25 MARCH 1837, Page 18

FINE ARTS.

TIIE SOCIETY OF BRITISH ARTISTS.

II!ORE attentive survey of this exhibition, on a brighter (lay, mid 'catalogue in hand, has confirmed our first impresion, that it is but an indifferent one-the laudatory mention of it by a mnrning contempo. rary notwithstanding. The few clever painters, not members, who used generally to send pictures to the Suffolk Street Gallery, have this year almost wholly forsaken it ; doubtless in the expectation of shining in the ensuing grand display at the Royill Academy. The So- ciety is thus left to rely nwinly on the efforts of its members ; for al- though the number of exhibitors is about four hundred, the names worthy of particular mention amount to little more Um ti tithe of that number, and their contributions are, moreover, few and unimportant ; the mass consisting of that class of performances whose' predominance in this gallery has gained for it the sobriquet of " the Refuge for die Destitute." Still, though there are but few fine works of art, there are a great many pleasing pictures ; and Our notice will be found to embrace some that have been passed over by the friendly critic alluded to, who has rather too exclusively bestowed his eulogies on the productions of the members. We cannot but regret, however, that the liberality of the Society which he remarks upon, in giving to the pictures of casual exhibitors equally good plaCCS with their own, should not be duly appreciated by artiqs generally. Such disinterested- mess is so rare, that it deserves no meet with its rewurd ; and we are glad to he informed of a circumstance that we must confess bad escaped our obsel vation -the few exeeptions we noticed doubtless are those that serve to prove the rule. The subject of HVRLSTONWS poetic picture-the cynosure of tim collection-is from BYRON'S " Prisoner of Chillun" (199). The ex- pression of the elder of the three captives is beautiful and affeci and there is something touching in the boy's look ; but the action t.)1 the one who is supposed to be comforting the lad is too declannwsm and the boy's attitude, as he stands hulf-neked with clasped hands et;(1 upturned eyes, reminds one too much of is model : his form and fee tures are not wasted svith captivity. and indeed the other two hoe not the appearance of men who have long pined in a dungeon. The painting of the flesh is exquisite-the limbs are solid: the brownish tint of the shadows is not objectionable in a prison scene ; the drape, is a little too dirtily painted, but this is a defect in Hearsroses handling, and in the present instance it harmonizes with the subject This is the painter's best work. BURLSTONE'S other pictures, " Ben of the -Abruzzi playing the Game of Mora" (7), " Italian Shepha boy with Dog" (243), and " Pea-ant Girls of the Abruzzi" (o75) are full of character. HVILLSTONI: hes also three whole-length pse: traits of ladies (42, 95, and 157), and half-lengths of the Earl and Countess iVinterton (115 and 14(i), which are all powerfully psieted; in short, he is the main prop of the exhibition. PRENTIS'S pair of pictures, " The Fruits of Idleness" and " The Fruits of Industry " (35 and 45), are literal in their truth, and the es. Pression is as minutely- faithful as if the figures were portraits. "The Fruits of Idleness" represents a party of poachers, one of them dupe. rately wounded, taking refuge from their pursuers in a cottage: the alarm and apprehension in their several countenances are vividly de. pieted, and the feeling of the scene is conveyed with painful force: the bleeding rustic gives a ghastly effect to a subject sufficiently disagree- able without this heightening touch of horror. " The Fruits of In. dustry "-a cottager and his family sitting down to dinner in a snug, tidy cottage-is a striking contrast, certainly : the pie in this case, and the wound in the other, are very material " fruits." This is the lowest style of painting, but it is excellent of its kind, the art being level to the conception. Poonn and PIDDING are painters of this class, which corresponds with CHASSE and 13nooamenta in poetry. " A Jingling. match" (127), by Pluoiso, is, we dare say, a very exact representation of the rustic sport, though the mirth of the spectutors is of a very grim and jeyless character. " Sunday Morning-Going to the Christeniog of the First Child" OM, by POOLE, is more congenially chameteristio The look of the old woman nursing the infant is capital ; time grand'a. timer ready to set out, the Either pulling on his top-boots, and the Eno. titer being dressed by her sister, are natural incidents. The coarseand obvious features of rustic life are delineated with appropriate hornet. ness. Akin to these is a picture by PARKER, of " Smugglers Aroused"

(381). CLATER'S " Will (234), is vulgar told theatrical.

