FINE ARTS.
ROYAL ACADEMY EXETBITION : SECOND NOTICE.
ON a second visit to this exhibition, the favourable impression made by the first view of it is confirmed and strengthened, more particularly by the many excellent qualities observable in the works of yeranger artists. The union of simplicity and refinement—true expression of natural character and homely sentiment, combined with elegance of style and executive skill—se conspicuous in the works of Leslie, Mulready, and Edwin Landseer, are also exemplified in the pictures of rising painters: and these characteris- tics of English art, together with indications of the germ of native genius so vigorously developed in the works of Hogarth and Wilkie, Gainsborough and Constable, may be perceived in many directions; affording gratifying proof that the distinguishing and sterling merits of the British school—in a word, its nationality—have survived the academic affectations of classi- cal dignity and heroic grandeur. The artists of the present day have been quizzed for their fondness for The Vicar. of Wakefield as a text-book; and we think that they might have found subjects in the life around them more interesting, and have painted them as well. But while one cannot but wish that they would invent for themselves, as Hogarth and Wilkie did, it is gratifying to see them ehoosing authors of congenial humour to illustrate: even when leaving Goldsmith and Sterne, Fielding and Smollett, they go abroad for subjects from Don Quixote, Gil Blaa, and the dramas of Moliere. It is in depicting the comedy of life and the expression of domes- tic sentiment that our painters mostly excel; and for such subjects they have abundant materials in the every-day world; while in treating them they not only display their talent to the best advantage, but please the taste of the public, and exert a moral influence on the manners of the time. The painter has as wide a field open to him as the dramatist and novelist have for ridiculing the follies and cherishing the virtues of society; and his lessons can be read by people of all countries: the language of the pencil needs no translation. Now that we are adorning our public build- ings with grand history-pieces, it is to be desired that our dwellings should be bung with pictures suited to the size of our rooms and the nature of our associations. Leslie's Mother and Child is to Protestant Englishmen what the Madonna and Bambino were to Catholic Italians; instead of a Riposo, we have a "Good Night"; and the "Reading of a Will" takes the place of the martyrdom of a saint. This is deposing art from its lofty pedestal, but bringing it nearer to our bosoms and busi- ness; and who would not prefer such a -living, familiar representation of maternal tenderness as Leslie's mother devouring her darling withlisses, to a lifeless, soulless, rigid reproduction of an obsolete mannerism, like Mr. Dyce's Madonna and Child—where the Virgin mother seems to forget that she bolds the infant Saviour, while intent on .the pages of a prayer- book! Character and sentiment are the body and soul of art; and the vital genuine expression of familiar subjects and feelings has a stronger charm than the repetition of typical forms and worn-out conventionalities. Such simple homely scenes as Webster's " Good Night"—acountryman with his family at their supper, and the wife and daughter packing the children off to bed, the urchins receiving theft', father's kiss ontheirrosy cheeks, while the grandfather looks on in placid contentment—have a stronger hold on the affections than more elevated themes, where the painter does not rise to the height of his argument. And even the expression of childish glee in " The Grotto," is engaging as a lively representation of the innocent delight and intense eagerness of children pursuing their sport; though a less exception- able amusement might have been selected.
W. P. Frith, who approaches nearest to Leslie both in delicacy of per-
ception and refined taste, has treated two subjects of different cha- racter, both successfully. Madame Jourdan discovering her Husband at the Dinner which he gave to the Belle Marquise and the Count Dorante, is a rich piece of comedy: the look and attitude of Monsieur Jourdain are ini- mitably expressive of the sudden collapse of full-blown pomp and com- placency; while the elegant nonchalance of the Count, who eyes the in- truder with a look of cool speculation, maintaining an air of perfect ease and self-possession the while, and the alarm of the Belle Marquise, tell the story perfectly; the characteristic expression of the servants furnishing significant comments on the scene. In his rustic subject, Return from Labour, the artist has employed a totally different style, and has been equally success- ful in depicting with accuracy and gusto the characteristics of cottage life and enjoyment; though the incident is less dramatic.
