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deep sea.

Such a burial might be in hideous in his grimaces ; if compelled keeping with the life and death of a to have the picture before us, wec uld sailor whose home that element is : not resist the painting him out. In but with the painter we associate the his “ Rent Day," the figures are half warm hearth, and comfortable fire of them deformed the farmer at the gleaming upon his casel, and conver. table has a hump. back, or his shoulder sazzione on art. How apt are some is out. The « Blind-man's buff" is people to exaggerate the pathetic, and all hips and elbows, quite disagreeable think it fine, and fine feeling too, all to the eye when it has caught this pethe while being nothing more than culiarity. ridiculous. Nor is exaggeration of Now, we think it should be a maxthe merits of an artist beneficial to im in art to deal as much as possible his after fame; the strained bow re- in beauty-never to introduce defor. coils; we are apt to undervalue when mity, unless the subject demands it, the cold fit comes. We were never and then to let the manner of treating of those who thought Sir David a it, or the attraction of other parts, giant in art, and have often criticised take off the unpleasantness of it. And his works with some severity; and see herein the painter will often be called no reason why his death, which we upon to distinguish between infirmity lament, should excite a maudlin sym- and deformity. Raffaele's genius was pathy, or disarm criticism of truth. very remarkably shown in his power In this age we deal in complimentary over the necessity of his subject ; superlatives, so that it is difficult to making beauty conspicuous as a whole, fix any in a true position. Sir David where some of the parts were necesWilkie was an admirable artist ; but sarily otherwise. And even these, as neither in design, nor manner of treat- we may term them, originally bad ing his subjects, was there conspicuparts, how does he put upon them ous the “ vivida vis ingenii." He ap- some mystery, or some divine operapeared always to be cool, and to a tion, to which the mind is so powergreat extent judicious, at his easel; fully directed, that it too is absorbed never hurried into an enıhusiasm that in awe and expectation to dwell upon should take with it his subject and the defect as infirmity or deformity. the spectator. Good sense, talents, So it is in the figures at the “ Beautiand unwearied labour, from an early ful Gate," where beauty is throughout age led him to a less faulty style of the picture ; and in the miserable painting than we had before seen cripple we fancy we see one ready to among us. He captivated by his start up into strength and beauty, even finish and great truth of character. such perfection of form as we see all Nature was at once recognised ; and around him. And such is the case in bis arrangements were clear and art- the demoniacal boy in “ The Transistical. We always 1 hought him very figuration." There is the awfulness judicious io giving a proper space for of a mystery beyond human means to his figures to act their parts in ; they comprehend, and the presence of a did not crowd in upon the canvass ; potent evil, above human, that the nor jeave too large a space “ to let." great subject of the Transfiguration la these respects he was highly bene- can alone annihilate. Now, Sir Daficial to Art; for after him, the unde- vid's early practice lying in the lookfined, ill-painted scenes of familiar life ing for and accurate delineation of only disgusted. He brought this class peculiarities of character, was against of art into high respectability. If he his natural perception of the beautiful, was not a good colourist, be avoided if it was ever much in him. We have offending by an unnecessary display, hitherto been speaking of his earlier and this was characteristic of his style, upon which, after all, his fame judgment. He had not, however, a will rest, for he did not succeed, with true and strong feeling for beauty. very few exceptions, (one of which He would often introduce positive de- was his “ Benvenuto Cellini and the formity when the beautiful would have Pope,'') in the attempt to incorporate answered the purpose of bis story with his own the manner of the Spaquite as well. In his celebrated pic. nish and Italian painters. There was, ture of the “ Blind Fiddler," we do too, a lack of prominent object in his pot remember one graceful, mode- story. It is not enough to say, this derately graceful, figure ; the boy with shall represent such and such an event; his mocking imitations is absolutely what power, what feeling, is the event

itself to tell ? if it is nothing but pic- good word for him. And yet, though torial device, and display of mechani- there is perhaps a greater absurdity cal art, there is, after all, but a splen- than ever in one picture_his “ Buodid poverty.

