Harper's New Monthly Magazine, Vol. II, No. X., March 1851Various
General
Harper's New Monthly Magazine, Vol. II, No. X., March 1851
Various
American literature -- Periodicals; Civilization -- Periodicals; Culture -- Periodicals
Nothing can be more frank and cordial than Retzsch's manner, mingling,
as it does, much simplicity with promptness and decision. After the
lapse of a few minutes, the servant who had opened the gate brought in a
couple of easels, and upon them the artist placed two paintings; both
exquisitely drawn and designed, but so unlike what we had expected in
color, that for a moment we felt disappointed. Our enthusiasm and
admiration however, soon revived; and when, shortly afterward, he
conducted us into an inner room, and, having seated us with due
formality, in a great chair, opposite a little table, produced a
portfolio of _drawings_, the kind face of Professor Vogel was illumined:
"Ah!" he exclaimed, "now you will be delighted. I have brought many to
my friend's studio; I have looked at these drawings over and over
again, yet each time I see something to admire anew; there is always a
discovery to be made--some allegory, half hidden under a rose-leaf; some
wise and playful satire, peeping beneath the wing of a Cupid, or from
the fardel of a traveler. What a pity you do not understand German, that
you might hear him read those exquisite lyrics, beautiful as the sonnets
of your own Shakspeare, or Wordsworth--but I will interpret--I will
interpret."
And so he did--with considerate patience: there we sat turning over page
after page of the most exquisite fancies; the overflowings not only of
the purest and most brilliant imagination, but of the deepest tenderness
and exalted independence. The allegories of Moritz Retzsch, are not of
the "hieroglyphic caste," such as roused the indignation of Horace
Walpole; there were no sentimental Hopes supported by anchors: no
fat-cheeked Fames puffing noiseless trumpets; no common-place Deaths,
with dilapidated hour-glasses; they were triumphs of pure Art, conveying
a poetical idea, a moral or religious truth, a brilliant satire,
brilliant and sharp as a cutting diamond, by "graphical representation;"
each subject was a bit of the choicest lyric poetry, or an epigram, in
which a single idea or sentiment had been illustrated and embodied,
giving "a local habitation," a name, a history, in the smallest compass,
and in the most intelligible and attractive form.
With what delight we turned over these matchless drawings, many of them
little more than outlines, yet so full of meaning--pausing between each,
to glance at the face of the interpreter; though so distinctly was the
idea conveyed, that there needed none; only it was such a rare delight
to hear him tell his meaning in his own full sounding tongue, his face
expressing all he wished to say, before the words were spoken.
Public-domain text, read in full here on John Shaqi.
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