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equal; in quality, the “ New” is de- childish in composition and horrid in cidedly superior to the "Old.” It is colour, as a whole, with pretty and a curious fact, that while for some laboured bits. Nor can anything years it has been the aim of water-co- well be more flimsy than his No. 101, lour painters to attain to the depth of • View on the South Downs, &c." oil, our painters in oil have been en- His “ Fingal's Cave, Isle of Staffa,'' deavouring to make their pictures like is very fine-all the parts agree-there drawings, and those drawings which is sentiment in the picture. Again we show most white paper. In the Old must find fault. His 125, “ Distant Water-Colour Society some of the view of Bolton Abbey, looking up the most able have taken to imitate the River Wharfe, Yorkshire,” is, to our attempts of the oil painters to imitate eyes, very odious-as bad in colour, them; so that, forsaking depth of co. composition, and effect, as well can lour, they paint upon the white paper be. We do not recognize in nature, plan. This is very conspicuous in in her pleasing mood at least, trees Copley Fielding's drawings this year. varying from mustard to treacle. His We do not think the change an im- • Vessels in a breeze," No. 179, is a provement. Let us walk through the very fine drawing, good in effect and rooms of the elder society.
colour, and his scene on the coast No. 10. “ Falls of the West Lynn near Filey Bay, Yorkshire, is not less at Lynmouth, North Devon.” P. good. We much like his “ View of De Wint. It is a finely coloured and Ben Cruachan, &c.," No. 276. It is pretty exact representation of a most very tender and tranquil, and would beautiful scene.
Mr De Wint has be improved if the boat were omitted much that is very striking in moved. Mr Copley Fielding seems the real view; perhaps he has made a in his practice to be in a transition judicious sacrifice; and it may be im- state, quitting his former method, for possible to give upon canvass the the lighter and brighter, the whitewhole scene with effect. Above the paper method : this has not reached height of his subject is a very grand as yet his water pieces, and they are rock; standing below, you look under therefore the best.
We do not apits projecting ledges. We are often prove of throwing off the blues and deceived in a scene of this kind—a greys of distances, by spots of treacle moment's change of position, an in- cows, and mustard trees. stantaneous looking up or down, con- No. 42. - Forelake, Killarney." veys an impression which we are apt W. Evans. This is an escape from to think is that of one picture. It is, being very good; it is spoiled by viohowever, not so—it is the mind's put lence of colour in figures. ting together of several. To embody No. 88. “Forezall, Killarney, &c.," this impression, belongs to the art of W. A. Nesfield, is very clever, and composition. When fairly given, the would be better without the figures. scene may be considered more true to No. 127. " A Monk," W. Hunt, nature, than that which the eye takes is admirably finished. His No. 140 in from one position and at one look. is capital. It is from the scene of the We have often tried to make pictures Carriers in Henry IV., Shakspeare. of this magnificent scene, and have A little more shadow would perhaps not succeeded at all without much improve it—not, however, very dark, composition, and not even then to our but such shadows as Rembrandt de.. satisfaction. Mr De Wint has painted lighted in, that were scarcely darka very beautiful picture-the air is ness, and when they were, were cooled by the living water, and the « darkness visible." His “ Saying scene is for meditation. We very Grace," No. 167, is painted with the much like his view on the River happiest effect. We have hitherto Louther, No. 49. It is slight, but considered Mr Hunt as an artist exvery effective. The execution has the pressing great truth of character by a characteristic audacity due to the pre- few free touches. In No. 299, “ Intevailing river.
rior of West Hill House, the residence No. 16. “ Rivaulx Abbey near of J. H. Mawe, Esq.,” he shows his Helmsey, Yorkshire.” Copley Field- power of elaborate finish, and that ing. This is quite unworthy Mr he has an eye for truth of colour very Fielding. It is flimsy and unnatural. accurate. We see not only the ornaNor do we more admire his No. 21, ment, but the domesticity of the room, • View of Ben Vorlich, &c." It is its repose and habitableness are de lightful; this character gives a poetry No. 216. “ The Wedding." Mrs to the interior.
6 Oh what's to me a silken gown wants interest; it does not convey
Wi' a poor broken heart? what the subject might convey. There
And what's to me a siller crown is the same defect in his “ Hospi.
