FINE ARTS.
WORKS OF THE OLD MASTERS.
THE annual Exhibition of Pictures by the Old Masters at the British Institution, succeeding to that of our living painters at Somerset House, used to form the crowning glory of the season. Latterly, however, the Suffolk Street Society, with the laudable object of showing what the British artists of the past day have accomplished, have made a collec- tion of the works of deceased painters, and the early (too often the best) productions of the living, to brighten the winter season. This year, the world of art will be encircled by a pictorial zodiac, every month having its constellation—the LAWRENCE GALLERY completing the splendid zone. This collection of original sketches and drawings by the great masters of painting, was formed by the taste and judgment of Sir Truisms LAWRENCE, regardless of expense. He devised it by his will to be offered first to GEORGE the Fourth, (what a mistake !)—then to the Trustees of the British Museum—and afterwards to some private individual collectors—for eighteen thousand pounds ; and in the event of their declining them, then to be offered for public sale at 20,0001.; scarce half their cost, we are told ; certainly not more than their worth, judging from what we have seen. No purchaser has yet been found, however. The Government, who gave more than half that sum to Lord LONDONDERRY for two pictures —chefs . d'auvre we admit—hesitate to give the whole for a choice, and indeed unique collection, of upwards of a thousand drawings, by twenty of the greatest geniuses that have
glorified the art of painting. It has been attempted to raise the sum by subscription, in order to keep the collection together (thus preserving its value and interest), and to secure its possession to the nation ; and the Royal Academy, to their honour be it spoken, voted 10001. towards the purchase. The present possessors (Messrs. W000nuars, the emi- nent picture-dealers), who were the agents for procuring a great part of
the drawings, became possessed of it, partly as creditors of Sir THOMAS LAWRENCE, and partly by purchase : and, in a liberal spirit, prefer carry- ing into effect the wish of the testator, to making their money by a frag-
mentary sale of the collection,—for there is no doubt that, if sold in detail, a part would realize in a short time the sum asked for the whole.
The lovers of art will now have an opportunity of judging of the beauty and worth of the whole collection. It is to be publicly exhibited in a series of ten successive displays ; each remaining open for about a -month. The first selection, consisting of the works of RUBENS, to the number of one hundred, is now exhibiting at :109, Regent Street ; and when we enumerate the names of RAPHAEL, MICHAEL ANGELO, DA VINtl, COBEGGIO, TITIAN, the CARACCI, JULIO Ro- MANO, REMBRANDT, CI.AUDE, POUSSIN, VANDYKE, amongst those con- tributing to this splendid arrai, the reader may fancy what a feast awaits him. The public are familiar with these illustrious names, but in many instances they have been associated with works of apocryphal genuineness. Here, however, there is scarcely room to doubt : the task of imitating a sketch or study of a great designer would be neither very profitable nor very possible. In these, the first spontaneous creations of the artist's talent, we trace, as it were, the working of his thoughts. Iii some, his fancy plays sportively with the pencil ; in others his patient skill is shown in elaborating a complicated design for a great picture : but in all are visible that devoted love of his art, and the perfect command of its resources, which proclaim the master hand. Want of space compels us to be content with calling attention to this collection generally : we cannot this week enter into a minute examination of its beauties. They consist of the first rough sketches of designs and portraits, the snore careful studies of heads arid figures, and completely finished drawings for painting or engraving from. They are executed with a degree of care and elaboration that is surprising in a painter whose large works were so numerous, and with a freedom and gusto charac. teristic of the flowing amplitude and exuberance of his style ; yet with extreme delicacy of touch. The hand seems to have obeyed the mind and the eye instinctively, as if the painter wrought from its impulse, and with reference to the result only. Excepting in some of the pen-and-ink drawings, the mechanical part of the art does not obtrude itself. RUBENS, of all artists, one would think lost much by the absence of colour; but in the present case we are not made sen- sible of this. There is the same fruity ripeness of substance, floridity of manner, and geniality of feeling in his sketches as in his paintings ; and they so vividly develop the ideas of the painter, and possess such pic- torial completeness, that the uninitiated will enjoy them as well as the artist or connoisseur. We recommend our readers to go and see them without delay.
The selection this year at
THE BRITISH INSTITUTION, PALL MALL,
Is very miscellaneous ; comprising specimens, not sl choice as usual, of the Italian, Spanish, Flemish, Dutch, and French schools. There are but few elufs.d'crurre; and those not by the greatest masters. A large proportion of the pictures belong to the Dutch and Flemish schools, including the landscapes and marine pictures. Portraits there are but few, but those are very fine ones—by VANDYKE, VELASQUEZ, REMBRANDT, and HOLBEIN. There i9 no portrait by TITIAN, but an Adoration of the Shepherds,—brilliant in colour and full of earnest-looking faces. The picture which in- terested us most, is one by Meettr.o,—" Mendicants receiving Alms at a Convent :" it is full of nature and feeling, and admirably painted. The Apotheosis of St. Paul, a large picture by GUERCINO, is one of those which impose • upon the eye by their physical grandeur. There are three or four specimens of the ornate style of Pato. VERONESE ; of which a Venus and Cupid is the most beautiful. Of REMBRANDTS, there are the well-known pictures Christ in the Storm, and the Shipwright and his Wife; and a painful Dutch reality of a dead Christ; besides portraits of a Monk and the Painter's Mother, identical in character. DOMINICIIINO'S St. Cecilia, and specimens of GioacroNE, A. CAltACCI, SALVATOR ROSA, N. POUSSIN, GUIDO, TINTORETTO, include all of the Italian schools. There are two WATTEAUS ; an extraordinary landscape by H0BBI3IA,—" Entrance to a town in Holland ;" two or three fine RUYSDAELS ; several sea pieces . by VANDeavettoe, and VANDERCAPELLA ; and some good specimens Of TENIERS, OSTADE, JAN STEEN, &c. There is one good CUYP and one fine CLAUDE, and a glowing landscape by RUBENS. This slight sketch will serve to convey a general notion of the nature of the selection. We will take a more deliberate view of it when our space permits. Pictures like these don't lose their interest.
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