in manner different the one from late as having reverted to his hapthe other, call for more express piest manner. These two leading notice. The authors which these masters of animal-painting are, howartists, in the present Academy, ever, as unlike the one to the other illustrate — Thomas quoting lines as if their studios and easels were from Ballantine, a poet after the planted in opposite hemispheres. Burns type, and John choosing a Landseer romances with his subpassage from Scott's ‘Abbot '—will ject; Cooper is as literal, though not indicate the diverse paths in which so hard, as Paul Potter. Yet Cooper, the two brothers severally walk. too, has his moods of poetry, as Mr Thomas Faed's picture, indicat- when he makes his herds repose in ed by the homely quotation, "He peaceful meadows, lying beside still was faither and mither and a'things waters a landscape which, for tae me,” is humble in scene. The flooding daylight, Cuyp would have tenants or visitors in this honest loved to look on. shoemaker's shop are children of Furthermore, the present Acathe poor, rustics of a village, and demy is fortunate in the possession all the accessories such as Wilkie of masterpieces by four of its foremight have hit upon in his happiest most members, Stanfield, Roberts, moments, or Teniers and Ostade Creswick, and Cooke. Stanfield's painted when in their best manner. two contrasted yet companion picThe brother, Mr John Faed, we tures, 'Peace' and 'War,' show the have said, as a contrast somewhat, genius of this honoured and veteran in bis pleasing and polished picture, artist great and grand as ever in Catherine Seyton,' aims at a more intent; only the hand which once lofty mark. We surely have never dashed so boldly among the stormy seen this artist to better advantage elements, shows now more timorthan in Catherine' in the act of ous solicitude. David Roberts has "glancing her deep-blue eyes a little seldom concentrated so much matowards Roland Græme." The pic- terial, or in one picture so fully tures of Mr Horsley, especially deployed his varied powers and re'The Bashful Swain, are agreeable sources, as in “The Mausoleum of through a like polish of exterior, Augustus,' which is indeed little which is indeed more than external, short of an epitome of the entire reaching beneath the surface down city of Rome. This picture disto the underlying sentiment—a sen- plays the artist's habitual largeness timent not only refined and smooth, of manner; it triumphs in a certain but bright with laughter and spark- broad histrionic treatment, the reling in wit.

verse of that penny-a-lining which Landseer, whose lions for Trafal- some painters, having in their eye no gar Square have been so long looked fine frenzy, believe to be the signfor, presents to the Academy polar manual of genius. T. Creswick's bears and squirrels. It is not for ‘Beck in the North Country is a some years that this consummate giant among landscapes, yet quiet in painter of animal life has been so manner and unobtrusive as English much himself. As of old, he here pastorals are wont to be, especially not only gives smoothness of coat when this Wordsworth of painters, and texture of hair, but seems at with truth-loving pencil, follows the same time, by an art too subtle after nature in beauty unadorned. for analysis, to portray the inner Lastly, among the few memorable nature and mute consciousness of pictures of the year which lapse of the brute creation, making the si- time from the mind will not efface, lent actors in the scenes he deline- must rank pre-eminent 'The Ruins ates move the spectator to terror; of a Roman Bridge, Tangier,' by or, on the other hand, by beauty E. W. Cooke. This artist seems in and pathos awaken to sympathy. no ordinary degree to unite an imMr Cooper, also, we may congratu- agination of fine intuition with a


mind made accurate by science. His jet, her lips of coral, and her skin pictures are painted with an intel- of copper. Pigeons of spangled lectual purpose—they contain even plumage, irridescent in purple, emedidactic truth; and thus, while they rald, and gold, flock into the foredelight the fancy, they add to the ground. The sun has set, and now stores of the intellect.

