The Fine Arts.

During the present month there are four Public Exhibitions of Paintings in the city: that of the National Academy, of the Art-Union, of the Artist's Association, and the Düsseldorf Gallery. The first three are composed mainly of the works of native American artists, and it is impossible to repress an expression of regret that some arrangement of union has not yet been effected, by which, at least, the works of the same men should not be exhibited gratis at one place, and for a charge at another. In the present state of things, the gallery of the Art-Union and that of the National Academy are brought into direct opposition, and this, beyond doubt, without the slightest jealousy on either side, as the works painted for the Academy and purchased by the Art-Union clearly show. But certainly the fact is lamentable enough to challenge immediate attention, and to induce a radical change. A free gallery of the selected works of artists will be very apt to carry the day against an exhibition at a quarter of a dollar of the miscellaneous and unselected works of the same men. But here we do not mean to vex this question farther. We aim at a general review of the peculiarities and excellences of each exhibition.

It is undoubtedly in landscape art that American talent is destined first to excel, and the Academy exhibition and that of the Art-Union are added proofs of the fact. The landscapes are much the most distinguishing and distinguished feature. Mr. Durand contributes several characteristic works. His style is so uniform and pronounced that it is never difficult to recognize his pictures. We should hardly say that he does better this year than usual, but we should certainly not say that he does worse. In the front rank of this department stand also Kensett and Cropsey, both of whom show beautiful results of summer study and winter work. Mr. Cropsey is mainly distinguished by a really gorgeous imagination. Proof of this is to be sought in the sketches of his portfolio rather than in his finished pictures, for in these a thousand influences seduce an artist away from the simplicity and splendor of his study into a care of public approbation and satisfaction. Mr. Cropsey is as yet too much enamored of the details and even of the mechanism of his art. And this is a tendency that is fatal to breadth and largeness of impression. Yet his "Southern Italy," and a "View in Rockland County," in the exhibition, are great advances in this respect. On the other hand, the two large American landscapes at the Art-Union, while the background in one is a splendid success, and the brilliant atmosphere of the other is no less successful, yet they are too much detailed, and the interest is nowhere sufficiently concentrated. Mr. Kensett is remarkable for his just sentiment and profound appreciation of natural beauty. It is a sentiment singularly free from sentimentality, and an appreciation as poetic as it is profound. The very delicacy of his touch and style indicate the character of his enjoyment and perception of nature.

Mr. Church, too, is perhaps the other name that we should mention with these two as full of hope and promise. If he avoids a little mannerism, to which he seems to be susceptible—not of course forgetting that all greatness has its own manner—and pursues with the same devotion as hitherto his studies of sea and sky, a very happy and brilliant career seems open to him. The works of none of the younger artists have attracted more attention. And the fame and position of Turner show the reward of a devoted student and artistic delineator of the peculiarities of atmospheric phenomena. We exhort Mr. Church to entire boldness in his attempts. Why should he hope always to please those who have only a vague susceptibility of natural observation for their standard of criticism? He is to show us in the splendid play of the light, and air, and clouds, that which we do not see, or seeing, do not perceive.

Messrs. Cranch, Boutelle, Gifford, and others, take high rank among the landscapists, nor must we omit a very beautiful winter piece of Gignoux, at the Academy, in which the crisp clearness of the sharp air, the brittle outline of the bare boughs, and the quality of ice, are most accurately and poetically rendered.

We are arrested by the feeling and promise of Mr. Richard's contributions, and the very beautiful poetic sentiment of Mr. Hubbard's. Mr. Huntingdon is not great, this year. His landscapes are not natural, and his portraits lack that vigorous moulding to which we are accustomed upon his canvas. Mr. Ranney has some characteristic hunting-pieces. They are getting too much mannered. On a prairie, the chief interest of art is not a horse or a buffalo, but the sentiment of space. But we do not yield to any in our satisfaction at the spirit and vigor of these works.

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:

"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.

From the Times.