Gin frae my love I part ? "-Ballad, tality to the Poor,” No. 175. It is A melancholy tale, a sacrifice, the very simple, clever, and well coloured, abominable bridegroom, the compelbut somehow or other it is of little ling parents and reluctant bride, all tell interest.
their feelings well, but the lover is not No. 144. “ Endsleigh, a seat of melancholy enough. He is too rebis Grace the Duke of Bedford." J. conciled to desertion. It is with this D. Harding. This we do not admire lady's usual power ; but we would ear-it is too much of the ague style; it nestly recommend to her pencil more has throughout its hot and cold fits. happy subjects. Domestic love is the
No. 153. “ Narcissus and Echo." least fit for poetry or painting, unless J. Christall. A very fine drawing. it be of a moral power, conveying a It is classical, and to a considerable lesson, and even then is ill suited to degree, as it should be, conventional, the drawing-room or boudoir. both in design and colour. There is No. 246. “ Scene from the Black no violence to make conspicuous what Dwarf.”, Frederick Taylor. How is not quite true ; we yield ourselves, sweet is the heroine of the tale; and therefore, to the fabulous poetry. Thé how well is the incident told! It is figures are extremely graceful, the a very sweet little picture, and admi. composition tasteful and elegant; of rably composed.- No. 285. " Interior an elevated cast, but within the do- of the Keeper's Cottage.” Mr Taymain of beauty, though bordering lor paints animals to the life -- we upon grandeur. It is a rocky scene.
therefore suppose from life. No. 187. - The South Stack Light
No. 308.“ Touchstone,” H. Richhouse, near Holyhead," H. Gas- ter. teneau, is, as a scene in nature, fright- “ And how, Audrey ? Am I the man fully grand; but whether it be that it yet,” &c. has too much detail for grandeur, or Shakspeare is never vulgar-outraging that the style of colouring is not in
truth, without quite reaching caricaaccordance with that sentiment, it
ture, is always vulgar. Hideous gri. fails of the due effect. There is no
maces and forced attitudes are but a thing grand where there is too much
bad substitute for humour. Mr Richdetail, and too many parts. His “ Lake of Guarda,” No. 256, is very
ter is generally too coarse.
Our next visit is to the New Watergood. No. 154,
Colour Exhibition, 53, Pall - Mall. “ Mountains on whose barren breast The aim of the exhibitors here seems The labouring clouds do often rest." to have been, as if by one consent,
Milton. depth and force of colour ; and they No. 328. “ Mountain Scenery.” have certainly succeeded in a very J. Varley. Mr Varley comes out in surprising degree, preserving at the a somewhat new style. His moun. same time very great clearness. tains are mountains, and companies, No. 9. “ Transport coming out of for they associate, and hold holi. Portsmouth,” T. S. Robins, is very days with the clouds together. They true to nature; the motion of the water, give you an idea, or rather a feel- and its receding, is ably managed. ing of mountain air, freshly blowing. No. 17.“ The Cooling Room (MesThe effects are, perhaps, a little too lukh)ofan Egyptian Bath,”H. Warren, scattered.
We have seen one is a picture of very great power, detwo very fine classic landscapes by his scribing an Egyptian bride at the bath. hand; in general, he is too artificial In the centre are dancing girls, very in his building up. We well remem- graceful; the bride is in retiring shade ber some of his early drawings of —slaves of all colours are in attendWelsh scenery, than which nothing There is good grouping and is more beautiful of the kind that we good colouring; the picture is rich, have since seen by any hand. We without flaring colours ; the subdued should desire to see Mr Varley resume light of an interior is preserved. this early manner.
We could almost wish painters were
prohibited from attempting any scene ing in design and character of the in Romeo and Juliet. Never has there figures; the colouring is perfect to been one successful picture of the sub- the sentiment—it is sombre, solemn, ject; and the many bad deter the best and yet, where it should beso, extremeartists by odiously vulgarising the ly tender. The scene is from Crabbe,
We cannot congratulate Mr that domestic poet, that wrings the Hicks' No. 43, “ Juliet the morning heart by his tales of life's deepest after having taking (taken] the sleep- woes. These are, as we have remarking draught.” What a Juliet! Afoed, painful subjects ; but in this picfectation pervades the picture, and yet ture the principal character is so sweetis there considerable skill and manage. ly great, that the mind is not all under ment in the drawing and colouring. the tragic impression. There is moral
No. 58. “ Life fought with Love," blended with personal beauty-that &c. Miss S. Setchel. We cannot dignity that can sacrifice all. It is a speak too highly of this most beauti- visit to the lover in prison. ful drawing. It is one of deep feel
“ Life fought with love, both powerful and both sweet,
i ask'd thy brother James, wouldst thou command,
Resign'd with him to live, content with thee to die.
