FINE ARTS.

:11(IDERN PICTURES AT THE BRITISH INS.TITUTION.

IT is agreed on all hands, that the present show of pictures is one of the poorest, if not actually the worst, ever seen at this Gallery. The annual exhibition of modern pictures here has been gradually deterio- rating, in consequence of the dissatisfaction and disgust which are ge- nerally felt and expressed by all tviirourtd exhibitors, at the gross abuses that are suffered to exist in the management of this institution, and to which we felt it our duty to call the attention of the Directors. There is also another cause in operation this season,--namely, the pre- paration which is making by all the artists for the grand display that is to give eclat to the first exhibition of the Royal Academy in the pigmy picture-gallery in Trafalgar Square. Notwithstanding, it would

seem from the following announcement prefixed to the catalogue, that ness of the green through the open window, and the warm half-tint in the disadvantage under which the Directors have laboured this year, the passage, are all indicated to admiration. The colouring is bright is not poverty, but tenibarras des riehesses— yet chaste, transparent yet solid. The still-life of the picture is, " Many more pictures having been sent to the British Institution this year for of course, the best part of the painting; but the figures and faces are exhibition than usual, the Directors have been obliged to return several works in nowise defective even regarded as the work of a young artist. In. of considerable merit, lamenting that the limited space of their gallery pre• deed we have never seen a first performance more satisfactory, or of eluded the possibility of admitting them." This shows how much people may be misled by appearances. But greater promise. for this information, we should have supposed that the large share of J. P. KNIGHT exhibits again his tripartite picture of " The the " limited space " appropriated to pictures that have been before Wreckers" (133), a new design occupying the centre compartment. exhibited,—such as BURNET'S " Greenwich Pensioners ;" M'CLtsr's The principal figure in the group is a burly savage, an impersonation of Macready-Macbeth, and the comic triad of Witches, and his portrait- brutal and sensual power, whose purpose of murdering the only two picture of Charles the First and Cromwell ; HERBERT'S costume-piece survivors of the shipwrecked crew is arrested by a gipsy ; meanwhile of Captives and Condottieri ; Woon's theatrical tableau of Queen the alarm of approaching footsteps is given by the scouts. The male Elizabeth; PARTRIDGE'S furniture painting of Belinda; and J. J. victim is too much like a model sitting for the character; and the CHALON'S fiery fountain,—was excusable on the ground of a small attitude of the gipsy is stiff and her air melodramatic ; but nothing can supply. It may naturally be asked, whether the merits of all these be truer to nature and more vigorously characteristic than the look and pictures arc such as to require a second sight to discern them ; or Low action of the ruffian leader of the gang, the black man who is holding it is that so many " works of considerable merit " arc excluded, while up a diamond necklace, and the two fellows throwing dice—one a mali, not a few of very inconsiderable merit are indulgently admitted ? As cious, hungry, fiendish wretch, the other a stolid, clownish villain. The regards the reception of pictures previously exhibited at Somerset style of painting is bold and forcible, and the execution finished—the House, this is one of the conditions of the state of vassalage to the plate, jewels, and money especially: the colouring is rich, and the Academy to which the British Institution is reduced. The scraps general effect striking and brilliant.

that fall from the table of Dives, however, arc not the sole support BOTHWELL'S " CilliSLO" (420), is a pure and glowing piece of flesh that Lazarus receives—a few untouched morsels are graciously vouch- colouring, voluptuously beautiful, yet chaste withal. The shadow par_ safed upon occasion. This year, TURNER, STANFIELD, and HOWARD, tially thrown by the cloud over the limbs, is admirably represented, and contribute—we hope the Directors are duly grateful. To account for enhances the warmth and delicacy of the body. The view in which the preference of pictures of small merit before those whose merit is the painter has represented the recumbent nymph, is one more difficult "considerable," is not so easy. The hanging of Mr. HuGniss's large to picture than beautiful in point of form; and the omission of both canvas of the " Battle of Trafalgar " was a misfortune not to be feet—which are out of the picture—and the entire obscuring of one averted without offence to Royalty, for whom it is executed ; but arm, have an unpleasing effect. The landscape also is on too small a there are several whose admission, to the exclusion of others, can scale. A bead of a lady, with a good-humoured and sprightly counte. only be ascribed to that generous sympathy which, adopting the nance (239), is a charming " Study from Nature," by the same artist, rule for the reception of patients in a crowded hospital, selects very fresh and transparent in colour. He also exhibits a characteristic the worst cases. In the same spirit, several pictures of inferior study of " Columbrian Itinerants '' (54.) quality are kindly put where the little talent they evince can " The Twin Sisters " (26), by Mrs. CARPENTER, is a delightful pie- only escape notice from being overpowered by the quantity of de- tune of infancy : the lustrous dark eye of one child is alive, and the fects ; while others whose excellence is of a superior kind are sweet smile on both faces is expressed with the most delicate truth. placed less conspicuously; it being naturally considered that the visitor " L' Infiorata " (146), is one of those sunny, bright, and smiling faces, will not hesitate to stoop, or kneel, or mount up on a chair to get a that UWINS paints so glowingly, crowned with a redundant wreath of

