FINE ARTS.
EXHIBITION OF THE NATIONAL INSTITUTION.
THE private view of the second annual exhibition of this society in its new lease of life and name took place last Saturday; and certainly, in so far as unpaying -visitors can give encouragement, our latest aggregate art-body will not complain of want of patronage. The rooms were full almost to the extent of crowding, and the company was duly leavened with the well-known among artists. The exhibition itself is of much the same quality as last year's; containing, perhaps, more pictures of the higher elrms, and displaying in some respects a vitality—a certain indivi- dual endeavour—which is not always met with in rival galleries. Here is more young blood. Turning to another point, we observe that this year's catalogue contains not the slightest hint of the old " free " prin- ciple which gave the society its first name. This is not as it should be. Last year's move may have been (and was, we doubt not,) dictated by judicious prudence ; its consummation this year tells of a grudging par- simony. Increased support attended the first, and is but poorly met by the second. The old "free exhibition" is now (if we may interpret silence affirmatively) the most exclusive in London. We should add, however, that the catalogue is so wretchedly got up that the offence is as likely to be one of omission on the printer's part as of commission on the society's.
Mr. Lauder, the President, shows augmented strength both in feeling and in colour. In "Christ Walking on the Sea" (61) he has attempted a subject of appalling difficulty ; and has to a certain extent succeeded. ,The figure of the Saviour is conceived with a majestic quietness; and this feeling is maintained in the huge but measured swell of waters, be- hind which the sun is all but set. Mr. Lauder must in some points plead the will for the deed ; but how few would not have to do likewise ! Ful- ler success is realized in No. 281, "John the Baptist in the Wilderness"; where the only objections are to the poor and conventional rendering of John himself, and to an ill-drawn woman kneeling in front. There is grandeur in the colouring, with a highly scientific charm of arrangement; and the remoter groups are very gracefully introduced. The Saviour, a dim mystic figure, is advancing by the stream. In unfortunate contrast with this work is "Christ Denied by Peter" (194)—conceived as a mere conventionalism, and executed without attaining the beau ideal of even such a conception. " The Lady of Shalott" (256) has a certain poetical effect, but the difficulties of the subject have not been fairly encoun- tered : we have no loom, no lovers visible in the fateful mirror ; so that the theme is left puzzling without being suggestive. The portraits by Mr. Lauder are not specially remarkable.
The association of name leads us to place Mr. Eckford Lauder next the President; a distinction to which he certainly possesses no other title. "The Edict of Leo the Iconoclast" (43) is treated with a poverty of in- vention and execution that approaches meanness. "The Widow" (56), a work of the Redgmve-Brooks kind, is better, with some pleasing figures; but coloured, or rather discoloured, preposterously. The " Can- zonet " (307*) is better in this respect, and agreeable in others. Mr. W. H. Deverell was the painter of a picture from "Twelfth Night," exhibited here last year, which possessed the very high merit of being, in choice of subject, a general resume of one of Shakspere's works. He this year contributes a second picture of the same class—"The Ban- ishment of Hamlet" (53). The exact point is evidently where the King has just named England as Hamlet's destination-
" Hamlet. Good.
King. So is it, if thou knew'st our purposes. Hamlet. I see a cherub that sees them.
