Sint 3rt5.
EXHIBITIONS OF SINGLE PICTURES.
MR. DOWLING'S " T.3.7.ADDS''-3YEL. MAGUDIE'S " CROMWELL."
ANY person desirous of visiting all the picture exhibitions held in London in the space of one year, must be possessed not only of a more than ordinary capacity for sight-seeing, but of a great super- fluity of time and money. The galleries of the Academy, the Water- Colour Societies, and others, numerous as they are, do not, apparently, afford sufficient space for the exposition of native art. Consequently, the practice of making up an exhibition out of a single picture has increased to the extent almost of becoming a nuisance. The dealers, in a great measure, are to be thanked for this. Into their hands has passed, whether for good or evil, a great proportion of the art- patronage of the country. A -speculation having been deter- mined on, the method of proceeding is somewhat as follows : A com- mission is given to a painter for the representation of some stirring national incident, scriptural scene, or anything that is supposed likely to appeal to the many. The picture is painted, and while every artifice of puffing is exhausted to induce the public to visit it, it is hung in a room the walls of which are covered with dark cloth, while the light is artfully arranged so that the picture receives every ray that enters, the visitor himself being in comparative darkness. Other ingenious machinery is put in motion, in the shape of mon- strous magnifying glasses and elaborate "keys," or "descriptive notes," in which favourable press criticisms play an important part. Lastly, a bland, not to say insidious, gentleman is always in attend- ance, ready to correct adverse impressions, or to solicit the favour of putting down names for "artists' proofs" from the engraving of the picture. A copy of this is frequently exhibited in the room. It is always to be executed in the "best style," and as invariably the plate is to be destroyed after yielding a considerable number of im- pressions ;—so considerable as to lessen materially any regret that might be experienced at what, at first sight, would seem to be a wanton destruction of property. The London public having been exhausted, the picture is taken on a provincial tour, and in the Cutlers' Hall at Sheffield, or the Town-Hall at Leeds, the manufac- turing population have opportunities of cultivating their taste for art, and of subscribing to an often questionable engraving of a com- mon-place picture.
It may be questioned how far the method above described is likely to be conducive to the interests of genuine art. Of the benefit to the dealer, or middleman, there is less doubt. It is seldom that Rood pictures are exhibited in this way; Mr. Hunt's "Finding of the Saviour" is of course a notable exception ; so, in a lesser degree, are Mr. O'Nell's "Eastward Ho !" and Mr. Maguire's "Cromwell," but, generally speaking, they are rather below than above mediocrity. It is not surprising if the public flock to these exhibitions. Many may imagine that a picture exhibited by itself must have claims upon the attention unpossessed by the works in the recognized annual ex- hibitions. Indeed, it is difficult even for the practised eye to form an accurate judgment on an isolated work, whose merits are aided, or defects concealed, by every species of pictorial cookery. Place an indifferent picture under plate-glass, surround it with a massive gold frame and maroon-coloured hangings, concentrate the rays of light on its surface, and it will pass with many for a noble work. If a proof of this were wanting, it would be found in the extravagant praise which has been lavished by many public writers on Mr. Dow- ling's "Raising of Lazarus." For some time past men have been parading the streets, carrying boards "sandwich fashion," with the inscription, in large letters, "Lazarus, come forth !" followed by an intimation that the "great" work might be seen at 28, Oxford-street. On the taste of employing the language of the Redeemer as an attractive heading to an advertisement, comment would be superfluous, but when we are further told that "this work is pronounced by the first critics to be thefinest ScrtPture picture of the age," it is time to
protest against a system of puffing which reduces the *artist to the level of the latest arrived aerobat, or the "inimitable" comic singer of a sixpenny music-hall.
It may be said that the artist has nothing to do with this puffery, and it is a matter that must be left to the discretion of the owner of the picture, but other pictures similarly circumstanced are not trumpeted in this fulsome manner, and in making arrangements for the disposal of a picture the artist must always have the power of stipulating that it shall be advertised only in a seemly manner.
