FINE ARTS.
NEW WATER-COLOUR EXHIBITION.
Tins young Society is increasing in numbers and strength every year ; and its exhibition, since it has been located in Pall Mall, is become one of the most attractive of the season. The present exhibition is superior in talent to the last, and introduces several new members who promise well ; one in particular, H. Blue:err—fitting name—bursts forth with a lustre equalling the maturity of sonic of the best landscape-painters of the old Water-Colour Society. His sunset, " Scene near St. Donat's Castle, South 'Wales," (149,) is a brilliant bit of colouring, remarkable for purity and depth of tone, a true feeling for nature, and the absence of trick and mannerism : he is equally successful in a scene of a totally opposite character—" Winter," (155,) a snow-piece, with a gleam of sunshine struggling through the thick fleecy clouds, and gilding the cot- tage-wall : his " Coast Scene," (299,) reminds us of BONNINGTON in its freshness ; but it is no imitation. Such a dawn portends a glorious day ; but genius has its clouds like the sun. There is abundance of talent, however, in this style of art that has not yet found a field for its exer- cise, or an opportunity for its display ; and although this new Society, of five years' standing, in the number of exhibitors and drawings already equals its older rival of nearly forty years' date, its members might be at once increased to half as many more, if all those who are suing to be admitted to the old Society, or hesitating to join the new one, were to make up their minds to avail themselves of this only op- portunity for them to place their works before the public with advan- tage. Popular as water-colour painting has become, and being more- over practised in this country with a success unequalled on the Continent—owing to the fine feeling of English artists for colour and atmospheric effects, and the felicity with which they depict the diversi- fied aspects of nature that lend to our homely scenery a charm of fresh- ness that is wanting in the landscapes of a more brilliant climate—this style has never been recognized by the Royal Academy ; and were it not for the new Society, many practitioners of this delightful art might pass their lives without any better opportunity for coming before the public than the chance of' having a drawing hung among a medley of miniatures and odds and ends of art in the lumber-room of the Aca- demy or Suffolk Street ; for the old Water. Colour Society is not only limited in numbers, but has become so fastidious in its choice of mem- bers to fill up vacancies, as only to elect artists possessing the particular class of talent that is considered advantageous to the exhibition. To return to the pictures. Among the designers, EDWARD CORROULD is preilminent both in drawing the figure and in the ern of picture-making; and, though still- too theatrical in style, he has made a great advance,- and moreover shows a talent for huthour. His largest picture of the " Tournament at Calais," at which the Earl of Warwick was victorious on three succes- sive days against the French knights, (53,) is a splendid display or chivalric pageantry and costume, and a powerful piece of painting is• water, with transparent and opaque colours dexterously blended: the Earl exhibits rather too much repose, considering that lie has just borne his antagonist out of the saddle ; the falling knight is well repre- seated ; and the various emotions of the spectators are indicated suf. ficiently to give human interest to the scene, though not to raise it to the dignry of history. " Too Late for Repentance," (73)—a damsel eloping with a plumed gallant, who, having forded the moat and reined his steed up under the wall, receives his precious burden on his saddle- bow—is a graceful design, and a pretty costume-piece. " The Height of Ambition," (62,) is only a clever study of an old woman deeply absorbed in sewing ; " The Age of Taste, 1840" (188)—a caricature. sketch of fashionable loungers in an exhibition—would create a laugh independent of the title, which the others do not. Some of his other sketches are too slight and mannered : with such skill and talent, a young artist should execute less and think more. " The Battle of Flodden Field," (328,) by WismAxx. and WARREN, a clever composition, and a highly-wrought painting.; but there is too much of