The florid-complexioned military-looking Claudius is by far the best conception of the character we have seen in painting ; while his sudden nervous action and ill-disguised embarrassment, as he quails beneath the scrutiny of Hamlet, are of fine subtilty. Not less distinct is the embodi- ment of Hamlet himself. There is a certain brooding indolence in his whole figure; irresolution is shown in the movement of his hand, and mingles even with the settled scorn of his eyes. The other parts are well combined so as to tell the story. The figures descending the " stairs of the lobby" with the dead Polonius, the whispering faces of Rosencrants and Guildenstern, the guards, one of whom holds Hamlet's sword, and the glimpse in another room of the Queen, and of poor Ophelia among her women, not to be comforted, and pressing her head as though to keep out madness,—all these are points of thought and poetic feeling which rank Mr. Deverell high in our new generation of art. We would warn him, however, to remember, that among those of much his own standing there are some who combine all these intellectual qualities with completer executive skill. True, the drawing as far as it goes is generally good, and even of a high standard, while the colouring is forcible and poetic; yet we are sure Mr. Deverell can go much further in these respects than he has here gone; uniting also with them a closer attention to detail both in light and shade, and in the representation of objects. We would notice, besides, as defects, the too obvious crushing of the King into the canvass, and the somewhat unsightly combination of the background groups, producing at first view an impression akin to that of a doll's house, or of those models of Chinese dwellings which consist of so many little boxes of figures variously occupied. In these points—and indeed in all that regards gene- ral completeness of arrangement—Mr. Deverell might derive a profitable lesson from Mr. (Johnson's "Incident in the Life of St. Elizabeth of Hungary" (177). This incident belongs to high mass on the feast of the Assumption when it is told of St. Elizabeth, that, kneeling before the crucifix, she took the coronet from her head, and the Landgravine of Thuringia reproved her for behaving like boys and old women. St. Flica- beth, resting her cheek on the feet of the effigy, is absorbed in holy musings; the Landgravine touches her, and points towards an old woman worshiping prostrate, near whom is a youth praying before the Virgin's image : beside the princess are her maids of honour ; one of whom, of the royal house rises in surprise and displeasure. Louis, the betrothed hus- band of Elizabeth, advances from the right, accompanied by his brothers Conrad and Henry, whose after persecution of the saint is foreshadowed in his evil look. There is a very refined sentiment in many of the acces- sory groups as of the girl lifting a young child to the holy water, of the two lovers singing, and the two children similarly engaged as if under a sense of grave responsibility. The figure of Louis is fine and some of the ladies' expressions are -very sweet. The fundamental excellence of the work is its general propriety of arrangement, including the truthfulness with which those engaged in the offices of the church are disposed, and of all relating to the church itself: the laborious accuracy of the mosaic floor deserves special mention. But the picture is worthy to have its faults also stated, and will bear the detail. Foremost of these is a general coldness ; the figures are sometimes weak in drawing, and rather flat, suggesting timidityon the artist's part; and the picture loses much in in- terest, and indeed in the first requisites of expression, by the use of the same model for so many of the ladies, including Even by herself. The Landgravine is rigid and unfinished; and the figure of Prince Henry should be reconsidered : his action is common, uncalled for, and much too obvious, and his head poorly painted. Indeed, the work might be carried further in various respects but it is not the less for that one of singularly delicate and chaste feeling, well invented and composed, and conscientiously executed. A little more well-directed labour would re- move many objections. The appearance here of "The Reply" (93), hung but not exhibited last year at the Royal Academy, reminds us too that the present is Mr. Collinson's first attempt in a new and arduous style : assuredly he will not need to fall back on the "domestic" re- pository through inability to transcend it.
"Highland Children going to School, Loehabar" (219), by Mr. WIan, is a talented picture, possessing a certain manly and straightforward hu- mour natural to the subject, but utterly eschewing all approach to cari- cature. In this quality lies the redeeming merit also of No. 68, "The Highland Sword-dance." Mr. WIRn has too many sound gifts to afford neglecting the immense accession they would receive from a more select system of colour and execution.
"The Death of the Venerable Bede" (2)' by Mr. Burchett, is a picture that arrests attention. The monastic character of the scene is distinctly apprehended, and rendered with full Catholic unction. It is a thorough
saint's legend,. not a mere emblematic holy deathbed. This character is carried in some respects a step too far: the eyes are too generally crimped u the the expression of Bede strikes as a trifle comic. The colour is impressive, and retains a quality of brightness, although black is the pre- vailing hue. Mr. Desanges is, as always, an extensive esilibiter, but almost atoll], sively of portraits. One of these, "The Favourite" (55), a figure in Turkish costume, is probably the best work he has yet produced; deli- cately pretty in colour and form. "Miss Kate Grey" (198), and "The Children of Charles Lamb, Esq" (336), also reciprocate to a certain ex- tent the beauty they derive from their originals. What Mr. Desanges puta forward (for we doubt whether he can consider it) as his great work is "The Destruction of Pompeii and Herculaneum" (32) : and we have nothing to say against it if he likes to be a secondhand Martin stripped of all the good in Martin.