After a careful examination of Mr. Dowling's picture, I cannot conscientiously award to him the merit of harms° painted "the finest Scripture picture of the age." The subject he has selected might make the ablest painter pause before attempting its realization. It is doubtful whether a perfectly satisfactory rendering of it could be given. Many of the old masters have treated it with varied success. In our own time it has been grandly grappled with by poor misguided Haydon. Without making invidious comparisons, it may be said that Mr. Dowling has not added a new thought to any of the accepted versions of his subject. The figure of Christ occupies nearly the centre of the picture. He is draped in white, one hand is raised, the other is not seen. Close to him are Martha and Mary. In the lower left-hand corner is Lazarus, a half-figure emerging from the tomb and rending off the grave-cloths. Disciples, Jews, and slaves, with varying expressions, are grouped around. Beyond are cypress- trees, and a dark, heavy-looking sky. The foreground is in shadow owing to this, and so little being shown of his figure, Lazarus is scarcely discernible at first sight. This difficulty is shared by the figures in the picture, who, with but one exception (that of an old gentleman in a blue surtout), are not looking at what should be one of the-principal actors. This will be obvious to any one who takes the trouble of following the direction of their eyes. Carefully painted as the picture is, the conclusion is irresistible that Mr. Dow- ling has attempted a task beyond his strength. A self-taught Aus- tralian artist, he probably has had little opportunity of consulting the works of men who have gone before him, or of pursuing the course of academic study necessary for i the production of works of a high class. Bearing these considerations n mind, it would be perhaps un- charitable to say all that might be said, supposing the painter to have had greater facilities for improvement. At the same time, it is neces- sary to warn Mr. Dowling against believing all the exaggerated com- mendations that have been heaped upon his work by injudicious friends and too complaisant critics.
Mr. T. H. Maguire's large picture of "Cromwell refining the Crown of England," exhibiting at Messrs. Jennings's gallery, in Cheapside, will surprise those who have only known' him as a successful lithographer or a painter of small "genre" sub- jects. It is not often the case that a change of style is accom- panied by a corresponding amount of excellence, but in this in- stance Mr. Maguire's powers are seen to greater advantage than in his small pictures. On the whole, it must be pronounced the best that has come from his hand. Cromwell, simply dressed in buff coat and heavy boots, stands on a dais at the back of the picture. His attitude is firm and dignified. In his hand he holds the petition pre- sented to him by the House of Commons, praying that he would take the title and office of King. For the likeness the miniature by Cooper and the cast after death have been consulted. In the fore- ground is a table on which the crown, sceptre, and mace are placed, and at which Milton is writing. Lord Tweeddale leans on the back of Milton's chair. Sir Richard Onslow, whose head is one of the most forcible in the picture, seeks for scriptural authorities for the assumption of the kingly title, but is restrained by Sir Thomas Wid- drington, whose looks indicate his displeasure at Cromwell's final re- fusal. In the groups to the right and left will be found the Lord Chancellor Sir John Glyn, Lord Chief Justice St. John Lenthall, Desborough, Lieutenant-Generals Lambert and Ludlow, Generals Whalley and Montague, Colonels Pride and Jones, and numerous other members who either did or were supposed to take part in the deputation. All these have been carefully studied, where practicable, from existing. portraits. The drawing is large and firm in style, the figures stand firmly on their feet, a quality too often neglected, and the simplicity and dignity of treatment are very commendable. The effect might have been more concentrated, the black cap of the Chan- cellor tells somewhat as a spot, while his robe of brilliant red scarcely harmonizes with the general sobriety of colour. A little more "arrangement" in the heads to the right nould have been beneficial; they are somewhat confused and overcrowded. In point of colour, the flesh painting seems leathery and monotonous in tone, though this is doubtless caused in a great measure by an injudicious use of pink blinds to screen the light. Much time and research have evi- dently been devoted to the getting up of this picture; the costume and accessories are accurate, and the evident appearance of precision of hand and workmanlike knowledge augur well for Mr. Maguire's future success in the new path of art he has lately chosen. . The picture is engraved in the "mixed style" by Mr. S. Benin. The public is invited to subscribe for copies in the following pare- graph appended to the "key," which, though headed " For perusal in the rooms," is decidedly worthy of a wider circulation. "Those who can appreciate the blessings of liberty bestowed upon them, will they
not see in this max the benefactor of his country, and accept this illustration of an event which has few parallels in history as a DO- MESTIC MONIIMZET To Cnosawm—to his greatness—to his disinter- estedness, and his stern humility P"
Let us then place in our homes this emblem of our just apprecia- tion of his self-denial and purity of intention.
DRY PO/NT.
Previous page