naparte"--yet, on the whole, we do Painters often overwork themselves, sincerely think Turner improved ; and are, in consequence, subject to there is more of the palpable and in. hallucinations. It has often been ex telligible poetry, less obscured by the emplified, and fictions built upon the inconceivable jumble of colours, and, malady: it deserves to be treated ten- with the exception of the “ Buonaderly, for it arises from overlabour in parte," less of the blood-red, into the service of mankind. It is apt to which be delights to plunge his hand seize upon some oddity, some miscon- --a practice which might have entitled ception, wherein the eye has ceased him to the address of the unknown to be true to the judgment, but strange- author in the Rathologia:ly caters to the hallucination. Iù his

Ζωγράφων υλώς, , later pictures, Sir David Wilkie's mian

Αίματι μη χρώσαι φεισάμενος παλάμην. . Der of representing hair must have arisen in some deception of this kind. It We have a right to suppose that the is even conspicuous in his head of Cfl

dreams of a sick poet have a dach of lini ; but the most remarkable instance

his genius; so it is with Turner's of it was in the small portrait of a

dreamy performances; there are boy, some three or four years old,

glimpses of bright conceptions in that every eye but his own thought

them, not indeed distinctly discernible, the strangest thing imaginable. And yet they may be so perhaps to himself. latterly, in his portraits, the flesh was They are like the "Dissolving Views," apt to be pinked up into innumerable which, when one subject is melting little swellings, as if the subject were

into another, and there are but half gouty. We are persuaded he required

indications of forms, and a strange rest and recreation out of his art.

blending of blues and yellows and This he had probably obtained ; and reds, offer something infinitely better, had he lived, we should have seen

more grand, more imaginative than these his eccentricities amended. The the distinct purpose of either view public, then, have great reason to re

presents. We would therefore recomgret his loss; he certainly advanced art,

mend the aspirant after Turner's style by removing indefinitiveness and inac. and fame, to a few nightly exhibitions curacy, and substituting precision and of the “ Dissolving Views" at the clearness; so that honour will ever

Polytechnic, and he can scarcely fail attend his name, and his country,

to obtain the secret of the whole me.

thod. Scotland, has, and ever will have, rea

And we should think, that son to be proud of him. But we would Turner's pictures, to give eclat to the not so detract from the praise due to invention, should be called henceforth the artists who survive him, as some

“ Turner's Dissolving Views." do, by lauding him as superlatively

As usual, we have to lament the great, as if he were exclusively the absence of landscape - composition English painter. Scotland may be

landscape. There are but few that justly proud, and more deeply grave;

even pretend to be more than views. but with the presence of British art

Nor has Mr Lee come up to the probefore us, we would say, with the au

mise bis last year's landscape gave. thor of Chevy Chase :

There is a new attempt by Creswick “Now, God be with him, said our (queen)

to represent some of the sweet scenes Sith 't will no better be ;

of green repose, of nature's river scenes, I trust I have within my realme,

and to a great extent successful. A Five hundred as good as hee."

little composition, where nature has

failed him, would have wonderfully Turner's eye must play him false, it improved some of these scenes. cannot truly represent to his miod Roberts's pictures are quite an exbi. either his forms or colours--or his bition of ihemselves, and, we doubt hallucination is great. There were a not, would look better without the number of idolatrous admirers, who, accompaniment of works of a distractfor a long time, could not see his ex- ing nature. He has less, this year, of hibited absurdities ; but as there is the French-polish; but we still think a every year some one thing worse than llttle more strong roughness, or dryness, ever, by degrees the lovers fall off; would be an improvement. His execu. and now we scarcely find one to say a tion is admirable, and his effects happy.