Astley's about the chivalry for history-painting; never- theless, the melee of a battle is better represented than in (s2o2af arc capitally drawn. H. WARREN has treated a subject of a very diABRAHAM COOPER'S popular battle-pieces, and the horses and armour dif- ferent character, "The Happy Valley ;" see Rasselas, sumptuous show of nature in her gayest attire, but wanting the ima- ginative power to fuse all the gorgeous items into one beautiful whole. The talent of this artist shows to greater advantage in fact than in fiction ; and we find more to admire and interest in his " Bridal Pro. cession in Cairo," (274)—a scene that realizes the characteristics of Oriental habits and costumes : the bride entirely hidden beneath the folds of u crimson shawl (the cashmere chrysalis of maidenhood), the musicians, and the camels laden with silks peering above the canopy, the crowd filling the narrow street, recall the descriptions of the Ara- bian Nights, with much greater force than the landscape does those of Rasselas ; the painting too is far more vigorous and masterly. " King Henry the Fifth Entering London with his Prisoners, after the Victory of Agincourt," (130), by W. H. KEARNEY, is an elaborate and carefully-studied processional picture, but wanting the higher interest which the occasion calls for several small drawings by this artist are more successful in their different subjects. Other praiseworthy at tempts at lofty themes—the ambitious aspirings of talent that will take higher rank in a humbler range of subjects—deserve mention ; among them are "Elijah restoring the Widow's Son," (293,) by Miss F. C:It- BAUX ; the scene between Garth and W'amba in the forest, (304); a large and laboured. pictnre, by H. NEWTON ; and a gayly coloured " Romeo and Juliet," (216,) by L. IlicRs, whose " Spanish Girl," (154,) proves that his execution is happier than his conception. "Brazilian Gamblers," (233,) is a spirited and characteristic representation of a painful incident, that is hardly redeemed by the finer qualities of expres- sion that can alone justify such a choice of subject as a murder. "The First Sup," (199,) though obviously a portrait-picture of a fondly group, is so cieveriy put together and. palatial with tutor force by Joint Ansoaos—a name new to us—that it deserved a place among the de- signs. " A Little Bit of Rustic Courtship," (121,) by H. P. Reveaux- a boy and girl seated on a hay-cock casting sheep's eyes at each other —is an amusing picture of a pair of bashful wooers. ALFRED TAYLOR'S studies of rustic character remind us of HUNT; but the simi- larity is in subject, not in style : the best of them is " The Saw- Sharper," (56,) which almost sets one's teeth on edge to look at. " Greenwich Pensioner," (160,) by CAMPION, is a capital study of cha- racter : the old fellow looks sleepy and ready to drop, like an o'er-ripe pear "The Anxious Wife," (230,) by Miss L. CORBAUX, "The Stu- dent," (262,) by B. R. GREEN, and F. ROCHARD'S minatures from nature, (71 and 74,) arc something better than mere commonplace portraits. Among the Scenic Pictures, an interior of the Town-hall at Cour- tray, (207,) by L. Ittane, takes precedence ; the richly-sculptured chim- ney-piece and furniture of the apartment are reduced to their proper condition of accessories by the animated group met to discuss measures for the defence of the place : it is a masterly work of art. Next in merit is a view in Frankfort, (278,) by Howse, who in this picture has shaken off the trammels of mannerism, and gives us solid masonry in- stead of filagree : his style is still too petite and his colour toocrude and gaudy ; but in this picture the breadth of effect and force of re- lief in the masses of building throw little defects into obscurity, which in his smaller pictures are too conspicuous. There is power in a large !picture of Braemar Castle—Highlanders returning from tryste, (168,) by CAMPION ; but the style is turgid and unnatural. In striking contrast to this false and uneasy manner, is a large sea piece, by DUN- CAN, " Mackerel-fishing "—fisherman laying their nets off the gull- stream light, sunset, (241,) which for sobriety of style, mastery of ex- ecution, and exact truth to nature, both in the details and the general effect, is a model of perfection : the lurid effect of a burning sun ob- scured by clouds, its dimmed rays glancing on the wave and