fin arts.
NEW SOCIETY OF PAINTERS TN WATER COLOURS.
Tun twenty-seventh exhibition of this society may be described as eminently pleasing. Though out of the three hundred and thirty- nine works not one attempts to give an elevated thought, there is but little to cavil at in the way of general excellence. If, with but few exceptions, each painter is content to pursue the same path which first led him to fameāthere is ample proof that each has done his best, in his peculiar walk, and this exhibition must, on the whole, be considered as an advance on those of former years.
Mr. Henry Warren is a notable instance of the benefit derivable from a change of scene and subject. His " Zwing fest on the Wengern Alp" shows a marked improvement on his Eastern pictures. In the many-figured group surrounding the two wrestlers, there is both variety and truth of character. The English tourist with cigar and Ripen-stockāthe peasant girls and their loversāthe gend'armeāthe old musicians, and the champions regarding with professional interest the struggle of their fellows, are animated and life-like. In the back- ground, still covered with the snows of winter and partially enveloped na cloud, appears the upper portion of the Jungfran. The effect of this drawing is fresh and bright, the figures well drawn and expres- sive in attitude, and the landscape portion is admirably painted. A Zwing fest appears to be a festival which affords ample facilities for love-making. I am afraid to say how many couples are more intent on saying sweet nothings than on the movements of the wrestlers. Mr. L. Haghe sends a large and very effective drawing of the "Interior of Milan Cathedral" (76). A Dominican monk is holding forth to an assembly, dressed in the costume of the last century. Mr, Haghe's mastery of architectural detail has been seldom better displayed than in this picture. In "The Artist's Studio" (63), Mr. Haghe presents us a hard-featured gentleman, who is busy sketching with his left hand from a model, attired as a cavalier. The studio is crammed with War- dour-street "properties." As a piece of manipulative dexterity there is much to admire, otherwise the subject is devoid of interest. Mr. E. H. Corbould has three drawings, all showing careful elaboration, force of effect and skilful workmanship. "Elaine, the LilyMaid of Astolat' (88) is a gorgeous assemblage of cloth of gold, Genoa velvet, embroidered sails and enamelled censers. The "dumb old servitor" steers the galley containing a fantastically-carved bier of black marble, on which rests the corpse of the Lily Maid. Her face scarcely realizes the poet's description, and the landscape is somewhat marred by a spotty and stripy method of execution. In " Hetty and Captain Daum- thorne in Mrs. Poyser's Dairy," and "Dinah" (206, 218), two pic- tures painted by command of her Majesty, from Adam Bede, Mr. Corbould has succeeded better than most artists when working on royally-chosen subjects. Hetty is arch and pretty, but like nearly all lovers on the stage or on canvas, the captain has a spoony air. The dairy implements are introduced with propriety and effect. If Mr. Corbould has failed somewhat in the portrayal of Dinah, it is scarcely to be wondered at, the difficulties of treatment being so much greater than in the former picture. Dinah, surrounded by villagers, is preaching her memorable sermon, a cart forms her pulpit. The attitude of the young Quakeress is gentle and persuasive, but her face is sweet rather than intellectual, and the deficiency of cha-
racter in the heads of the auditory must be considered a defect. Mr. Corbould, in striving for more than usual force, has an occasional tendency to blackness, and many parts of his pictures seem from the liberal use of gum and body colour, to have been painted in emulation of the richness and surface of oil colour. It may be questioned whether this method of work does not risk future permanency for the sake of present richness. To Mr. Absolon belongs the questionable honour of having contributed the most appalling subject in the gallery. In '98, Mdlle. de Sombrenil is about to drink a glass of blood as a means of saving her father's life. A Delaroche would scarcely have rendered such an incident bearable ; in Mr. Absolon's hands it becomes simply repellant. There is blood eveywhereāon the hatchets and bayonets of the mob, on the lady's dress, on the straw at her feet, and on the hands and sabots of the mild and courteous sans-culotte who bids drink. These are not real ruffians. They assume a fero- city foreign to their nature. " Volunteers, 1810, 1860" (303, 304), two drawings in one frame by the same artist, are coarse and common. We may probably see them reproduced some day by those enterprising publishers who, by means of cheap and highly-coloured lithographs, depict so forcibly the horrors and inconveniences of crinoline. It is the more provoking that Mr. Absolon should conde- scend to such subjects as these because in "Unterwalden" (233), and" Berne" (245), he shows that he can do really good things. In the latter especially there is much feeling for simple beauty. The sombre dress of the pretty girl, the mountain background, and pale evening sky, form an agreeable piece of quiet harmonious colour. Mr. Tidey is apt to be slight and unstudied in his work. There is a want of vigour both in drawing and colour in "Genevieve" (109). " Dar-thula" (238) is more successful; there is some energy in the face and nose, but the dying warriors are deficient in sinew, and Dar- thula's foot is of more than Amazonian proportions. Miss Farmer shows steady progress from year to year. " Finding the Lost Six-
