FINE ARTS.

EXHIBITION OF PICTURES AT THE GALLERY OF THE BRITISH INSTITUTION.

TEE present exhibition does great credit to the talents and industry of the artists whose works compose it : there are fewer bad pictures than we re-. member to have seen in that of any former year, and there are also some as fine specimens of art, in their line, as any we could wish to"Qe. The majority consists of well-painted pictures, that merit attention from all who are interested in the progress of painting in England, and many of which will excite admiration.-' The productions of British artists evince great study and labour, and aim at producing brilliant effects by means of composition, colour, and chiaroscuro ; but we could wish that there were more of intellect and genius displayed, in addition to taste, feeling, and knowledge of art. The lower range Of subjects, such as still life, domestic scenes, and comic incidents, vill always be more frequently and successfully attempted than those in the higher class of art ; but we hail with far greater delight any indications of mastery in historical design. The young artists now rising into fame, evince line promise, and display great skill in the practical part of the art : in their choice of subjects, in conception, invention, and expression, they are not equallyhappy ; and these high qualities are, we think, too much neglected by artists generally, though l there are splendid exceptions to this remark. Their works are admirable as studies, but are too often imperfect asfinished pictures : this is more particularly the case in historical design and poetical composition, which in the present exhibition rarely rise above portraiture and costume. The practice of finishing academical studies, and adding to them costume and accessories appropriate to some subject for which the sketch appears applicable, and then christening it with the name of some poetical or historical character, is productive of many evils. It prevents the artist from studying character as it ought to be studied, and leads him to consider costume and scenery as the distinguishing characteristics of a picture, instead of the extrinsic part e and accompaniments to the design. It also has a tendency to lower the estimate of the talents and intellect of the artist in the opinion of the disappointed spectator ; who, in looking at a picture with a view to ascertain the story which it tells, or the passion or feeling it professes to pourtray, is often stopped upon the threshold by the glaring discrepancy between the subject and its delineation, and turns away without investigating the merits of the performance in other respects : or, if he admires the technical skill displayed, it is with reluctance, and with a feeling of regret, that the excellences of the work of art Should &tin so strong a contrast to the deficiencies in its conception.

We turn with pleasure to the favourable side of the present exhibition, and experience unalloyed gratification at beholding productions of such unexceptionable merit 88 the pictures of MeSsrs. NEWTON, ETTT, E. LANDSEER, LESLIE, LANCE, COOPER., PAHRIS, STANFIELD, and others,

which we study with increasing admiration. , .

No. 18. "The Guardian," by G. S: NEWTON, A.—Admirable for character and expression, and equally so for the masterly and effective style of its execution. We cannot look at the shaggy brows; piercing eyes, and relentless visage of this miser of beauty, grasping with grim exultation the ponderous key which confines within four walls some lovely wanton or perhaps a de. voted and warm-hearted girl, without that strong sympathy with the imaginary prisoner which Sir WALTER SCOTT makes us feel for his heroines. This picture, we think, must be an illustration of one of the Waverley Novels ; and certain it is that the artist did not conceive this highly characteristic figure from a mere general idea of a jealous "guardian." There is an individuality of character which would worthily illustrate the poet's description 'of some Trapbois or Tony Forster; and we should have derived . additional pleasfire (if possible) from knowing the original from which this iniinitable picture was painted.

24. "Girl. a Nornutndy," by the same.—A beautiful portrait of an intereating.and lovely peasant-gir1,-Hi her high white cap with long flaps, and the red boddicv of her coluitryWomen. She leans on a balustrade with a book in her hand ; and her sweet face, turned on one side, exhibits a fine oval, delicately-formed features, expressive of tenderness, simplicity, and innocence, blended together. A high forehead, soft blue eyes, and beautiful mouth, complete this picture of the fairest feminine beauty, a fitting shrine for love, but as yet guiltless of its troublous delights.

25. "The Duenna," by the same.—The Duenna we do not like, any more than her young charge • a fine, tall, wilful piece of female beauty, with a prettier pout of red and pulpy lips than we ever saw in'life. This story is not better told in the picture than in the title, and it did not therefore attract more than a passing admiration. Enwzw LANDSEER, A. has four pictures worthy of his well-earned reputation.

53. "The Stone-breaker."—A Highlandman seated, macadamizing some lumps of granite, and resting from his work to address a pretty little Highland girl near him. The characterand expression of the old Scot is admirably portrayed, and the whole picture excellent as a work of art.

GO. "Highland Music," • by the same.—A piper, practising, we presume, and playing most vigorously in one corner of a cabin, tenanted by several dogs, which are howling (we almost hear them) a loud and dissonant chorus. The attitudes and expression of the members of this canine concert are given with a strict fidelity to nature, and a spirit in the delineation that denotes not only persevering studrand accurate knowledge of the animals, but genius to conceive and talent.to pourtray the living character. It is an inimitable picture.

247. "Ptarmigan and Roebuck," by the same.—A perfect gem of art : it shows how "dead game," the lama hacknied of subjects, may be handled by the pencil of genius. The colouring is as brilliant as it is true to nature : the head only of the buck seen in the picture forms a good contrast, by its size and subdued colour, with the highly-finished'feathers of the ptarmigan which are most delicately and beautifully painted. As a composition also this exquisite little picture is equally admirable.