In Poetical Design, there are but few attempts, and those not very successful. Corn grievously disappoints us : his " Repose in Egypt' (361), is a weak and modernized version of the old pictures of the sub- ject, and crudely painted. " The Rescue" (340), by Ensuate, is an imitation of Machisn and lirienEter-a style which we recommend the young artist to eschew. " Mary, Widow of Louis the Twelfth of France, Reeking Charles Brandon, Ambassador from her brother. Henry time Eighth" (440), by W. Fise, is clearly painted and fad daylight, but it wants the character that should give reality to the seen and dignity to the sOject. " Maternal Suffering (509), by .I. and G. F0000-a mother in pi ison bewailing her dead child-is powerful in effect, but overwrought. " Ailsie Gourlay Reciting to Lucy Ashton the Legend of the Mermaiden's Fountain" (517), by D. Cowrna, ion very effective scene, nod realizes the description in the novel. " The Escape of Alister Macdonald with his Wife and Child the AlorniLe after the Massacre of Glencoe" (417), is a clever picture, by 3Its APIas., but too theatrical in character. Two graceful groups by Miss F. Connsxx, of a medley and chill- " The First Lesson " (9:2), and " Persuasion " (100), painted with parity and freedom, furnish the link between the Designs and Studies of Character ; of which latter class BOADEN'S " Cottage Child" (If), and " Flora Mae Ivor " (176), "Bacchante " ( 145), by HOLM ES ; "The Indian Girl" (208), by .1. Sys:water, and " The Loiter" (55S), by T. LI:cis:otos, are pleasing examples. These bring us to the Portraity; the principal of which are CLINT'S, of Carew the sculptor (21), arery characteristic likeness ; mid of Lord Egremont 0:34 MIDDLETON'S portrait of Mr. Forrest, the American actor (34), in plain clothes, re- presents a showy main conscious of his personal advantages, and eye to effect. Mrs. PEMISON'S portraits of Lord Mostyn (6),a whole. length, and of 31r. Sergeant Wilde (14), are meritorious as pieturesas well Os likenesses. Mr. JOY'S portraits of Mrs. Honey (309), and Miss Murray (441), are very flashy and meretricious ; and Sir. LILLE./ makes Sir Peter Laurie look like a cunning footman dressed in las master's clothes, and grinning at the figure he cuts. There me sever,' portraits by LONSPALE, whose merit consists in the likeness. That of W. Cohen, Esq. (231), by SANUFL LAURENCE, has strong individual character, maid is moreover well painted ; and there is a look of Wetm. tity, though of a vulgar kind, in the, portrait of J. Williants, Esq. by T. Lewis (156). Among Scenic Pictures, Zerrren's " Hungarinn Ford at Prstlson the Danube " (261), deserves the first place for the spirit and vigorous character of the brigand-like horsemen who are crossing the fusk The figure in the foreground watching their progress has an nr.ot .savage grandeur and power that might become a barbarian chiettain; the group mounting their horses, and the furious action of those in the water, are quite in keeping with the wildness of the scene. 1 he hand. ling is rather too loose and free, but it corresponds with the .sullect. No less characteristic, but in a more finished style of paintieg,is" The Valley of Mexico" (132), by D. T. EGERTON,-a beautiful picture of, a grand and lovely scene. Lis:awes landscapes, "Vice, in the Buy et Naples" (41), and " A Scene on the Tiber" (158), are EO mannered that they look unnatural; llomann's, on the other hand, are like nature: in spite of the weak mminerismi of his paitititig : vide "Richmond,

mountains, and buildings, have eac " The Pyremb (ISO). ALLEN'S " Italian Landscape" (29), and

and the effects of light and atmosili eh reei r hpurionpleurn colour ohticerexbt:ugrIeei (105), are delightfully warm, fresh, and bright: the foliage, Ilossaso's view in Venice (444), the local colours of the object are so bright, and the air so pure, that the effect is a little crude t

english eyes accustomed to a hazy etmosphere. Our lendscape. elthougit these sometimes, perhaps unconsciously, present themselves • ters generally sacrifice too much to the effect : this is the case for acceatence to his memory, and find admission into his core. We pam mith 2I8—" Misty