kindles “the after-glow," burning as A word may be devoted to three a fire on the dusky brow of twifestive compositions, products of light. It may be objected that this the Royal Marriage—works which, picture, even like the Christ in like laureate odes, have to contend the Temple,' is realistic, and nowith materials untractable in the thing more. Yet by its marvellous hands of either painter or poet. Pic- brilliancy, by its superb colour, and tures of state-ceremonials serve up, even by its detail, true to deceptive of necessity, the fashions and the illusion, does the work acquire forms found in milliners' show- power, and even attain to poetry. rooms, in barbers' shop - windows, We have spoken of 'The Landing or on the lay figures of a tailor's at Gravesend,' of 'The Triumph on fitting - establishment. It is fair, London Bridge,' and now we come however, to admit, that the artists to a third scene, The Royal Marengaged on the recent auspicious riage,' painted by G. H, Thomas. occasion have acquitted themselves This certainly is a masterly performwith more than usual credit. In ance; accurate in its drawing, firm order of time, the first scene is in outline, brilliant in light and "The Landing of the Princess Alex- colour, yet quiet in well-tempered andra at Gravesend,' by H. O'Neil, general effect. The style is not unexhibited in the Academy—a cheer- like that of Frith, only less elaboful, pleasing picture, to be com- rate in finish. The picture has promended especially for the full- bably been painted so as to present length figure of the Prince, su- as few difficulties as possible to its premely gentlemanly in bearing, “fac-simile reproduction in full colwhich, considering the pictorial ours ;" therefore the outlines, as parodies to wbich Royalty has to we have stated, are preserved in unsubmit, is saying a great deal. The broken continuity, and the finish is next event commemorated is 'The kept within the limits of the chromoSea - King's peaceful Triumph on lithographic process. London Bridge,' a picture which, The two Water-Colour Exhibinotwithstanding the sentimentality tions we have declared to be above of its title, must be accepted less as usual average. In “the Institute, a loving chronicle than as a laugh- the most ambitious drawing is Mr ing comedy. Mr Holman Hunt has, Tidey's Night of the Betrayal, in the choice of a Hogarth-subject, composed as a triplych in three mistaken his vocation. The inci- parts, a centre and two wings, after dents are scattered and confused; the manner which obtained in the the execution wants dexterity and altar-pieces of the middle ages. In facile play; and the colour is black, the first of the series, the Garden opaque, and crude. The artist of Gethsemane, Jesus, a noble should graduate in the Frith school figure gently bowed in sorrow, ere he ventures to repeat a like comes and finds the disciples sleepattempt. “The After - Glow in ing. This serves as a prelude to Egypt, however, exhibited by the the central composition, Christ same artist in the same gallery, brought before Caiaphas,' which in may be received as some set-off to treatment fails as somewhat melothe affair on London Bridge. Here dramatic. The third and closing is a single life-size figure of a Coptic act in the trilogy discloses Peter, girl bearing a sheaf of corn upon, after his denial, wandering forth, her head through the rich harvest- in the bitterness of his soul, to weep valley of the Nile. Her eyes are of over his apostasy. This conception

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of the impetuous apostle is the derick Taylor give strength to the boldest and most original we have body and chivalry to the mind; met with in the roll of modern art. * The Brittany Interior,' by Mr Mr Tidey, however, were wise to Walter Goodall, is homely, simforsake the vaporous light and ple, and happy; the camels of Mr shade to which he is addicted, and Carl Haag might satisfy the critical to brave in their stead the difficul- eye of a pilgrim to Mecca; and the ties of a style more severe in its out- Falstaff of Mr Gilbert was not surlines and forms. His drawing must passed by Mr Phelps in the revival become more certain and precise ; of Henry IV.' at Drury Lane. and he should submit to the labour Landscape art, in its changing of making elaborated studies, such moods of gay and grave, florid and as Perugino, Raphael, and Leo- sober-narrow as a homestead, or nardo are known to have executed, wide-stretching and sky-soaring as as needful preliminaries to tho- mountain, lake, or campagna-is roughly mature works. Mr Cor- faithfully and nobly represented by bould's 'Morte d'Arthur' is an- George Fripp, Whittaker, Birket other ambitious flight into the Foster, Naftel, Palmer, Richardson, upper regions of the painter's and Branwhite, and Newton. The last the poet's art. The forms are of these painters this year shows lovely, and the finish, minutely himself a little unequal; his ‘Loch detailed, bespeaks infinite labour. Leven,' however, is up to his accusWe could have wished, however, tomed pitch of solemn power. Mr that the shadows had not been Richardson and Mr Palmer each forced up to the last pitch of opaque glory in the shower of purple and blackness. But the drawing which gold which they shed over the face in this gallery, if not indeed in the of a glorified nature. Mr George wide metropolis, stands supreme Fripp still stands alone for the for rare artistic qualities, is Mr purity of tone which he preserves Jopling's 'Fluffy.' This fancy title through fidelity to the old and now is taken from a little doll of a dog almost obsolete use of transparent which a lady is in the act of hold- colour. The careful drawings of ing up to the gaze of doating affec- Mr Whittaker belong to the same tion. The head of the sweet and abstemious school. As a contrast, sympathetic girl, dowered with a Mr Branwhite gains in power more crown of golden hair, is painted than he loses in tone or unity, by exquisitely. The colour cannot be the bold use of pigments laid on surpassed for delicious harmony, with the free admixture of bodyand the execution is both facile white. 'A Gleam of Winter Sunand firm.