285. "Dead Deer," by the same.—A fine study of the animal, lying in a death-like attitude on the heather. The painting is in the artist's accustomed excellence of style, and .it is in good keeping both as regards the scenery and the composition of the picture. 240. "Venus and Cupid," by W. ET TT, R.A.—A brilliant bit of colourlag, remarkable for good drawing and harmony of tone and effect. It is evidently a study, for it has no pretensions to personification of the charac. ters further than a beautiful woman and a fine child resemble Venus and Cupid. The sky and distant landscape we would fain have had in a little less confusion ; even these accessories should not be entirely sacrificed to the effect of colour.

Mr. LANCE exhibits some splendid specimens of colouring. 23, "Plate of Fruit," is as gorgeous as nature would allow. Simple as is this little composition, and comparatively humble as is its scope, it enforces admiration from the most fastidious; by the wealth of its rich colour and the taste of the grouping. The dazzling brilliancy of the goblet, mulched with predons stones of fiery lustre, is worthy of the most vivid displays of jewellery by the wizard hand of REMBRANDT. 321, "Le Darts," by the same ' coiner of lights."—An Indian servantinterrupting an animated quarrel between a paroquet and a monkey in the parlour of some wealthy nabob ; who, we suppose, is increasing his bilious tendencies by indulging in a sub.. stantial preface to the splendid dessert set out; the order of which is in im. minent danger of being discomposed by the vigour of the combatants. As a display of colouring it is masterly, never degenerating into littleness, but displaying a gusto which redeems the still-life of the picture from the vulgarism of merely patient and elaborate imitation. The scene is selected only for the display of the artist's skill ; which we think would find a more poetical subject, well suited to the peculiar style of his art, in Aladdin in the cavern of the Genius of the Lamp. We regret to see such fine talent as Mr. LANCE displays employed upon merely gorgeous objects.

While in the mood for doing justice to splendid colouring, we turn to 494, " The Bridesmaid," by E. T. PARRIS, the ingenious artist who completed the Panorama of London. A finely-formed and beautiful girl, who appears to have just returned from performing her part in the ceremony which has made a husband and wife, is reclining on a sofa in mute and melancholy reflection upon the happiness of the bride and bridegroom, as compared with her "state of single blessedness." A tear steals down her pensive cheek, while her eyes gaze vacantly through the window, from which perhaps she has just seen the chariot of the wedded pair whirl off to bliss and Bedford. shire (or some other county). Her coronal has been cast off, and she sits an image of sorrow in mockery of her bridal attire. It is a picture as rich in colour and effect as it could be made without being meretricious : the white Satin dress, the jewellery, and the furniture of the apartment, are brilliant and in good keeping ; and there is just sentiment enough to sup

port the Ornament of the picture.

To go through the catalogue at this length, however, would be to fill

the SPECTATOR with more than the visitors have in all probability taken in at their eyes during their lounge at the British Institution. Yet we must not dismiss our introductory view of this exhibition without noticing STAN.. FIELD'S beautiful effects of sea and buildings ; COOPER'S spirited designs, which are familiar to our readers in the engravings of them in the Keepsake ; LESLIE'S natural sketches of feminine character, and his admirable . portrait of Sir WALTER SCOTT, all likewise engraved. Messrs. BRIGGS, WOOD, PICKERSGILL, HOWARD, DANIELL, J. HATTER, and the President, have all contributed. Sir W. BEECHEY'S picture of the "Lady in St. Swithin's Chair," DUBUFFE'S large pictures of "Adam and Eve," and Mr. Er r v's " Benaiah," were all in the Eichibition of the Royal Academy last year, and are doubtless in the memory of the visitors. We are sorry that Mr.ErTv re-exhibited his grand picture without correcting (if it were practicable) the drawing of his principal figure, the body of which is much too large for the legs. Had it been possible for HORACE VERNET to have made such a mistake, he would assuredly have rushed upon the sword of his hero, and offered himself up a self-immolated victim to the violated rules of drawing l Mr. SINGLETON has some pictures, which exhibit a feebleness denoting a decline of his powers, both in drawing and colour, which we regret to see. Mr. ED3I0N5TONE has two very pretty sketches ; Mr. BOADEN, two clever' portraits; with fancy names ; Mr. Huni.sroNE, a spirited study of Banditti ; Mr. LEE, two landscapes of great merit ; Mr. CLINT, portraits of LISTON and FARREN in the popular drama of Charles the Twelfth, and his picture of " Rubens and the Philosopher," before eisbibited4 Mr. M. W. SHARP, a grotesque picture of Crossingthe Line ;" Mr. BIPPINGILLE, a singular picture of "Pilgrims at a Shrine," quaintly drawn and coloured ; Mr.' KIDD; two highly-finished domestic scenes ; MOWS COPLEY FIELDIleG, ARNALD, HARDING, WITHERINGTON, JONES, and HARRY WxLsow landscapes of great merit. Indeed, to enumerate all the pictures worthy of notice, would be to reprint the greater part of the Catalogue. We shall endeavour, if our space will allow, to give a sort of catalogue raisonn4 of the most remarkable, in our future Numbers; for there is much excellence that merits distinction and we only want room and readers to give a goodly quarto of description and dissertation upon them.