Oen of the inducements to visit this exhibition is, that
many of the artists who exhibit here, including of course several of the members, rarely send their pictures to other galleries. Although the Royal Academy withholds its corporate countenance from this opposition concern, the managers contrive among themselves, and by the aid of clever youngsters, who have not yet received a wink from the Alma Mater of Somerset House, and the veterans who arc not in her good graces (we have never heard of any that could resist her blandishments, though all call her harlot), to muster a very respectable show of pic- tures. As we remarked in the brief summary of its contents, in our second edition last week, there are more clever pictures than usual this year.
Havnote's " Cassandra Predicting the Murder of Agamemnon" (149), is, independently of his name, the most prominent attraction. It is painted with great care and elaboration ; and the drawing displays his accustomed skill. Cassandra, of course, is the principal figure ; she is represented in the act of uttering the fatal prediction, just as Agamemnon has arrived at the door of his palace. The head of Cas- sandra is a study from the Honourable Mrs. NORTON ; and this cir- cumstance has, we suspect, tended to mar the effect of the picture, by making it appear as if painted to introduce a portrait of the lady in character; a supposition which the statuesque attitude and the studied and ornate style of the costume (correct though it be) greatly assists. The face is beautiful, as a portrait of Mrs. NORTON must needs be; and its expression is vivid and intense, as far as it goes ; but it is more like Mrs. NORTON the poetess, wearing the Phrygian cap, than Cassandra the raving prophetess. The action of the hand, pointed to the door of the palace, is tine and appropriate ; but the body and the rest of the limbs are in complete repose ; and the other hand holds the wreathed wand of the prophetess, as if it were a pen, with the conscious ele- gance of a lady of fashion. There is no need for Electra and Orestes to be running away : indeed, as the prophecy has scarcely passed Cassan- dra's lips, they would naturally have stood amazed, not having had time to turn and fly. Agamemnon is a noble fellow, worthy to be the "cing of men." He is calmly looking up, as if thanking the gods for his safe return. The idea of representing him unconscious of the pre- diction that is to prove fatal to him, is a bold and grand one ; and though not strictly probable, has the allowance of poetic licence. The twofold expression and action of his wife Clytemnestra, who with one hand as- sists her husband to alight from his chariot, and with the other keeps back
her pal moan Egy Stith, is highly (Immune. Her cube self-possession, blended with apprehensions lest the eager impatience of Egystus to des- patch Agamemnon should betray the plot to him, is depicted with the nicest truth ; we can almost fancy that the hypocritical smile with which she first greeted her husband has scarcely passed away. iier cunning, hollow, uneasy face, contrasts finely with the grandly simple and con- fiding look of Agamemnon ; the heavy solemnity of whose massive coun. tenaece is more in keeping with the impressiveness of the scene, than characteristic of a triumphant conqueror returned home after a ten years' absence. We have been led into minuteness in our criticism. It is very rare that we meet with a modern picture that challenges such close scrutiny, and, we may add, notwithstanding our objections, that bears it so well. The picture is painted for the Duke of SUTHERLAND, If all commissions were as well fulfilled, there would be more given.