light' is, for colour and vigour, one Entering the Gallery of the Old of the grandest works this artist has Water-Colour Society, many are yet executed. Mr Birket Foster's the subjects which would tempt to Kite-Flying' must rank among long tarriance, did time permit. Mr this artist's most charming efforts, Burton's Meeting on the Turret whether we delight in the exquisite Stairs' is a work which, by its detail of the landscape, or in the precision of drawing, and by the drawing of the graceful and wellmental expression wbich intelligent placed figures. Other of his comform can alone impart, will serve to positions attain what some critics enhance the reputation which this have called breadth. To our eye, artist, through like high qualities, however, they show but signs of has already acquired. The tasteful increasing haste an attempt to compositions of Mr Alfred Fripp reach desired ends more rapidlyare delicious in delicate harmony of a courting of those ready means colour; the peasants of Mr Topham which most men are compelled to are hearty and healthful ; the hunt- have recourse to at that period ing and sporting scenes of Mr Fre- when overwhelming success brings



reward, and with reward snares and like are the garments, and so innopenalties.

cent of action is every limb. We This Society, which was never in believe that Mr Jones has been so strong a position as at the pre- worshipped by a select brotherhood sent moment, has admitted within as a designer for painted glass ; the last year several new Associates, and a certain blurred quality of exesome of whom will render the gal- cution would seem to suggest close lery more attractive through merit, connection with worsted-work also. others more notorious by eccentri- A range of willow-pattern plates, city. Of the former class we must again, as a background to poor rank as pre-eminent F. Walker, "Cinderella,' might indicate an alwhose two drawings, ' Spring' and liance with the ceramic arts, and • The Church - Pew, have become point to a long pedigree stretching prime favourites with all visitors. far away towards the Great Wall of The first of these subjects consists China. Certain it is that we shall of a little girl, who, gathering have to go far enough off before primroses on the confines of a wood, we can meet with the prototypes of has become entangled in a bush, these singular works. It is, howthe interlacing branches of which ever, just possible that in the recover the figure as by a network. mote depths of the darkest of The first effect produced on the medieval centuries, innocent of spectator is that of surprise, and then anatomy, perspective, and other

-as in certain works of sculpture, carnal knowledge, something like wherein, for example, a man strug- these non-natural figures might be gles to extricate himself from the found. And so, after all, Mr Jones meshes in which he is entrapped— may turn out not quite as original it is discovered that the artistic as he would at first sight seem, by difficulty overcome is of easy mas- these forms so studiously grotesque, tery. In the present instance the by his contempt for beauty, and figure, of course, is drawn first, his persistent pursuit of unmitiand then, when finished, the inter- gated ugliness. Yet on the whole, vening branches are pencilled in as witness the ‘Knight' and 'The front. The other topic treated by Kissing Crucifix, also ‘The AnunMr Walker-a family seated in a ciation,' we incline to the judgchurch - pew-is praiseworthy for ment that Mr Jones has surpassed quiet, unostentatious qualities, re- all that ever went before him. We lying on accuracy of drawing and are told that these compositions a treatment which, to its minutest should be approached with reverdetail, is governed by intention. ence, and we think so; especially

