FINE ARTS.
NEW WATER-Cofeetele SOCIETY.
THE exhibition of this young Society continues advancing steadily in public estimation : every year it puts forward fresh claims to notice. its the improved skill of its members and time addition of new names. The acquisition of talent since last season is remarkable : it includes Messrs. T. S. BOYS and T. M. Piens nnsoN, both of whom have deservedly at- tained high popularity by their published sketches ; and Mr. '1. F. D'Euvist.e, whose matured powers take us by surprise. as did those of Mr. Bulieter lust year. Thee° new members, moreover, are each and all admirable ler the solid excellence of their respective styles ; wholly free front that meretricious glare of colour and flimsy execution, which, coupled with the abuse of gum and body colour, threaten to destroy the sober freshness and purity that constitute the great charm of water- colour painting. The Canterbury (201,) by EDWARD CORBOULD, is the most prominent of the designs, feem its size, showiness, and the number of figures ; and challenges eltention by the cleverness and dexterity of the drawing amid execution : tut it is too evident that the subject is a mere stalking-horse for a ilis1.lay of costume and beauty-book times, bedecked in the film-ming finery erd artificial grace of a clammily mannerism. Not only is the spitit of Illy time esd of the poet's description wanting, but the persons are searetly recognizable ; and character there is none, for a conventional expression c.,f merriment or grossness here and there is not worthy of the name. To crown the absuedity, old Chaucer is introduced cons! lenees'y in the ftireground, writing his poem in a pertly fells, e his thy air of ei; rm8kial taking down the features of the company for passers. The picture is not without talent—more's the pity, it is so grievously inisdirceted. Such nrt as is shown in this pic- ture, and in another smaller one, (244,) by the same young artist, representing a party of beggars coming to town,—the woznen mid gal- lants arrayed in ull the charms of easel-exquisites, with eyes and noses of the newest pattern, and lips or approved simper for "fimncy faces,"-- is only worthy of the admiration or theatrical dressers, or the study of the wax-workers for Madame TI:SAI7D'S tableaux. STarizsan pic- tured the Canterbury Pilgrims in a different style. itsuit;re Lhy, tea Iwo i-pssin in Ihr 1V116iC111 Dc it, (PA) by Ilesev WARREN: is a picture admirable for its rich colottriag and finished execution, which are made subservient to actual truth and imaehmtive feeling ; in this respect forming it re- markable contrast to the tinsel treeeines Connocui's glaring mon- strosity of affectation opposite. The greup of Turks, seated on carpets and cushions spread mm the saul, and attended by Nubians with camels, ith no shelter from the 1:h: zing brightness of' the sun and the burning heat of the arid WEIStC,—ti,eir gergeotts dresses and accoutrements re- lieved by the more homily' evipments if the carrel-drivers, and by the shadow thrown by their fisures, forming a bright spot in the vast dreary solitude around,----is not (Ally a beautiful scene but an impressive image of' life in the desert : Dalle, form, and physiognomy if the Nubians, eih:elt are preei-ely like the delineations of them in the Egyp- tian chromagraple,, alol the look and aetion of the thirsty camels, arc portrayed with a fidelity' el:mile instruct i re and gratifying. The concep- tion and treatment of the silt jeet are characteristie, and the executive skill is elal,orate and ime.terly : in a word, the artist has accomplished what he intended, perfeetly. A scene at the pet.; of the c0a1 wilt Or SA ii GI,ronitno. Lis- bon, (122,) by L. ifsents is of' excellence, thouph tote liy differ- ent in its subjeet and sty 1,, : it represent:, two mold., distributing food to a group of meimilimmte : the arm Pt has had Mt iii mu', lit gears in his
eye, with their a-pect e Vny sunlight enters at
One corner, some of' the its warmth : and
is reflected iipwetd, •1 stone-work of the gate awl the
groined root' of the porch, I!: Le:101W elb•et : the lumitonts brilliancy is marvellously imitated ; al'. transient, as if it might vani,11 pre- sently. The eldpt ore: ove,' the door is pechnps too ronphly indicated, and the le ad-, e met upper hr of the fieores are m ot 0 well drawn as the ; Lot v. 1:,•11 the spirit of the ■,!el:,• is so finely (!on- vayed, we r re to overlook defects in minor points of detail. A group of f fel! -se; ler• in the foreground Welkin's a mass of' rich eolour to contrast V. ith the eoid hoes of the building and the tattered gammas of the beggars ; indeed, the pervading tone of the victure is cool, though bright and sunny. Tee /Well, ef rde/e, 1Is's) by W. 11. K mat items, is an ambitious effort, but the reel& is id!!!:ifil ; and the same tiny be said of 7'/me Limi.1/qu, (27o.) by W. N. !IA It ow (ca. Tim sub.ieels of this kind a falling short is tar.tarilorintLi, fhilure. A miming the other designs, one by IL .Joipsseee, (I i,fe) represeeting liii ifs-a/, Peeseeciey Tribute to some despot with a limp mete: broken into bite, is the most noticeable for character: the pallor of the tyrant, who, 'seated on his divan re. gards with a dreary complacency the head that rolls at his 'feet and the abject prostration of his slave, have a ghastly impressiveness: which the peculiar style of' the artist accords with well ; esetiesrhal,- Let us turn to a pleasanter subject, Hours qf Idleness, 083,) by 11. ResstimE—a beauty .reclining on a