22 MAY 1830, Page 14

FINE ARTS.

EXHIBITION OF THE ROYAL ACADEMY. (CONTINUED seen N(,. 97.) A GOOD picture has a magnetic effect, and we are therefore irresistibly drawn to Mr. I.Axriseuit's " Portraits of the Duke of Athol!, Mr. George Murray, &c." A scene in the Highlands, with a dead deer, and dogs, forester, and keepers. Au interesting adaptation of portraits to a pictorial purpose, and extremely well painted. The animals are, as usual with this artist, inimitable for character and vraisrrnblance. The flesh tints of the persons repreNented are still liable to the imputation of brick-dest hues, lint not in so painful a degree as heretofore. 342, " The story—metrically told by SccerT in his best man- ner, of a dog that n-as found watching the remains of his master who had fallen from a precipice of Helvellyn—is not so well described as it might have been, even as regards the dog. Mr. LA NDSEElt, we have seen,

ern depict pathos ill hilt the present is not a successful instance of his skilful ace- implishment of that difficult task. We regret this, for it is a subject admirably adapted to his peculiar ability.

Mr. Cosis-rAuLL: has three specimens of his cool natural effects and . reasv handling. 19. " Dell Scene," is so beautiful in its effects, that makes us regret the more the mode in which they are produced.

Mr. CALLco'r'r has two sea-pieces :it his usual style of excellence. iIis landscapes are rather hard and stony ; a fault that detracts from the merit of 72, " Morning"—an Italian composition, sweetly coloured and tastefully and classically composed. 103, " The Passage Point," a larger picture, is surely to flat and tame.

31r. C'or.Lixs has three peetty coast scenes, so much in his usual style' that they not only resemble each other, but most of his former works : we see the same effects, the same tone of colouring, and the same red fares. in addition to the monotony of all coast scenery. Has Nature always the same aspect ?

Mr. LEE has a lanide'ape of great beauty, 374, " The Water Mill." It is well composed, and has a forcible and natural effect : a little more air wottht lessen the solidity of the masses and harmonize its tone.

We must not, however, lose ourselves further among prospects, until we have paid our respects to the throng of very respectable ladies and gentlemen who require our attention to their respective portraitures.

Messrs. PHIL LI es, JACKSON, and PicKEnsoLL.L. have each their full 'mintier of eight. We cannot pretend to do more than notice the more prim-anent even of their works. Messrs. SIIEE, P.R.A., Sir W.

BEECHEY, REINAGLE, LONSDAI.E., ROTHWELL, MORTON, WOOD, OLIVER, SIMVS0N, RAMSAY, SASS, CLINT; HATTER, PARTRIDGE, and Mrs. W. C.tart:gTEn, Se. must excuse us for noticing their por_

traits in the mass.

Mr. Pn:Lreps's whole-length of a Gentleman, 104, is perfect as a composition : it is in a subdued tone of colour, and monotonous in its effect, owing to that smooth style of handling which characterizes his painting; but is most carefully finished, and an elaborate and beautiful work of art. His portrait of Dr. Buckland, 242, disappointed us : it is deficient in individual character, and has an unmeaning simper which does not belong to the man.

Of the numerous other portraits, although many may be deserving of praise and minute examination, they will be so much more highly ap- preciated by the friends of the parties, that it is superfluous to speak of them individually. Mr. MonTost's Duke of Clarence is brilliantly co- loured, but the head is wooden and the attitude stiff. Mr. WESTALL'S whole-length of the Princess Victoria, 64, is as like as we suppose this artist can paint any one ; bat it is so completely Westallish, that we passed it over as we should one of his designs upon a large scale, which always look best on copperplate. In mannerism, Sir WrLitA3r BEECIIEY seems to support Mr. WEsTaLt. ; and we do not care to say "a word more upon a vice of art which is so painfully obvious to every one else but the artists themselves. We would, however, take this oppor- tunity of counselling Mr. ROTHWELL, " the Irish Lawrence," as he is called, (what a libel !) that he is fast sickening of a surfeit of flattery and fashion. His only creditable portrait is 447, the same that was es_ hibited by Mr. MARTIN CoLxanut. Mr. CoLN.s.ont having made him- self trumpeter extraordinary to the new-found genius, we of course ima- gined him to be a young student, but found him a middle-aged man, who ought to be able to paint a respectable portrait without thinking him- self a LAWRENCE. Mr. ROTHWELL begins his portraits well, but from the specimens he exhibits, he would seem to be-content with com- pleting them indifferently.