FINE ARTS.
ROYAL ACADEMY EXHIBITION, 1844.
THE test of a fine picture is the impression it leaves on the mind : ap- plying this test to the present exhibition at the Royal Academy, the result will be found very inadequate to the extent of the display. In a collection of fourteen hundred works, produced by more than half this number of artists, of whom fifty are members of the Academy and therefore presumed to be distinguished for talent, it is not unreasonable to expect to see many new and beautiful ideas presented in a pictorial shape: but we have been able to discover very few, and those neither of an elevated character nor always vividly depicted. Indeed, a less into. resting exposition of the genius of our painters and sculptors we have not seen in Trafalgar Square : the veterans, with two or three excep- tions, are not in full force; while the rising men show little sign of progress, and have made but few grand efforts, and those not of a suc- cessful kind. The second display of Cartoons with Frescoes in West- minster Hall, which will take place next month, may, however, show that the energies of the artists have been worthily exerted in a nobler direction : we hope it will. In our present notice of the Academy exhibition, we mast be content with indicating briefly its leading features ; reserving a more critical examination for future opportunities. The first glimpse is not inspi- riting: as one jostles on, through the crowd that chokes the narrow gangways of the small suite of stifling apartments, to reach the great room at the end, the prospect above the heads of the visiters is dreary enough : a waste of gaudy canvass in gilded compartments glares on the walls, studded with representations of the human face, mostly made to look any thing but divine. Here and there a large landscape or some huge history-piece intervenes ; serving rather to reconcile one to the surrounding display of dress and upholstery, than to induce regret at the fewness of these ambitious attempts. The portraiture in the prin, cipal or East Room, with two or three exceptions, is of the worst de. scription ; the Queen's portrait by F. NEWENHAM is preeminently bads A great grinning group, called The Madness of Hercules, only exem- plifies the madness of Mr. PATTEN in painting such a picture, and the dearth of genius for great undertakings. The best picture in the exhibition is almost the smallest : it is a hum- ble subject, of no inherent interest ; but its treatment evinces more thought, refinement, skill, and elaboration combined, than any other without exception. This brilliant gem burns with ruby lustre at the head of the Great Room, of which it is the chief ornament : it is called The Whistonian Controversy, (128,) and is painted by MULREADY from the sketch in his own illustrated "Vicar of Wakefield." The patient obduracy of the listener, a rosy-gilled portly parson of the old schoolo and the earnest eloquence of the Vicar, are depicted with intense truth of expression ; the postures and the very hands of the disputants being full of significance. The colouring is luminously bright, though not overcharged ; and the finish of every part is marvellous : the Turkey carpet forming the table-cover is a matchless piece of reality, surpassing even NETSCHER and GERARD Donw. Nay, it is too real,—which volves a point for discussion hereafter; but we cannot help regretting, as we pass, that Mr. MULREADY had not chosen a more worthy subject for this display for his powers. The same artist also contributes the most beautiful drawing in the exhibition—a cartoon of his design of "Choosing the Wedding-gown," (958,) in the Miniature Room ; and two small, exquisitely finished landscapes—views of The Mall, Ken- sington, painted in 1811 and 1812, (Nos. 330 and 334.) EDWIN LANDSEER is in great strength this year ; and his excellences make us wish to overlook the faults that they render more conspicuous. The Otter Speared, (13,) is the rival attraction of the Great Room to MuL- READY'S picture, though no two works can be more opposite: you almost hear the yelping chorus, as the dripping hounds, open-mouthed, spring' up to reach their prey that the huntsman holds up out of their reach. Shoeing, (IO2,) is a living horse undergoing that operation, whose sleek round haunch one longs to pat : the dog and donkey, too, are capitally painted, and one might handle the farrier's tools; the man himself is less lifelike than the brutes. "Coming events cast their shadows before," (272,) is the inappropriate title of a wild scene full of the poetry of nature : a stag, whose shadow is projected by the moonlight on the ground, is challenging another, who is swimming across the lake to. meet him : the hoar frost on the fallen trees, the breath of the stag visible in the frore atmosphere, and the snow on the distant mountain's, indicate the wintry desolation of the region, and a solitude only dis- turbed by the cry of the deer. We are glad to follow EDWIN LANDSEER to the haunts of the animals he paints so inimitably. The studies in oil by Maass; ETTY, and Lanrs, for the miniature' frescoes from Conies that are to adorn the Queen's summer-house in Buckingham Palace Gardens, are the principal productions exhibiteds by these painters ; and occupy three corners of the Great Room. Rex- . . LIRE has chosen Sabrina Releasing the Lady from the Enchanted Chair, (96)-ErrF, The Hesperides "singing about the golden tree," (152)- LESLIE, The Lady Rejecting the Cup, (31) ; and each painter has treated the subject according to his wont : LESLIE'S contribution is prosaic and crude-MAcLises theatrical and metallic-ETTE's sensual and smeary, all are material fancies, with mannerism predominating. Erry has be- sides two or three other of his richly-coloured studies of flesh and drapery ; MACLISE a fantastical Scene from (incline, (277,) looking like a group of figures in tin ; and LESLIE a replica of his admirable picture Sancho Panza in the Apartment of the Dutchess, (351)-highly finished, but with too great a prevalence of black in the colouring.
EAsTLAKE has only a life-size study of a female head, miscalled Hitoise, (48,) with less expression than usual with him, and waxen flesh, but beautiful in colour and pure in sentiment.
