10 AUGUST 1839, Page 14

PLAN FOR A FREE EXHIBITION OF WORKS OF ART.

TO THE EDITOR OFNTo 78E, George Street, t , London University Sir—In connexion with the late discussions on Education and the Rom. Acodemy, I beg to offer a few remarks, through the medium of your mai paper, on the true principles which ought to regulate a public exhibitiontif sculpture and painting ; and although I am aware the general principle of 4, admission has been advocated by those distinguished men, in and out ofth-e House, who have been so active in opposing the selfish monopoly of the Rost Academy, yet I have not heard the manner in which it is proposed by thesito carry into effect their principle. The manner in which an exhibition in Rome is conducted, by .those artists of all nations who have not, like the French, an Academy of their Own 11 which to exhibit their works, is so simple, so generous, and so free from squab. ides and discontent, that I propose that principle and practice as models torn brother artists in London.

Rooms are engaged, the 'trails are measured, and the price per foot deter. mined, to meet the expenses of the exhibition : each artist who intends to ex. bibit, purchases his place on the call, writes the legend of his picture on a piece of paper attached to the bottom of the frame, and the public are admitted lite of all expense. The great object of the artist, young and old, is to have his work seen: s system which will effect that object most satisfactorily, would be the adoption in this country of some such plan as the above. I must say I have hound among artists an antipathy against, although I have never yet been able to ex. tract a satisfactory objection to it. A shaking attic head—" It will never do"— " Be as bad its the present plan "—" Men who have most money will buy the best places "—is the surf:ice-like view most are inclined to take of it, The most apparently important objection, is that relative to the effect of superior wealth. I shall at once attempt to refute it. Suppose one thousand seven hundred artists pay on an average for their places on the walls, or ou the floor, 2/. a piece ; there are many builders m London ivho on such a speculation would build rooms large enough to con- tain, on RD average, three pictures of all sizes front each artist, mid much better adapted for a general exhibition than any rooins at present existing The walls should be comparativelv low, not exceeding fifteen feet, while the roof should be lofty and arched. No artist should he allowed to purchase hod. zontally ; he must purchase in height, from the floor to the root; and thereby the wealthy artist will be prevented from buying up that coveted space, "the line." Every picture harmg its description, &c. attached to it, there is no oe- cation for numbers; consequently, each artist may shill his pictures on his own property, he may put his large picture at the top or bottom, just as he wishes to show the general effect or the minute workmanship. This plan, Mr. Specta- tor, would, I think, do away with one effect of superior Wealth; first, from there being actually no bad place, from the proper height of the walls; and secondly, from every artist being obliged to purchase perpendicularly. Another objection I can triumphantly refute front my own experience and that of many. others. It would be very hard, says the objector, that a poor artist must not only be at the labour and expense to produce his picture, he must also pay for its exhibition. I affirm, that at this motnent there are hun- dreds of artists who would willingly pay, ay, deny themselves the necessaries of life, to insure the proper exhibition of their works, and it is from my knowledge of' this fact that I now propose this project. I shall suppose this poor and laborious student painting, and it may be starving, to produce a Nvork and buy or hire a frame for the exhibitions of the Royal Academy or the British Institution, waiting with anxious heart the fiat of these dispensers of fate. The cold announcement comes which throws him back another year ; would he not willingly have added two guineas worth of privation to his former stock, to have had his picture hung ? The hopes that were cherished that some eye would discover his merit—the notice which might be taken of his works in the public prints—which, although putting no bread in his mouth, elevates and strengthens his mind to stiffer more priva- tions, and encourages him to harder study, in hope of future reward, all are blanked, because the Royol Academy has not space for half the works that are sent, or time or inclination to examine half their merits, or because the works of art sent into the British Institution do not slat the calibre of a picture dealer or a frame maker. I would ask this poor youth, Would you not have starved yourself for another month, so your picture met the public eye ? lie would answer, EA/hit/on is my A: I have no friends, nor hope to hare any friends but the public. Exhibition is part of my picture. There may exist objections which I do not perceive, and which prompts me to submit I lace remarks for your reflection; but, after viewing it in every light, I am satisfied that some such plan could easily be got to work, and that the result would be highly advantageous to the public and to the artist. There are enough of works of art annually rejected from tlte Exhibitions in town, to form a highly interesting collection; and the nonunion observation which is heard of the munitity of trash which would be collected, partakes too much of the supercilious character which distinguishes the Royal Academy. Th.e greatest object an artist gains from au exhibition, is a proper estimate of bus own powers and errors, in contrast with his neighbour, and the (thane.. o loch would throw pictures of' different qualities together, would be productive. of mutual improvement ; and the ungenerous attempt to paint down an obnoxious picture, would, in my free repuhlk, only give scope to emulatiou—all would have the power if they chose to exert it. The artists in this country are lie- u, iii the most mercenary its the world ; the iivrlorious union of' publishers tel artists increases daily ; the gmat object with them is to obtain R. A. or A. l:. A. to their names ; they think of themselves before their art ; consequently, posthumous fame is sneered At ; ninety-mile out ot the hundred consider their, art merely as a means of making money. Chairs, carpets, brocades, silks' satins, armour, swords, &e. &e. tire all and every thing. Let them come forward, professors of noble arts in sculpture and painting, instructors of their countrymen let them not degrade a liberal art, by taking headmoney, or speculating hi catalogues ! Improve the taste of the public, and give a proper direction to that love of imitation which is COMMOD to all classes, by throwing open an exhihition-room to all the world, and which, insteaul of being open three months, would be so during the year. I could say more, but I fear to trespass on your palette°.

PATRIC PARK.

1-We insert this communication, from a wish to give currency to a proposi- tiMi that if carried into effect would benefit artists, gratify the publi(, and tend to promote the advancement of the arts and counteract in some measure the injurious exclusiveness of the Academy. The necessity for a live and pe- rennial exhibition has long been felt by artists, and many partial attempts to supply the want of it have been made : here is a plan that is recommended by practice ; it has been tried, and found to work well. What, then, is the obstacle to its adoption ? The Academy. At every step for the advancement of art this barrier to all improvement meets us. The Academy would do all in their power to frustrate any plan that should lessen the number of shillings received at their doors ; and if they opposed it, not only would the Academicians with- hold their works, but other artists would be discouraged from sending theirs, so that the speculation would fail. The slavish dread of the Academy, and the mean subserviency to its power and influence manifested by the great body Of artists, thus react upon themselves; and the independent few must be content to buffer with the fawning and dastardly many.)