Here life is purchased—there a death of shame :
Death once his merriment, but now his dread.” The prisoner, the culprit, the lover, with it-two of very opposite powers, holds down his head. We would not Raffaele and Rembrandt. Miss Setknow his reply, but we fear it, and chel must feel the purity, the delicacy, that there is to be an heroic victim in and the greatness of sentiment in that slender, gentlest of creatures. He Raffaele, and the mysterious power of is in deep shade, and dark himself, colouring, and light and shade, of and in the solemn hue befitting crime Rembrandt. Yet this drawing, we and punishment; she, the loveliest and are given to understand, sold for no the most loving, gives him her hand, more than L.25. We feel it ungra“canst thou part with this poor hand?” cious to find any fault; but, as critics, and what intense feeling is there in we must say “this poor hand" is her face! the very lip quivers, and what we could best part with: it is but that the whole gentle mind had not quite equal to the drawing in been forearmed with resolution, per- general. haps strength prayed for, the words No 77. “ He that is without sin would not have found utterance. Hers among you, let him first cast a stone is a face to haunt one-we are quite at her." This is a wonderfully powersure that we shall never forget it whilst ful drawing. A bold attempt upon a we live, and have our knowledge and subject so often treated, and so strictly feeling. It is most feminine, most belonging to the old school. It is this loving, and most heroic.
very thing which, as it has familiarised drawing, by Miss Setchel, a young us with the conventional, makes what lady, previously scarcely known, is is novel, or too strictly modern, out far above any work this year ex- of place, and be received with a shock. hibited by any artist whatever, and The woman, though really a beautiful in whatever exhibition, in beauty expressive figure, is not such as we and pathos. There are many appar.
should expect to see in a picture reently more important, many much presenting this scene; she is a little more laborious works, but there is not too much like one taken from the one that, only once seen, will be so “ Book of Beauty.” The Saviour has long remembered. There are two neither sufficient dignity nor strength very great old masters that, could they of expression, and is too feminine; the come to life and see this drawing, mouth should not be closed. With would, we are assured, be delighted these exceptions, and perhaps one
ought not to be an exception, the sub- The cold, grey, and warm depths of ject is very well treated, with great the picture assist each other, nor is knowledge of composition and colour- harmony disturbed. ing; not that we quite like the colour No 137 of the drapery, nor indeed of the com. « Sweet Kitty, she was a charming maid, plexion of the principal, figures, per
That carried the milking pail.”. haps too light for the solemn feeling
-English Ballad. the sacred warning should convey. Edward Corbould. A very sweet The lightness of this part of the pic- and delicate picture, partaking of the ture is not quite in keeping with the pretty quaintness of the lines. His great depth in the figures to the left. Go Good Samaritan,” No 269, is a very There the clear yet dark colouring, charming picture; simple in manner, in great variety of tones, yet all kept very tender, and expressive. There together, is the most striking speci. is something wrong in the drawing or men of the power of water-colour we shading of the back of the maiden in. have ever seen. The hand of our the foreground. His 324,“ ShrimpSaviour is too small and delicate.
ing," is very good; it is fresh and The lighter parts of the picture want free, as if sketched in from nature. solidity.
Mr Edward Corbould should do great No 99. - Sale of a Nubian Girl."
things; he has the requisites in abunHenry Warren. Mr Warren has
dance to make a painter; and either great power ; his colouring is clear
his industry or his facility must be and deep; and, what colour often is
very great. not, expressive, accordant with the No 157. " Warder Castle surrensubject. This Sale of the Nubian dered to the Roundheads, May 1643." Girl is very good, very simple. We W. H. Kearney. A scene of detessuppose Mr Warren has studied Nu
table treachery and brutality, not fit bian beauty from nature. It is rather for a picture ; at least, unless very repugnant to European taste. His
differently treated. The heroism of “ Hagar, the Egyptian, and Ishmael, the sufferers could alone make the her Son, cast out into the Wilder- subject bearable, and that, in charac. ness, No 258, fully justify the fore- ter and expression, is omitted. The going remarks upon his powers. There picture is not without much power, is a daring novelty in his mode of but it is essentially vulgar. treatment of this well-known subject No. 173. “ The Dairyman's Daugh, from the Bible, according to the phy. ter." A. Penley.- This is another sical character of the personages and subject not fit for the pencil-it is the country. Without being perfect- entirely melancholy, but in this in. ly reconciled to it, we are very far stance it is so affectedly goody, with from condemning it. It may be à its weak washy sentimentality, and question of taste, why the Italian expression of conceit, where there painters adopted European physiog should be nothing but piety, all simnomy and scenery. Did they think pering inwardly “ how good we are!" entire sympathy with the actions and and how particularly good the Dairy, feelings to be represented, required man's daughter, that our melancholy this sacrifice and this identity of race? is changed to disgust, even for art, for There is in this picture very great the sin of this perpetration. Mawkish, simplicity. The design is good. The maudlin sensibility should he conslight hesitation of Ishmael, which is demned by every hanging committee. the bond of union expressed, is very We never see it in the frontispieces happy. The greenish-brown tones to our - Children's" good books, but are beautifully clear, and tell well. we desire to tear out the page, for the We do not like the sheep in the back benefit of all children readers. ground, they are too large, and lack No. 187. “Reflection," J.J. Jen. an ancient character; perhaps the sky kins--is very pleasing. would be improved if it were a little No. 206. There lived in Oxford deeper.