In the very few attempts at Scriptural and historical subjects, the painters fail through inability to rise to the height of their great argu- ment. The materialism of modern art pins them to the earth. ALFRED CHALON vainly essays to soar on wings of rustling silk and gauze : but his sartorial sentiment is shown by the brocade robe in which he invests the Saviour (see 95.) and the flaunting display of his millinery-man- nerism in his John Knox, (73)-who looks like a scowling stage Shy- lock. CHARLES LANDSEER, in order to represent The Return of the Dove to the Ark, (287,) introduces us to the ark's interior, which is fitted up as a floating menagerie with dens and perches ; and W. DYCE, in depicting King Joash Shooting the Arrow of Deliverance, (248,) at- tracts attention to the costume and weapons rather than to the import of the act commanded by the prophet Elisha. So it is with historical themes. HERBERT'S representation of the Trial of the Seven Bishops, (388,) looks as if copied from a bran new toy-model of the court, fitted with puppets in costume placed in rows-so mechanical, wooden, tawdry, and nnartistlike is the painting: the faces are ill-drawn, characterized by meanness or morbidity, and weak almost to idiotcy ; the scene is utterly unimpressive; and the picture is devoid of keeping. His Sir Thomas More and his Daughter, (364,) in prison, seeing four monks go to execution, is an incident feelingly and simply told,-though the look of More has nothing more than calm curiosity, and his daughter has too much the air of a heroine of an " annual " story. We might mul- tiply examples, but these will suffice.
The preference of painful subjects is also a sign of the times : murders, executions, and deeds of violence, predominate in subjects from history and fiction. P. F. PoOLE has repeated the groups and almost the com- position of his picture of the Plague, in a scene of Famine no less horrible and revolting-The Moors Beleaguered in Valencia, (551.) WEBSTER, in lieu of his merry schoolboys, has only a sadly sweet study of a wan-visaged and bare-footed Violet-seller, (88) ; REDGRAVE has depicted the hollow-cheeked, dim-eyed Senpstress, (227,) with a touch of melodramatic exaggeration that baulks sympathy ; and even The Wedding -Morning, (238,) wears an aspect of sadness, though of a maw- kish kind. COPE'S Genevieve, (342,) is gloomy in tone rather than in the sentiment, which is in accordance with that of COLEKIGDE'S ex- quisite poem ; and STONE'S rustic illustration of" The course of true love never did run smooth," (505f) is of a pleasant, coquettish character. BIARD, the French painter, who made one shudder by depicting the horrors of the slave-trade, now makes merriment of sea-sick passengers : his Scene on board a Steamer, (531,) is disagreeable in its truth, and the fun is of an uncomfortable kind.
The famed French painter, PAGE DELAROCHE, is also an exhibiter this year : he sends a Holy Amily, (303,) that may be characterized as an elaborate imitation of the Florentine school, beautifully executed in its way, but devoid of soul : neither mother nor child appears conscious of the other's presence.
Landscape and marine views are not very numerous; nor is much novelty or variety shown in their treatment ; the best being the pro- duction of well-known painters. TURNER is preeminent for the daring originality of his effects : slight and extravagant as his works are, there is truth as well as power of art in his representation of natural phtenomena, when viewed at a proper distance-say from the middle of the room. If not complete pictures, they are wonderfully fine studies of composition, colour, and atmospheric effect: his seas are boiling surges, his clouds are floating masses of vapour ; space and light are depicted, though form and substance are vague and filmy. Ostend, (11,) and Fishing-boats bringing a Disabled Shp into Port Rys- dael, (21,) are two magnificent sea-pieces, without exaggeration ; and in these scenes the general effect is all-sufficient : when he comes to represent a railway-train, as in Rain, Steam, and Speed, (62,) the laxity of form and licence of effect are greater than people will allow. His architecture in the two views of Venice, (345 and 430,) is too eva- nescent for any thing but a fairy city ; and the Approach to Venice, (356,) beautiful as it is in colour, is but a vision of enchantment.
CALLcorr has three of his elegant compositions, of finished execu- tion, precise in form, chaste but cold in tone: A Ste Breeze, (78,) blows in a sunless atmosphere ; An Italian Port-Sunrise, (122,) is CDADDE in miniature, with paled radiance ; and Morning, (129,) is more English than Italian in point of warmth and brightness.
STANFIELD has put forth his stiength in a large sea-piece, The Day after the Wreck-Dutch East Indiantan on Shore, (187.) It is a noble composition, vigorously painted, with his best skill : the forms of the sea and clouds, as well as of every other part, are masterly, and the local hues are true; but the waves do not seem as if they would break, and the clouds a: e too solid; a want of atmosphere is felt. There is an effect of the fleeting shadows of flying clouds on the sea and shore, ad- mirably represented by COLLINS in a view of Seaford, (141) ; and EDWARD COOKE has two calm river-scenes with reflections-but the clouds are fixtures. LEE'S landscapes are more flimsy and devoid of keeping and atmosphere than ever ; and ROBERTS'S Egyptian scenes are as pictures unworthy of his beautiful sketches. CHESWICK'S rocky scenes with rushing water are cold, opaque, and overlaboured : the sunny glow that warms the quiet seclusion in Summer's Afternoon, (4860 is the more grateful. DANBY's sunset in The Painter's Holyday, (3050 is surely too lurid for a sun so bright and high as he has represented, and the aerial perspective is not true; but the scene has imaginative feeling that redeems its defects. HARDING has made a bold attempt in oil-painting on a large scale, in a scene On the Loire, (461); but the painting wants firmness : it is too much like the water-colour touch applied to oil, so
that the masses want force and coherence. We do not think the nature of the difference between water-colour and oil-painting is sufficiently understood : but we cannot enter on this subject now.
[The Portraiture and Sculpture next week.]
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