peep at a good painting. gayly-tinted flowers. " Haidee " (1280 byBoanEN, is quite an East.

To the operation of this kindly feeling, must doubtless be ascribed ern-looking beauty, with is dark gazelle eye of liquid lustre, and a pair the position in a corner of South Room of what upon mature torsi_ of plump ruddy lips. The painting is powerful and the colouring rich ; deration we must characterize us the most interesting picture in the but the flesh looks like wax beginning to melt. A "Subject front Gallery,—namely, " The Unexpected Return " (437), by J. C. Corn ; King Lear " (215), is cleverly treated by JOSEPH Nam ; but Cordelia which we particularly noticed in the brief mention of the exhibition wants all the expression that is essential to the scene, and the old King in our second edition last week. The subject is taken from common is nothing more than a noble study of venerable age : the appearance life, but its treatment elevates it to the class of POETICAL DESIGN. of helpless infirmity is too ostentatiously shown in the upturned feet.

Mr. COPE is a young artist of exceeding promise ; whose first produc. The painting is forcible, but the colouring has not the brilliancy of tions, exhibited in this gallery last year, we had occasion to speak of in this artist's water-colour paintings. "Catherine Glover and the Glee- high terms of praise. He has other pictures of great merit this year also, woman " (351), is a very pretty design ; though even here we desire but this one is of extraordinary excellence ; though, like other fine works, more expression. We fear Mr. NASA does not attach sufficient it does not strike the eye at first glance, but gains upon the attention. importance to this point, but aims at mere picturesquene—sswhich, A soldier of a Highland regiment has suddenly returned home, and is however essential, is not all in all. inquiring sifter their mother of his two children, who have just opened " The Death of Cardinal Wolsey " (355), by F. P. STEPHANOFF, the door of his cottage to him. Stooping down eagerly, he has taken a picture imbecile in character and expression ; a tame mythological the head of his daughter; and scrutinizes her with a look of intense design by Ilowalto (30) ; " The Fatal Throw " (15), a German mys_ apprehensiveness—the features of his pale and care-worn face sharp- ticism made up by Vox HOLST from BETZSCH and FUSEL! ; " The ened with anxiety—as if his happiness depended upon her reply. 'I'he Lovers" (405), a madly-fantastical iffiitation of M.Csisis's extrava.

little girl gazes earnestly on him with an attentive look of timid semi- gances ; " The Legend of St. Dorothy " (421), by H. S. Smrru, in

sitiveness, in which is mingled a vague recognition ; and the boy looks which talent is displayed that we hope to see employed on a more in. up in his face more boldly, with an inquiring wonder ; while the dog has teresting subject ; "Queen Elizabeth and theCountess of Nottingham"

from a yeoman, while his clerk is weighing the gold. A page is lean- [Landscapts next wait.] ing against an open window, playing with a couple of greyhounds ; and a damsel is pouring out ale to a couple of thirsty tenants in the door- PANORAMA OF moNT BLANC.