We have reserved the extraordi- the angel Gabriel, who seems as nary productions of a new Asso- simple and unadorned as any maidciate, E. B. Jones, for strong pro- of-all-work. This servant, up in test. In the name of nightmare, the morning betimes, was sweeping convulsions, delirium, and apoplexy, one of the outer courts of heaven we would demand to what order of when requested to hook on a pair created beings do these monstrosi- of wings and descend to earth with ties belong ? Ought these figures an errand. We beg to observe that to be allowed to walk the earth, or if holy things are here brought to shall they, as lunatics, be put in ridicule, the fault is with the painter, strait-waistcoats and thrust into an not in us. aslyum? We are not quite sure, With this egregious exception, however, whether the considerate and with the addition of a few soliartist has not already provided tary examples scattered through against the possibility of harm to other galleries, the much-vaunted quiet neighbours, by binding his Preraphaelite school of figure and incipient maniacs hand and foot, landscape painting may be said to so mighty stiff are they, so shroud- be extinct. The pictures and draw


ings of Mr Hamerton certainly, in- graphic fidelity. We regret that deed, show-as did a book, The space does not enable us to survey Painter's Camp in the Highlands,' in detail two other Exhibitions, to of which Mr Hamerton was the which, since the close of the Interauthor-decided Prerapbaelite and national Galleries at Kensington, Ruskinite proclivities. These pic- the English public have been intorial efforts, kindly submitted to debted for the knowledge of recent public view under the care of the productions of Continental schools. man “ Thursday," must be admitted The French and Flemish Exhibias every way creditable to an amateur. tion of the present year is chiefly to They, however, by no means induce be remembered by two noble works us to alter the opinion we have of the Belgian Gallait ; a cabinet long entertained of the impractica- picture, great, nevertheless, in genbilities of this thankless school-a ius, by Gerome, the painter of school which makes of its disciples 'The Duel,' 'The Gladiators,' and slaves, and reduces art to drudgery. Phryne;' and a masterpiece by These penalties, attaching to the Edouard Frere-small, of course, carrying out of certain plausible but choice. To the Scandinavian but essentially false principles, seem Gallery, at a moment when the to have disgusted the leaders of a sympathies of our countrymen are schism which at one time threatened directed towards the sufferings and in its consequences to grow serious, heroism of a brave nation, peculiar if not fatal. However, as we have interest attaches. Denmark, in said, this eccentric school is now literature, science, and the arts, all but extinct. The pictures of can boast of illustrious antecedents. Mr Millais, and even of Mr Holman Thorwaldsen the sculptor, Oersted Hunt, are naturalistic, and nothing the man of science, Worsaae the more. The landscape this year antiquary, and Hans Christian exbibited in the Academy by Mr Andersen the writer of romance, Brett, an artist hitherto identified have given to this comparatively with the most ultra of dogmas, is small kingdom no inconsiderable wholly free from extravagance, and renown in the realms of intellect. may be commended for a beauty And walking into this Scandinavian which, in the Bay of Naples, Gallery, it is satisfactory to obtain no Preraphaelite spectacles were ocular proof that genius has not needed to discover. These and abandoned her favourite shores, other vigorous men, it is to be washed by the storm-lashed wave. hoped, have at length thrown off a A review of the London Art-Seabondage which became intolerable son were incomplete did it not conto bear. Still it is to be feared tain some notice of the great mural that others of the weaker sort have paintings executed in the Palace of foundered in deep and troublous Westminster. Two years since we waters, and will remain for ever spoke in terms of more than comlost. Thus-less fatally, on the mon admiration of the power and whole, than might at one time have mastery displayed in a vast waterbeen expected-ends a drama which glass painting, twelve feet high by was put upon the stage with more forty-five feet wide, «The Meeting than ordinary pomp and flourish of of Wellington and Blucher after the advertisement.

Battle of Waterloo,' then recently We have been much pleased with completed in the Royal Gallery by a brilliant series of drawings exe- Mr Maclise. The companion piccuted by Mr William Simpson dur- ture, Trafalgar—the Death of Neling a tour of three years through son,' has engaged the untiring lathe most renowned portions of our bour of the same artist during the Indian empire. They are remark- past year, and is now in a forward able alike for their artistic beauty, state. Within the last few months their historic truth, and their topo- have been put up, in the Peers’ and

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