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It is said that we excel in por- them all, though severe and stern to traits ; many in this exhibition are view, are most truly given. Nor is his admirable; yet would it not be very 507, “Goldsmith's Age and Whisperdesirable that they should have a room ing Lovers," ip shelter of the hawthorn to themselves ? They sadly injure bush, less good. other pictures ; the masses of colours No. 10. " An English Landscape in them are so large, and often so vivid, Composition." Sir A. Calcott, R.A. that pictures of subject and of many This picture has surprised us. It parts are greatly injured by the juxta is well painted, or it would not have position. Surely the portraits them- been from the pencil of so able à selves would look better separated; painter. As a composition it is very and there would be a fairer field for poor; indeed, a scene without intecomposition, as thereby the merits of rest, a ditch-like river with large each artist would be better distin- cows in it, and trees on the banks. guished, and the candidates for a sit- We, as lovers of English landscape, ting would at one glance be able to protest against this representation of judge what painter would be best it. We have rich and green valleys, suited to their individual likenesses. and here all is poor and weak ; for

It is somewhat singular that this the deep tones of nature we have a country should have so few marine sickly hue, as if all had been dipped painters. How seldom do we see one in milk and mustard. His “ Italian picture that would remind us that Landscape Composition," No. 166, Vanderveldt visited our coasts. The is very good, has some sweet tones, insignificant pieces of this kind that but as a composition there is not are occasionally exhibited, generally much in it, nor is it very indicative represent small vessels, a sea of no of Italian landscape. The trees are great character, and gaudy skies. not good; they are not touched by How unlike Vanderveldt and Back- the fresh air. His “ Dort," 282, is huyen! It is said that the French cold and spotty. artists excel us in this line of art-a No. 12.“ A View of Bolton Abbey, line which might have been considered Yorkshire." C. Fielding. This is to particularly adapted to the feelings of our view a very unpleasant picture. Englishmen. Stansfield, indeed, paints It has no one character, no repose ; coasts, and the waters that wash them, sky and earth seem under an influenza, with considerable effect; but his pic- dull and dingy ; the blue, grey, and tures are scarcely sea-pieces.

brown, mingle inharmoniously. It is time to go round the rooms. No. 20. “ Vallone dei mulini Amal_ No. 6. “ A Magdalen." W. Etty, fi.” C. Stanfield, R. A. The greater R.A. There is not here the deep part of this is a mere ditch of dry mud; feeling of penitence of a Magdalen. walls and buildings appear as if built Was the title an after-thought? Mr out of it. In lines it is artistically comEtty's “Dance," No.33, from the shield posed, a part of his art which Stanfield of Achilles, is very gracefully group:

well understands. But what could ed; the easy flowing dance is well charm him in such a subject ? His expressed; and with the exception of “Isola Bella, Lago Maggiore," is very the faces, which are not of the same sweetly painted; but has he not omitted flesh and blood as the bodies, the the poetry of that fairy island, and lake more extraordinary, as Mr Etty is so reflecting the Alps ? His Pozzuoli good a colourist. One would almost looking towards Baiæ,” No. 313, is a imagine the tumblers had with their sweet picture, and well composed. heels been wanton, for the maiden's Mr Stanfield still adheres to his pecufaces are certainly black and blue. liar colouring, drab lights and blue Mr Etty seems to forget that those shadows; it readily makes up the maidens had not worn stays; he is effect of his pictures, but the colours generally, in this respect, too faithful are not pleasing and cannot be true. to bis model. On the whole, it is a No. 46. “ Welsh Guides; North fresh and very pleasing picture. Wales." W. Collins, R. A. We should