Redgrave's two pictures, Preparing to throw of her Weeds, and Sunday
Morning—the Walk from Church, are tame and literal from being over- wrought, and dwelling too much on small points. Such subjects require to be touched with lightness, spirit, and salient ease, to prevent them from degenerating into namby-pamby weakness and mawkish smugness; to which faults Mr. Redgrave has a constant tendency.
Of the comedy of history there are two very striking examples: the
Disgrace of Clarendon has been depicted by E. M. Ward, with a strong and lively sense of the characters of the actors in the scene. The physiognomy- of Clarendon is vigorously portrayed: the large, cold, grey eye, and compressed lips, express the resolute firmness of a man bearing up with dignity under a discomfiture that he knows his enemies exult at. The contrast between the pale, strong-marked countenance of the minister, and the rosy careless look of the page carrying his portfolio, and again with the frivolous courtiers, is very effective. The languishing, insouciant air of a fop dressed in the extreme of the effeminate fashion of the day, and the imperious grace of a scornful young beauty, are hit off with spirit and elegance; and the row o bewigged heads bowing down like a hedge of horse-hair as the KlEj stalks by them, is a touch of satirical humour di- rected against abject loyalty and absurd fashion. Buckingham Rebuffed, by A. Egg, is the other example of successful portraiture of court manners in a bygone time- in which the coquettish levity and artificial grace of the fashion and beauty of that profligate court are cleverly characterized. Nor do graver incidents lack appropriate treatment; though the eleva- tion of the historical style is not aimed at. The. Visitation and Surma, der of Syon Nunnery, by P. F. Poole, is a picture of great elabongemo
Gainfully studied in point of costume and accessories, and highly wrought
in every part: but notwithstanding the earnest expression of purpose in the looks and action of the persons-almost to a morbid degree-quaint and comic oddity peeps out here and there; the nuns appear rather amused than otherwise, and some of them cast sheep's eyes on the commissioners. In effect, the making out of individual character-excepting the nuns, who are all of one pattern-and the curious details, divert attention from the whole to the parts, and show that the painter has treated the subject in the spirit of an arehteologist or chronicler. The First Rending of the Bible in the Crypt of St. Paul's, by G. Harvey, is a powerful painting, with a deep solemn tone and earnest purpose: the act of reading aloud, the gloom of the vault, eagerness to listen, and a sense of secrecy and inse- curity, are well expressed; yet there is nothing in the sentiment to convey an impression of this being the first public reading of the Scriptures. The Introduction of flora Macdonald to Prince Charles Edward, by A. John- stone, has snore the character of an illustration of a novel than an histo- ricalineident: the Prince has a Buiwerish air; and Flora, though the expres- sion of earnest firmness is happily blended with womanly grace and sweetness looks more of the lady than the heroine. Drake Knighted by Queen Elizabeth on board his Ship, by Hollins, seems designed as a tableau for a modern drawingroom; so utterly devoid of character are the persons in the scene.
Poetical subjects of ideal character are few. Diana and Actown, by W. E. Frost, is a display of nude beauties, well drawn and gracefully composed, and with expression that removes them from the category of undraped models; though their forms and features, cast in the same mould, approxi- mate to the conventional. The look and action of the goddess are full of spirit and dignity; but it is evident the painter has no faith in the myth that he has embodied: there is no sentiment, either sylvan or classical, in the picture; and as an array of lovely forms it wants glowing richness of odour. Dramatic scenes are more successfully treated. The best of this class is the Faintitug of Hero, from " Mu1rAdo About Nothing "; which is dramatic in the true sense of the word-it expresses an action. The cha- racter of Beatrice is well conceived, and the fisinting Hero is beautifully natural: the, men are not se well depicted; but there is mind as well as clever painting in the picture. Mr. Elmore would be likely to dornore justice to his powers' by choosing themes from the living world than from dramas or history; at any rate, he would excite attention in a greater number of persons, and probably produce more interesting works. A century hence artists will begin to perceive what materials for the painter there were in the present age; then our present costumes may even be accounted picturesque.
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