ce"(305), a scene in a country grocer's shop, is renderedwithmuch eeling for truth and expression. The details are carefully drawn; the face of the little girl who leaves off crying at beholding the object of search, is tender and pretty, and the expressions of the other actors are easy and natural. Mr. Jopling's studies of Swiss girls deserve notice. His most important drawing is 325, with the difficult title of " Schiffssangermnen von Brienz." Three girls are pushing off from shore in a quaintly-shaped boat. Though not suffi- ciently luminous, the sun shadows are truly cast. Mr. Carl Werner, though confining himself generally to architecture, must be classed among the figure painters by reason of his large drawing of "Venice in her Pride and Power; the Secret Tribunal of the Three sitting in Judgment" (189). In the frame are eight medallions containing scenes and incidents having reference to the principal subject. Jacopo, a young gondolier, is being examined by three masked inqui- sitors. There is no lack of conscientious elaboration, but the inquisi- tors look like figures "to let," and Jacopo is melodramatic. The whole picture savours equally of the footlights and the studio, and with the addition of the necessary capitals and notes of interjection, the description of one of the medallion subjects reads like a quota- tion from a playbill of the Victoria Theatre. "The Cell beneath the Leads ! the Benediction of the Bravo ! ! and Death of the Aged Prisoner ! ! !"
In better taste and more suited to his powers are the architectural scenes of which Mr. Werner is so large a contributor. All are good, but some may be specially cited. "The Bridge 'of Sighs" (15), which has a gloomy poetry. "The Garibaldi Battery at Rome in 1849" (155). "The Rose of the Alhambra" (259), perhaps the most interesting of all, showing the famous Court of Lions in its present ruinous state ; and " The Deserted Interior of the Church of St. Michael, Schleswig" (338), with a body of scampering mice as its only congregation. All these are marked by an extraordinary and laborious conscientiousness that becomes almost wearisome from its unvarying excellence. Looking over a series of drawings by Mr. Werner has mach of the effect induced by examining successively a number of photographs. We look in vain for a sign of effort or of failureāthe impetuous dash and the fond lingering touch are alike absent. All is equally perfect, but cold and heartless. Mr. Werner should give his hand and imagination freer play, finish less equally, and he would produce really fine work.
In that class of picture which combines landscape with figure, Mr. Mole holds a prominent place. Suave, tender, and delicate, his work, i if not high in aim, has at least nothing to offend. " A Hopeful Parting" (201), shows great advance in colour and atmospheric effect. On a steep and rocky coast, a cottage is seen embedded in treesā seated on the breakwater are a fisherman's wife and children, to whom he is bidding adieu. In the distance, across a broad flat expanse of sand (very well expressed), the boat is putting off while the fishers call their comrade. A want of animation in the principal group is the only defect in this charming drawing. " Waiting for a Shot" (320), by the same painter, has evidently from its freshness been painted direct from nature. Mr. E. H. Warren, still faithful to chequered sunlight, sends only one drawing. " Nest in the Cool and Shady Wood ' (212). It is large in size, and must have occupied the painter some time, so full is it of detail. The delicate tracery of boughs in shade telling against the sunny green beyond, the holly, the brambles, and ground of dead leaves, are all wrought with assiduous veracity. The shade appears too dark, it would surely be more illumined with reflected light. In all other respects this drawing may be pronounced perfect, though, like Mr. Corbould, Mr. Warren is too much addicted to unstable mediums. I regret to find this beautiful work is already cracking. Mr. Telbin's Venetian views (40 and 51), will attract by their joyous facility of execution, and bright rich colour. "St. Agatha's Abbey" (26), is in a different key. There is less manipulative display, but the result is equally good. The sunset sky, the ruined building, and the rabbits frisking in the foreground, completely realize the idea of quiet soli- tude. Mr. M'Kewan is the chief representative of what Mr. Ruskin calls the "blottesque" school. Mr. Rowbotham is more faithful than he has been for some years. "Near Castel-a-Mare, coast of Naples" (114), has none of that pure bright blue which gives such an artificial look to his representations of sea and sky. The new member, Mr. Reed, shows to advantage in " The Valley of the Lledr" (144), which is well and vigourously drawn. The Spring and Autumn views of this painter deserve study. Mr. Hayes and Mr. Robins have several effective sea pieces. Mrs. Duffield draws and paints flowers with much power, but with an unnecessary exaggera- tion of size. Mr. Weir's "Red Grouse" (158), are excellent, and 214, a little drawing of " Watford on Market-day," by Mrs. Oliver, is noteworthy. for its sunny bhtness.
The exhibition of the Old Water Colour Society opens on Monday
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