No. 8. “ The Schoolmaster." C. bave passed this picture unnotired, had W. Cope, This is Goldsmith's school- we not found it to be by Collins. We master, and very characteristic. The know the scene well, Llambertis ; in grief of one boy, and sulky dislike of nature it is grand. It would be the other, and searching look of the scarcely possible to treat it more master, who knows them all and loves tamely; the figures are pretty, and


would better suit still tamer outlines. ten upon it, for there, too, is an awful It is unfortunate, too, in its colour. “ bandwriting upon the wall.” The Nor, do we very much admire his light of a lamp is intercepted, by the -104, “ Prayer;" a family about to hand pouring the poison into the sleepleave their native shores, imploring ing kings' ear, and there is the large Divine protection. We have an anti- shadow of the transaction awfully depathy to the mock pathetic—it is tea- depicted on the wall. Mr Maclise had boardish ; the single lantern never no precedent for this—it is original, could communicate such light to the and evinces great genius. Parts of figures; there is a good quiet tone in the picture are so beautifully colourthe background.

ed, that we are surprised Mr Maclise No. 51. “ The course of the Greta does not generally pay more atten. through Brignal wood." T. Creswick. tion to this part of his art. If the

" O Brignal banks are fresh and fair, principal figures should be Hamlet And Greta woods are green.”

and Ophelia, the picture is a failure, Mr Creswick is here true to nature but they are perhaps only among and to the poet, for the woods are the incidents. The Hamlet is an green ; it is a charming picture, the ungentlemanly ruffian, who very stones seem conscious of repose. would have waited for the play, but We would suggest that a little more would have taken a pleasure in killpositive shade would improve it, and ing the king upon suspicion. He is doubt if there be not too much small not the philosophic, the doubting, the work in every part, but particularly delaying Hamlet. As to Ophelia, she in the water towards the foreground. is little better than a barmaid of an This is evidently painted on the inn, and we are at first sight reconciled spot; the left hand side of the wood to her drowning. The queen is good ; wants character and communication she shows she was not cognizant of with the opposite. It was probably so

the deed. Old Polonius is too mean, in nature, but by the very look of ihe his advice to his son will ever stamp trees on the left, nature had here been him the gentleman.

The general mutilated.- His 180. “A River scene,' grouping is most masterly ; we like is equally good. His best is—No. not the brown figure behind Ophelia496. “ The Tees.” It is very beautiful, who is he? Take it, with all its faults, a fine secluded scene ; in the same cha- and they are such that we cannot but racter with his others. We think, with think Mr Maclise will easily remedy, less minute work, less hair. like linings it is a very fine picture-it is in a new in the water, somewhat more massing style, and as a new style we bail itand bolder execution, and a little more we mean new in comparison with geattention to composition, we strictly peral exhibitions, not as particularly mean artificial arrangement, Mr Cres. distinguishing it from others by the wick will make a first-rate landscape same painter: we remember last year painter in the line he has chosen. We his very imaginative picture of the would impress upon him that trees Sleeping Beauty, and having unhave naturally a leaning to each other, bounded fertility of invention, clearly "consociare amant.'

proving that Mr Maclise has all the No. 59. “ The Lady Glenlyon.”. materials of a poet painter.— His“ ReF. Grant. This is excellent, as all his turn of the Kuight," No. 273, is very portraits are; they have always power powerful; the armour quite shines, and simplicity, and his colouring is and there is a tale told in that twilight ever appropriate ; he has successfully of pleasing romance.- We think his studied Vandyck.

"Origin of the Harp,"from Moore's Me. No. 62. “ The Play Scene in lodies, a decided failure, very hard, and Hamlet. D. Maclise, R. A. This is not possessing his usually good workperhaps the most striking picture in manship. the Exhibition ; it is very fine, and yet No. 71. “Ophelia," “ There is a has very great defects. The story of willow," &c. R. Redgrave, A. This the murder is very finely and origi- is a very interesting figure, but not pally told; the play is enacted on a quite Ophelia. - His 169, “ Landplatform in the centre; the king turns scape,"is truly the gloomy glade, very away his head, yet you see that, by an true in effect; the fretting of the wairresistible power, he will again look ter not quite so good. The little picture, towards the scene, however slight according to the poetry, is necessarily that look, the murderous act will fas- very dark; it is nevertheless well