The only other historical picture that calls for especial notice is " The Opening of the first Royal Exchange, by Queen Elizabeth, in 1570" (416). It is the first matured work of the artist, F. Pica. yam; ; and as such merits the highest praise. The conception of the scene is so spirited and natural that it might almost have been sketched at the time. Sir 'llmas Gresham is kneeling to the Queen, who is supported by .Leicester; and the Mayor, foremost uniting the surrounding train of courtiers, &c. holds forth the charter. In the background is is tempo- rary gallery filled with spectators. The likenesses of the Queen, Lei- cester, and Sir Thomas Gresham, are characteristic; there are also some noble heads among the attendants; and though the subject affords no scope for dramatic power, the expression of the faces is proper to the occasion. The figures too are admirably drawn and grouped ; the cos- mines characteristically correct, and arranged with freedom and taste ; and the handling displays the touch of a master. The colouring is appropriately gay without being meretriciously gaudy, but it is too crude. We may reasonably expect an improvement in this particular from the young painter, however ; for as yet he is new to the English school of colour, having studied in Paris. We would also recommend hint to pay more attention to finish in his execution; this would sup- ply the want of variety of texture, which is the principal defect of the painting. It has more the look of a finished sketch than a perfect pic- ture. From talent and skill such as is here displayed we expect great things. We refer the artist to the little cabinet. picture by HERBERT (53), in this exhibition, for a specimen of the degree of finish that pic- ture-buyers look for in a fine work of art. The incident of a lovely girl having procured a reprieve for some youth condemned to die, from a stern but humane warrior, is beautifully told. The expression of the girl's face shows more joy at her success than previous sorrow or appre- hension ; and we would rather suppose, therefore, that she has not been pleading for the life of ler lover, but that she is the daughter of the relenting warrior; though his grave look throws a doubt upon that relationship. We must be content with bestowing a word of commendation on the several meritorious attempts at historical painting by Messrs. L. B. A Dams, S. J. E. JONES, and W. Else. Mainue's " Judith" is so glaring a failure, not in execution only, but in sentiment, that we cannot refrain from instancing it as a proof of his defective imagination. In the humbler and more popular range of subjects—ideal scenes of familiar life—E. PRENTIS displays that Lotion of fancy, feeling, and technic skill, which alone can satisfy the mind. In his picture of Fik:LOING'S " Amelia awaiting the Return of her Husband" (66), all the accessories aid, as they should do. in telling the story. The neatly- laid table and the homely dinner st t b :fore the tire ; the order that reigns in the humble apartment, distuibt d only by the sudden rising of the occupant from her work to look out for her husband; and, above all, the look of patient but mournful anxiety of Amelia, as she leans her bead against the window, hopeless of Booth's return,—all combine to convey to the spectator the meaning and the spirit of the incident and the character of the heroine. P. F. POOLE, who has represented the vulgar humours of " A Country Revel " (431), with much literal fidelity, shows such :an ;utter want of urtistical power, not only of grouping figures and giving the scene pictorial effect, but of drawing. and colouring, that it is paying a high compliment to his perception of character to notice his picture at all. He seems to be fond not merely of scenes of low life, but of painful incidents. But painting as well as poetry may have its CRABBE ; and pauper subjects require a pauper style. BIPPINGILLE, who delineates character with extraordinary veri- similitude, as may be seen in his studies of a Trappist Monk who starved himself to death (675), the" Gardener of the Convent" (6.33), a " French Sapeur" (655), and others, shows in his group of " Calais Gamblers " (192)--a trio of fish-women playing cards—that he can give it a dramatic shape. The exulting laugh of the winner and the per- plexed and angry look of the loser are equally true and amusing. We shall expect to see his name to pictures of higher pretensious. Buss's broad comic drolleries are equally vigorous and coarse; and though we should be quite as well satisfied in meeting with them in the shape of a print, like other caricatures, we can hardly object to them in an exhibition, since they afford a laugh. " Independent of a Vote " (354)—the successful candidate being dragged through the bo- rough by the mob—is intended as a companion-picture to the same can- didate " Soliciting a Vote." It is riot so good a subject, nor so origi- nally treated, and the figures arc all dwarfed ; but the scene is vividly pictured. The assumption of dignity and the look of scorn of the new Member are very characteristic ; and the motto " Britons never
will be slaves," adopted by the party of electors who are doing the work of brutes, is riot the less an effective hit because it is obvious. The look of the coachman, who evidently does not know what he do with himself without the reins, and other little traits of humour, show the painter has thoroughly felt his subject. His portrait of Reeve as Mar-
maduke Magog lying drunk in the snow and commanding Jemmy Star- ling to " take him up " (240), will be recognized by all who have seen the Wreck Ashore. The humour of the scene is congenially and
forcibly expressed. Buss has also given a humorous sketch of a naval Uncle Toby. The old commodore is sitting in a toy seventy-four, whose hull is scarcely big enough to stow away his lower limbs, and is
in the act of firing at a miniature fort on the shore of the pond- I he earnestness of his look and the stolid character of his rosy phiz, crowned with a flowing perriwig and smart cocked hat, and the ludi- crous contrast of his huge hulk with the tiny vessel, make a very amus- ing piece of absurdity.
Previous page