The "Edwin and Angelina" (84) of Mr. Bell, who exhibits some cre- ditable portraits, has one good point, the figure of Angelina, which is feminine and graceful, though weak. The Edwin is of the most com- monplace Keepsake description, and the introduction of a prominent cat very foolish. Equally unsatiathetcay is "The Labourer's Welcome" (133), by Mr. Townsend. An intention after nature is evident here—as, for instance, in the water-fowl in the corner; yet it is dreadfully flat, red, hard, and untrue. Mr. Ilemaley's pictures are meritorious in the domestic line, without exaggeration ; and there is dashing freedom in Mr. W. Underhill's "Swing" (21), spoiled by a burlesqued Iteynoldsism. "Lot and his Family Escaping from. Sodom" (33fi), by Mr. 0. R. Camp- bell, is too nauseously decrepid to be remarkable for even badness. Others of his productions are of nearly a low a level : but "A Reverie" (308) and "The Garland" (315) are less weak, and not petty in expres- sion. "The Wilful Boy" (258) is a wretched attempt at a hateful kitchen-wench and a doll for which she probably stood out against giving more than sixpence: but Mr. Dukes is the very- man to intend it for Venus and Cupid. The gallery contains few things more charming in same points than the interiors and costume-pieces of Mr. Paamore. "Hide and Seek" (305+) leaves a peculiar impression of dim richness, and is worked with more precision than appears at first. It occupies ground somewhere between Mr. Woolmer and Mr. Kennedy. In all the artist's pictures there are a most dexterous sharpness of peneilling, and often (as particularly in "The Wheeler's Shop," 23(4) truth of daylight, cut up by a multiplicity of counteracting lines and little funiness of touch. "Venus at the Fount" (134), by the Reverend E. P. Owen, does him about equal honour as clergyman_ and as artist.
One word of Mr. Barrauck To ua no other feeling than, loathing con- tempt for the things he displays is conceivable; but there are those who grope in the pigmy infatuation of believing them to be works of religious art. They furnish us, however, with one germ of satisfaction: Mr. Ban- ana will perhaps try to do worse another time—but he cannot; he may sive it up. Among the landscapes there is one romarkahlyfine work, " Llyn Idwal, North -Wales " (39), by Mr. Perey,—grand in. a high sense, and com- bining the qualities of ideal landscape with. a studious attention to the detail offset The half-amphitheatre of rooks is nobly given.; and the picture as a whole, with its congregated withdrawing clouds and co- piousness of subject, is not easily forgotten. "Summer Storm Clearing off" (250), by the same artist, is an excellent work; the foreground of dock-leaves especially treated with uncommon truth and character. "An English Brook—Coming Skewer" (49) is Mr. A. W. Williams's finest picture ; possessing beautiful variation of colour: But this gentleman has not quite followed up the promise of two years ago, when he seemed likely to =pass all others of his style. He has halted; and the conse- quences betray themselveain less gigoroua and. characteristic handling; as in No. 35, and the over-mannered " Snowdcu " (211). Mr. Hultee's "Woking Common" (347) is charmingly fresh and natural : it is the clear country air and, the crisp sparkling of heath and furze all over. The sky is slightly heavy. Mr. Gilbert's "Evening" (303) is a sweet rich bit of colour, not very elaborate; No. 293 also has much beauty. Mr. Fripp's large "Scene in the Val d'Entreves" (117) is a successful work; and so are some by Mr. Fairless and Mr. Peel. Mr. Niemann does not shine. "The Rainbow" (172), by Mr. Dawson, looks dirty. Mr. Provis's small interiors are nicely felt and managed; that of the "Manor House, S. Wraxhall" (251), particularly; and the girl's figure here is prettily introduced.
Mrs. Withers's truly admirable "Partridge with brood. of Young Ones, from the life" (424), which could not be better, and one or two others by the same lady, are about the only things challenging attention in the Water-colour room. Mr. Talfourd's araycn portraits range between dexterity and mere slovenliness.
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