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coloured.-No.244. Cinderella. "That be it spoken, yet we can have no revemiox, said the step sister, to think of rence for Mr Howard's pictorial effitrying on the slipper!" This we should gies. The Plague is a very amicable call good, if we were not disappointed blue devil, who goes off when he is to find it by Mr Redgrave. Good as bidden, with blue worsted mittens at it is, it is not equal to his powers; and his tiuger ends, bursting into blue this is a subject we should have thought flame. The principal figure is borrid admirably suited to him. The colour there is no disease, do positive of the elder sister's bosom, who had plague, but that personified by the tried on the slipper, is very little like uemun, unlessthe fallen squalling child that of flesh. Nur is Cinderella her- be queant as an infliction. Aaron has self very good; we are sorry to see so odd sort of epaulettess put on the exquisite a workman as Mr Redgrave wrong way. in colour and compositake to white woodeny faces.- His tion it is vilissimo- were it not the “ Bad News from Sea," is rather handiwork of an R.A. we should not hard. Remembering Redgrave's pic- criticize it-and it occupies a conspitures at the two last exhioitions, his cuous place. “ Mrs Courtly," and “ Sir Roger de No. 91. - The Ford.” W. MulCoverley's courtship,” we confess our ready, R. A. This is clever, but not disappointment this year.- He is pre- with very much meaning. Mr Mul. eminent in the " Elegant Familiar," ready has fallen into a reprehensible especially where there is much charac. style of colouring ; it is exemplified ter; we trust he will be careful how in this little picture, though less so he quits a line in which he so much than in some others in former Exhibi.

tions—it is by far too hot. No. 72. “ The tired Soldier, rest. No. 96. " Otters and Salmon." E. ing at a road side well,” F. Goodall, Landseer, R. A.; wondrously exeis a very sweet and pleasing picture, cuted. Landseer has seven pictures, the only one of the artist in the Exhi- all most exquisite; what can be more bition.

delicate than the pair of “ Brazilian No. 79. “ Devonshire scenery." monkeys,” No. 145; more powerful F. R. Lee, R. A. This is the worst than No. 255, where the colouring is picture we have seen by this able niost judiciously adapted to set off the painter; it is crude in colour, wants or One Brown g." So in No. 266, shade, and is too smoothly painted. the clear red background, for black The subject is not worth painting, and and white of the creature, and bit of it is so painted in colour and effect, as green chair for variety, and at the to make it the least interesting. Nor same time to make the red tell, all are we more pleased with his “ High- make the dog.-But of all his pictures land scenery-a Soow Storm passing we prefer No. 431, “ The Sancoff ;" it is distraction-bad conven- tuary.” tional colouring, not well set off, weak, “See where the startled wild-fowlscream. and even unpleasant in effect ; it is ing rise, dismal only where it should be grand. And seek in marshall’d flight those His 368,"Desolatiou,” is equally poor.

golden skies. -His “ Watering place," No. 484,

Yon wearied swimmer scarce can win is a place odious to see a scene with.

the land, out effect to render it pleasing ; it

His limbs yet falter on the watery strand. fairly comes under the class of vulgar Poor hunted hart! The painful struggle landscapes. How, unlike are his pic

o'er, tures this year to those, or at least to

How blest the shelter of that island shore! one of last year!

Where while he sobs his panting heart No. 84. “ Faith, Hope, and Cha

to rest, rity.” H. Howard, R. A. Though

Nor hound, nor hunter, shall his lair " the greatest of these is Charity,"

molest." it is difficult to find any that can

Loch Marie, a Poem. 1842. cover the pictorial sins of Mr Howard. We know not if Mr Landseer is the It is a very vile affair ; very much poet as well as the painter, but we below the merit of Angelica Kauff- know that the poetry of the picture is man. But what shall we say of his No. most touching. Nor does this picture 94 ? “ Aaron staying the Plague.' owe its excellence to that finish which Such an Aaron staying the plague, the hand of this great artist generally and inflicting himself, with reverence bestows upon all his works, but rather

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