sunny bank, sporting with a eava. her ; the colouring is gay and cheerful, harmonizing with the bright. ness of' the summer-day and the purity and freshness of the euteloor effects, Mcwied, (60 and Single, (1260 by I. Ansousx—a pair of contrasts, clever though commonplace, of bachelor comforts and the pleasures of paternity, painted in a broad, forcible style studies of character, by A PENLEY, elaborately wrought in the style of a miniature. painter, which the artist is ; some rustic " beauties" by Miss L. CORBAUN, which have strong family likeness; a manneree design by L. Hicks, Love .31c love may Dog, (162,) and several very coarse and vulgar daubs by ALFRED TAYLOR, make up the slue of Figure pieces. In Landscape and Marine subjects, E. DUNCAN is foremost. His large pietttre, Dutch Fishing-hoots, Riding out a Gale drtheDogyer Bank, (189,) is as vivid a representation of the effects of a gale at sea as ever was painted: the whole scene is motion ; the rack of storm-clouds driving before the wind, the waves clashing into foam, the boats with bare.peles tossing about in every direction, show the stress ot' weath m
er: the
fore-sea a boat, whose mast lets gone by the board, is almost lifted out of the water by the violence of' the swell. 'rime style of painting is admirable for sobriety of colour, harmony of tone, atmospheric effect, and finished execution. This artist also exhibits a bright sunny landscape, Grope-gathering, Montmorency, MO and two clever arehi. tectural views in Paris. Two marine scenes by T1103IAS J. Reims, Squally Moeniny„Vho clearinfi (50,) and Calm oilHeleoetstsys, (267,) have a look of truth, but the painting is woolly anti tame. View on the Logo di Gorda, (22,) by T. F. D'Eevieres is an ele- gant composition of arehiteetnre and scenery, painted in a chaste style, with that pearly-gray tone that CA I.I.COTT is fatuous for. Keep of Castic,(169,) by T. M. lt ten ARDSON, is a clever drawing, with abroad effect and quiet unobtrusive colouring. The Port (f Lon:10)1,0N by the same artist, is a flue composition, and only a little too tame iu its sobriety. But how iufinitely superior aim such modest and sterling pro. ductions, to the flimsy trickery of unnatural scenes like /30/ien slace, (2140 by G. B. Cs:nettle ; Church elf Si, Lawrence, Rottenhtm, (iA) by G. Howse ; and others by time same artists, where time propriety of painting and natural truth are alike set lit defiance. True it is that CAMPION gives an effect of space to this view, and newse conveys • a notion of the magnitude of the building; but it is at the expense of reality in the representation of objects. 11. Bee:off, in his numerous brilliant sketches of morning, evening, sunset, and moonrise, sacrifices the details of nature to the atmospheric effects, and thus robs the scene of half its beauty- and interest. lie makes studies of light ant colour only, not complete pictures : very beautiful they are, but the glowing skies are thrown away for want of a landscape worthy to be lit up by them. T. S. Boys has only sent two small street scenes, riew in the Skurtiv, Fink, (65,) and Rue de la Tilde, iiokis,(129,) which are not dissindlar in effect : both evince talent that may appear to more advantage at a future time. J. S. Peorr has several small landscapes, coast-scents, and fragments of ruins, that show a feeling for the pietnresque ; but his style is loose and heavy, with a tendency to coarseness that he wield do well to avoid: his largest performance, Plc Lwlyc Chapel, 1;:.ik Minster, (1640 is overcharged: in the effort to get richness and force by the lavish use of gum and stroug body colour, airinc.:s and space are lost. Two large studies of ruined buildings at Ober- wesel, (179 and 318,) liv II K. PENSON, are admirable for breadth of effect and freedom of hendling, that give promise of great power in drawing on a large scale. E. IL WEIINERT, in an Interior ef the Gnat Hall Plas we, County, (I 9e,) has been more sucees.ful ii itaitat- ting JOSEPU- NASH'S style of treating these subjects, than in his am- bitious attempt to emulate 11 EMIUrA NUTSt magical chiaroscuro in a Dutch Interior, (256.) W. N. 11A It l:WIEKE has greatly improved the style of his architectural views. The Moselle _Bridge, (79,) and the Stadthouse at the Rayne, (263.) have it strong local character and pleas- ing effect. W. Om VER'S views in the Vrenelt Pyrenees, have the freslmess and truth of' sketches made on the spot ; but they are tea un- finished to be exhibited out of the portlidio. Peale, front the Edinharglt Road, (1680 by JAMES PA II EY, Ilme, a deep sober tune that is very agree- able. The solemn gray of evening over Ihohlon (2430 by hi:mis- t:me redeems the fautastie:m1 inalonoisin of the drawn mg. NV, HUBERT- SON'S View of fiewilweedee, (slim) sonlewlett gay in colour and deficient in outline, has a pleasant of natural heattly. TELDIN'S dark and confused style in his view of Cintr,/, ( I sugg:.sts a doubt if this be the same painter whose clear amid bright scenery teed to admire mit the Olympic Theatre, Si Sill:MIER mm WO has exchanged the somewhat vulgar reality of his London street scenes, lin. a gaudy, artificial manner of painting foliage—vide Lefreseif Lei/a/mese (nri.) T. 5l,11,1,Y, T. LINDSAY, and G. Sims contribute but scantily to the landscape department. We coneliele our asettant of this i:■ftresliag exhibition with a men- tinn of Mr, liAltalsoN's FlOWI:rh Ilidi, in the instance of the Wake" Lilies, (2'.2,) are colubinea with a charming scene in a forest-dell. this year
Previous page