sitiveness, in which is mingled a vague recognition ; and the boy looks which talent is displayed that we hope to see employed on a more in. up in his face more boldly, with an inquiring wonder ; while the dog has teresting subject ; "Queen Elizabeth and theCountess of Nottingham"

already recognized his master, and is crouching at his feet and looking (279), by .1. WILSON junior, who gives indications of the power of up to receive the accustomed caress. In the background, whence a producing better things ; " The Quack Doctor" (20), a clever group person at the door would not be visible, the wife, sitting at work, has of costumes by J. L. WILLIANIS ; and " Infancy" (119), by G. PATTEN started in wild surprise at the sound of that familiar but long unheard —a group of as mother and child, in which the nudity is more conspiett- voice, and in breathless suspense listens for the next word to confirm Ous than grace—close our list of noticeable pictures of this class. the hope that seems too strange said delightful to be res&zed. Never Among the studies of heads and single figures, we noticed "Zarah," was story more vividly, delicately, and touchingly told upon canvas: by F. GRANT, u good whole-length theatrical portrait ; " FlowerGirl" nothing is omitted that is needful, nor is any thing superfluous intruded. (164), by J. llols.ms; two or three small heads by HART, clever but The basket of work that the girl had set down to run to the door, not very pleasing (109, 126, 127); a highly-finished portrait of aTurk the children's bare feet and tattered clothing—not ostentatiously in. (176), by PARTRIDGE; a portrait of a lady (431), by J. WOOD, clear dicated—aid in giving character to the scene, and in enhancing its Sim- but hard ; and last not least in merit, if in size, a " Girl and Butter- ple and homely pathos. We confess that we could not stand before fly " (4), by J. GRA, full of sentiment and ;

HAM Uglily wrought.

st unmoved, each time we have looked at it. This is the truest test Among the HUMOROUS DESIGNS, we must class "'Tire Surprise" (68), of expression—the highest and rarest beauty in a picture. by WrElISTER ; though its humour is of a grave cast. A girl is surprised

The other pictures by COPE are " The Provoking Discovery " (166), with her soldier lover by her father and mother : the old man stands lean- s WaTTEau-like scene, with a cavalier of King CHARLES'S time lead- ing on his stick gazing on the helmet (rather too ostentatiously placed ing a lady, who looks disconcerted, from a bower where a lover is press- outside the cottage) and perpending the consequenits ; while the old ing his suit to his inamorata; " Lovers" (244), a grave-eyed gallant dame is listening at the door with her baud on the latch. The story is touching a lute to a strain that awakens time sensibilities of a lady capitally well told, and the picture nicely painted. " Expostulation" sitting beside him ; and " Love " (272), a florid, healthy beauty, cherish- (136)—a widow showing to a schoolmaster the weals he has made on ing a glowing little Cupid, whose limbs match his cheeks in their rosy her son's shoulders, by S. J. E. JONES—proves that the comic, and hue. The expression in the two first is beautiful, but the subject is not the serious, is the forte of the painter. The pragmatical compla- more hackneyed ; there is less of a story told, and the expression is not cency of the pedagogue is inimitable. Krim has several caricature so distinct. There is something coarse as well as vigorous in the cha- pictures : • 349 and 359 are clever pictorial parodies of TENIERS ; and racter and style of painting of the third ; and the colouring of the two " A Stitch in time saves Dine" ( '2,22 ) —a cables mending a shoe for a first is heavy and muddy,—an objection that is not felt so much in the customer who is reading to him the while—has more nature and less homely subject as in these of high life, though it still exists, and is a effort than the two pictures of the adventures of " Mike Smith " (383 defect that the painter should study to remedy. Sober richness of and 385), which are forced and exaggerated. REDGRAVE has painted colouring, depth of tone, and powerful handling, are quite consistent another scene from Gulliver (340), in which he is seated in the hand

with clearness and transparency. of the Queen of Brobdigna„,a who is gazing on the Grildrig with her Another very notable evidence of surprising talent in a young huge eyes. To make the effect of her colossal dimensions complete, painter, is afforded by the first production of J. C. HORSLEY, a nephew however, her flesh should be painted with microscopical minuteness,

and pupil of CaLscorr, whose style of painting he has adopted with- as SWIFT described it. " The Village Tinker" (347), is a capital out servile imitation. "Rent-day in the Sixteenth Century at Haddon study in the Dutch style, by PIDDING ; and a 'The Smuggler" (1n), Hall," represents the interior of that fine old ruin, as it might have ap- is a repetition by PARKER of his successful trick of painting a figure peared at the time, with a white-headed steward receiving the rent out of the picture; the effect of which is to show what art cannot do.