lighting up the sails of the fishing-boats, the appearance of motion and the effect of distance and atmosphere, are imitated to a nicety. In this day of startling effects and garish colouring, a work of solid excellence like this is the more admirable. We heard it objected that the tone of colour is too low and of a "foxy " lute; but we recognize the peculiar effect in nature, despite this objection. DUNCAN has other marine pic- tures of less prominent beauty ; and sonic sweet little landscapes, painted in a chaste, quiet manner, the most interesting being " The Village Spring," (191.) A large picture of a:West Indiaman laying-to for a pilot off Beechey Head, (17,) %by THOMAS lioness, has great merit ; the atmospheric effect and nautical characteristics are forcibly discriminated: but we prefer the calm freshness and simplicity of " A ripple on the Thames," (60,) to that and to another powerful draw- ing, " Vessels making for Port" (162); for the "ripple" has more entire fidelity, and is finely finished. PERSON'S landscapes have a daylight brightness that is delightful though, in obtaining the clearness, the atmosphere is sometimes at- tenuated almost to vacuum, by the opposition of black shadows to the objects in the foreground ; vide "Château Gaillard," (11.) It The Tour de Benrre, Rouen Cathedral," (182,) by the same artist, is a powerful drawing, but in too rigid a style, and somewhat gaudy in colour ; and the moonlight view on " A Tour on the Maine," (197,) is too black even for the ruins of a château of " Robert the Devil :" his slighter sketches are more in accordance with nature, though the street-scenes are too motley in their hue. Srms's green landscapes have a modest simplicity and sweetness that excuse their feebleness and mo- notony, while it makes us wish for more vigour and variety of effect : his views of Calais, (94 and 272,) and " Cottages at Tredegar," (3360 are the most pleasing. A. PENLEY'S landscapes are literal and minute in style. but charming for their local truth, chaste and simple execution, and purity of tone ; see 85 and 231. WEHNERT'S two " Interiors of a Jersey Cottage," (77 and 145,) are delightful pictures of rustic comfort and contentment : as different as out-door from in-door atmosphere, is the bright cool effect of his architectural view in Paris, (32,) a very clever sketch in a totally different style. W. Outv sties Swiss land- scapes, (124, 169, and 171,) are very agreeable in tone, and painted in a quiet, unaffected style, denoting a sterling quality of art : his touch, however, is stringy. LINDRAY'S " Harvest Scene on the Wye," (257,) is a pleasing rural scene ; and his " Evening Twilight," (143,) is very like nature ; but in both there is a scratchiness that becomes more apparent in comparison with his " Dingle," (88,) which is painted in a more forcible manner, and with greater breadth of effect and depth of tone. " Sunday Evening," (173,) by FAHEY, is a pretty scene of rural life, as described by WASHINGTON IRVING ; but the style is meagre ; we prefer the artist's lesser sketches-a bit of road at Hat- field, (117,) and a church-porch o'ergrown with ivy, (80.) SIDNEY COOPER'S street-scenes are as hustling and literally like as ever : the Rains of the Royal Exchange," (170,) is the most agreeable : but his vulgar, flaring style becomes a caricature of the most vicious mannerism in his landscapes with foliage. W. ROBERTSON'S mountain and lake scenes are much too gaudy ; but his large drawing " Bridge of Aber," (116,) is more sober in colouring and in a grand style, that promises better things. Two "Studies from Nature," (123 and 920,) by H. NEWTON, though but of wooden houses with tiled roofs, are copied with the fidelity of the Dutch school. HAnowmn has gained power, and his view of "The Cliffs, Dover," (150.) is broad and effective ; but he must beware of mannerism. J. SKINNER PHOET, a nephew of SAMUEL Puorr, exhibits for the first time in this Society; but he has only a few small drawings-" The Lower Lake, Killarney," (12,) " St. Weyburgh's Shrine, Chester Cathedral, (96,) and " Tintagel Castle, (125,) in-
stance-that prepare us to expect greater things from the sketcher of "Castles in Monmouthshire."
Mrs. HARRISON'S flowers, Miss L. CORBAUX'S studies of foxes, and LAPORTE'S cattle, are all excellent of their respective kinds.
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