value. As it is, they have with the pencil done a service for the subjects they portrayed similar to what Bret Harte has accomplished in giving immortality with the pen to the wild, picturesque, but evanescent mining scenes of the Pacific slope. In this connection the fact is worth recording that the important mutual life-insurance a.s.sociation called the Artists' Funding Society took its origin in a successful effort to contribute to the support of the family of Ranney after his death.

Our historical painters of this period rarely created any works deserving of note or remembrance. Here and there a painting like that of Huntington's "Republican Court" was produced, which is a graceful and elegant composition, and one of the best of the kind in American art.

Peter F. Rothermel, the able portrait-painter of Philadelphia, also composed a number of historical works, of which the last is probably of most value. His "Battle of Gettysburg" is a bold and not ineffective representation of one of the critical moments in the world's history, although open in parts to severe criticism. J. G. Chapman, well known at one time as a skilful wood-engraver and _genre_ painter, also aspired to the difficult field of historical painting; but it is to an artist of German extraction, Emmanuel Leutze, that we owe our best historical art previous to 1860, excepting perhaps some of the compositions of Copley and West and two or three of the battle-pieces of Trumbull. Although born abroad, Leutze may be justly claimed as an American painter, for he was taken to Philadelphia in childhood, and remained in this country until thoroughly imbued with a patriotic love for the land and its history and the spirit of its inst.i.tutions; and although he subsequently pa.s.sed a number of years at Dusseldorf, whither he went at twenty-seven, the last ten years of his life were here; here he died, and the subjects of his art were almost entirely inspired by American scenes, and have become incorporated with the growth of our civilization.

[Ill.u.s.tration: "LAFAYETTE IN PRISON."--[E. LEUTZE.]]

Leutze was a man who was cast in a large mould, capable of a grand enthusiasm, and aspiring to grasp soaring ideals. Although his art was often at fault, it makes us feel, notwithstanding, that in contemplating his works we are in the presence of a colossal mind which, under healthier influences, would have better achieved what he aspired to win.

He drew from wells of seemingly inexhaustible inspiration. He was Byronic in the impetus of his genius, the rugged incompleteness of his style, the magnificent fervor and rush of his fancy, the epic grandeur and energy, dash and daring, of his creations. It is easy to say that he was steeped in German conventionalism, that he pictured the impossible, that he was sometimes harsh in his color and technique; and so he was at times, but, with it all, he left the impression of vast intellectual resources.

We would not be understood as saying that all the works of Leutze are worthy of unqualified acceptance; we refer rather to their general character. His art was very prolific, and as a pupil of Lessing and Schadow it bore the unmistakable stamp of Dusseldorf. Much of his work, partaking also of the grandiose style of Kaulbach, was of a semi-decorative character, like the "Landing of the Nors.e.m.e.n," which represents two fresh, st.u.r.dy Scandinavian rovers stepping out of an impossible s.h.i.+p, bearing aloft a n.o.ble princess, and in the very act of landing s.n.a.t.c.hing the grapes "hanging wanton to be plucked." Spirited as it is, the manifest absurdity of the composition as a representation of reality yet requires us to accept it as decorative in design. "G.o.diva"