nevertheless. A good example of the union of local colour mid finish English opt retie style, at least until our playgoers shall have acquired in detail with a broad general effect, is afforded in 426, e Autumn sufficient musical knowledge to understand the more complicated ar- Morning," by J. FEARNLEY, a scene in marsh with mountainous rangements of the Gersnan school. An opera in Germany is, of ne- background —an admirable unitation of nature. PINE'S view of cessity, addressed to musically-educated auditors—to sueh as can follow U Brig Water" (427), close by it, shows the more slight and sketchy and appreciate the work of a master. That such is. not the case with I_ contrast. LEE has given the efFect of light summer evening regard to England, there needs no other evidence than the neglect of showers with delicate truth in a river scene (217). ALFRED CLINT'S that opera which Weere wrote in our language and for one of our coast scene, "Margate" (4), and two wateemills (89 and 137), theatres. Oberon, rejected and forgotten here, is the admiration and ebew an increase of power in his pairiting and an attentive study pride of Germany. Mr. BARNETT, as we predieted, has been cont- of nature the effect of a ruddy sunset with stormy effect, in pellet] to curtail his opera, and to employ (as Sir Fretfad says)" not the me, is beautifully true. TENNANT'S " Distant View of Hast- pruning4tnife, but the hatchet :" it is now, in representation, not more lags Castle" (3(JS), and " Canal Scene," (3311, are warm, bright, than half its original length.

and clear transcripts of nature, with less of that thin and buy An opera, as indeed vocal music of every kind, must be scanned farmer of painting than formerly. Toassies, the scene-painters not merely as music, but as music adapted to and expressive of words:

exhibits two easel pictures, for the first time, we believe the in itself considered, a composition may be faultless, and yet when a View in Venice " (203). is forcible and effective, but coarse ; and subjected to this test defective. We apply it, for example, to the only the same may be said of his See View (209), in which, however, tenor Sf mg in the opera—. To forget her, oh where shall I tly ?"--of the setting sue reflected on the waves is beautifully represented. which the melody is pleasing, hut on that very account unsuited to the Demises's marine pictures display great nautical knowledge and words of a song which describes a lover in a state of abject misery and leaped skill : " TheCamilies" West Indiaman (31). is the most pleas- utter despair. big, and 443, "Dutch East beliamen getting their anchors after a storm," The seems for the prima donna is of an ambitions character, and is the most striking and spirited: his painting is, hewever, too opaque, throughout finely imagined and powerfully wrought up. The laying cold, and slaty. liriesosr has greatly improved in his trarine scenes. "On out 1If this composition much resembles that of the scene in Der Preis- the Mash Coast " ( I I). is the most prominent of his philtres : but there chat:. The situation, the eirculnatances, the words are nearly alike, ereseveral lesser ones of equal merit : liehas evidently looked more to although there the resemblance ends : no other coincidences occur but nature, and adapted his study of RUYSDALL to the imitation of what he such as are inevitable. himself has seen. 267, "On the !shames below Gravesend," is the ex- The commencement of the bass scena, " The morning breaks," was act reality. PRIEST'S two Coast Smiles (1(59 and 23S), are very like probably suggested by that of the exquisite Trio in SPOHR'S Azor and nature, though there is: a hardness in his painting which is carried to a Zernira. This composition evinces much masterly writing, but the sub- vicious exeess in " Water.teill (171). Miss Nesment has made Yeet is not happily chosen for a song : the events of a long and fearful I great aline in I 7, " New Fen est :" the trees are freely and deli- dream demand for musical expression recitative rather than melody, and eately pencilled, and the effect is sparklingly bright. G. CHILDS exhibits for this reason the effects are given rather by the band than the singer.

There are many delicious little snatches of 1 m u head. These bites ought not to be lest on our dramatic co:nth:sets.

There are some clever &melees also by Fiume Iece, T. Wool), him, of writing ite opera of :tuts.

DODGSON, GALE, and Weisrost. Among the portraits, the most striking are au elaburate on by Coottout.u, of an artist in his study ; and two melanins drawiegs of Messrs. A l'llteWN, by F. CRUICKSHANK- masteriy in treatment.

ScuLPTERE.

The reclining Nymph, which we noticed before, is by TERNOUTH; and n very graceful and simple statue it is, at onee chaste and beautiful. A group of a 31uther and Child, by Tiuture, though rather too much twisted in the composition, is also admirable. Mr. PAPWORTH WORM hare been wiser not to exhibit his Pastoral Apollo, which obtained for him the Royal Academy premium for travelling on the Continent. A baseelief of Nymphs bathing, by H eel enema ; and a portrait of a Scottish Greyhound, by PARK, are well deserving attention. There is also a spirited and characteristic bast of George Bowie, Esq., by PARK. This young sculptor evinces great talent, and his powers will sr he put to a trying test ; we bear that Inc has lately received a corn- , mission from the Duke of Hemie'roe to model two colossal figures of horns, to support the grand staircase at Humiltou Niece. A bust of John Thomson, Esq., of Craigenfels, by J. FtLLAN6, is remarkable for floe character.