one Richard Simon, a priest," &c. No 110. “ Scene from Romeo and H. P. Riviere.— This is the story of Juliet." Miss F. Corbaux. This Lambert Simnel, and one not worth has some very fine tones of colour. painting. There has been, however, We think it fails in expression. The a great taste of late years for old light upon the white figure cannot armour, knights, and monks; so that be true ; it could not be so spread. among the herd of imitators of Cattermole and others, it is a fine thing to gentleness, goodness, heroic feeling, get a subject that will admit of all. even sufferings that bring out the With such view, Mr Riviere is happy manly virtues, are the themes for art. in his choice, but in nothing else; it Deformities of every kind are the bane is a villanous performance, and but of art, the poison of the mind. Bad for its affectation, which forces atten.
as they are in writing, they are worse tion by annoyance, we should not have in painting; for they become fixed, noticed it.
and it is worse than a tasteless, it is a No. 214. “ Boulogne Shrimper.” vitiated eye that can take pleasure in J. J. Jenkins.- This is excellent in them. colour- a well-drawn figure-quite We will take relief, and look at nature.
“ Cinderella," J. J. Jenkins. Here No. 224. “ Richard Cour de Lion, the gentle, the innocent, the patient arrested at Berlin, A. D. 1192." W. Cinderella is leaning against the fireH. Kearney.-- This is another instance place, meditating, we may be sure, no of unfortunately vulgar treatment of ill--and we know how she will be an historical subject. Poor Richard! rewarded ;. the cat purring to her, that we should see the “ Lion Heart” loving her, perhaps herself a fairy cat, represented thus ! Some red-haired is most happy. Now, this is a subject waiter at a provincial inn, in a moment of beauty and of interest. Innocence of perspiring leisure, must have sat is more fit for the pencil than vice. for Richard. We see him fumbling No. 310. « Percy Bay, one of the for the napkin. “No Knight-Tem Bathing Places at Tynemouth, Norplar, but a waiter !!"
thumberland - Sunrise--Study from No. 237. “ Lord Nigel's Introduce Nature.” T. M. Richardson, Sen. tion to the Sanctuary of Alsatia." E. It is a very true transcript of nature's H. Wehnert. There is much of artist sunrise, beautifully coloured; there is ability in this picture ; there is good the warmth of sun, yet freshness of grouping, and it is not without cha- morning; the distances, for they are racter; but it is of the class of sub- indeed many, many a league over the jects most unfit for painting. It water, are given with most true gramay contain many pictures, but here dation. This is a fine drawing, the artist takes in too much. The and shows very great power in the scene would be disgusting, even in artist. narration, if we were suffered to dwell No. 323. • Mountain torrent, near upon it in its collective depravity, but Llyn Tdwal, Caernarvonshire," Thos. words do not fix images so distinctly; Lindsay-is a good drawing, true in we pass on rapidly, and character colour, and readily places the spectasucceeds character, that we dwell not tor in the mountain scenery. We were too long upon any one disgust, where much struck with the power of No. nearly all is disgusting; and the ex- 337, “ Sunset,” L. Hicks. The red pectation of the story, of what is to is well set off by deep purples, and the come, of danger to be escaped, avert light is effective. As in other exbibithe mind's eye from too intently rest. tions, we can here only imperfectly ing upon individual or wholesale de. have performed our task. We will formities; and in narration the whole not, however, make further apology scene is but a part, and serves its pur. for omissions. This is an excellent pose, as contrast to other parts of the exhibition ; the New may more than tale, where higher beauties are set off rival the Old--the “ matre pulchrâ by it. Nothing of this kind can be filia pulchrior." In closing our redone upon canvass, and there, as a marks upon these exhibitions of mochoice, to portray accumulations of dern art, while we admire the mechadeformity, with no purpose but the nical skill, and mastery over materials, mere odious display, is, we think, in we cannot but lament, that in general very bad taste.
Before painters learn the aim of the artist seems to have how to paint, we would have them been confined too much to subjects in cultivate their minds, and educate which that skill may be displayed. Is their eyes to a sense of beauty, to it not preferring the means to the end? know what to paint. There are sub- Poetry, poetry, poetry, we repeat, and jects we should ever wish to see ill original poetry too, the poetry of done ; for the greater the skill the more thought, is the province of painting : degradation is suffered by art, and in- and above all, let painters at least flicted upon the profession. Beauty, shun vulgarity ; whatever is low is in