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BRITISH INSTITUTION.
-SECOND NOTICE.
THE 'pictures by deceased British artists (with the exception of those by Reynolds) are not happy characteristics of their authors. " A Scene on Deal Beach" (139), by J. Hollins, A.R..k.—a number of pilots looking-out seawards—is not a good example of that mediocre painter. The textures are monotonous in their slimy, greasy surface. Some of the heads have an attempt at character, but the figures are nothing more than respectably dressed marionettes utterly destitute of bone or sinew, expression or vitality. " Lord Chancellor Cam- den" (161), by Gainsborough, has much honest truth, though by comparison with the forcible heads of Rembrandt or Velasquez it looks fiat and flimsy. The drawing of the lower portion of the figure is singularly faulty. A little " Landscape" (150), though scarcely more than a sketch, is painted with delightful freedom, and shows close observance of natural effect. Three pictures by Morland, though vigorous and dashing, are more meretricious than faithful ; " Interior of a Stable" (194) is the best. The works by Stothard scarcely justify the epithet of " great master," which used to be ap- plied to him by Leslie. They are poor, thin, and weak. " Venus Rising from the Sea" (151) is so cracked as to suggest its having been painted with the favourite " gold size." Stothard's fame rests with justice rather on his graceful designs for books, than on his slight and sketchy oil pictures. Hogarth's " Scene from the Beggar's Opera" (197), representing the performance of Gay's popular work in the oki Lincoln's Inn-fields Theatre, is one of the three pictures he painted of this subject. It has suffered little from the ravages of time, or of picture cleaners, and affords a very interesting example of our great satirical painter. It differs in many respects from the en- graving. The space behind the principal performers, which in the print is occupied by constables, is here filled with more courtly-looking personages. The spectators sitting on each side of the stage, as the custom then was, are far more characteristic than in the engraved version. The manly precision of Ilogarth's touch is quite as ad- mirable in this picture as in the world-renowned series of the " Mar- riage a la Mode." In direct contrast to this is " An Artist's Studio" (195), bearing, indeed, the name of Hogarth, but evidencing none of his peculiar workmanship. An ugly woman leans on the shoulder of her still uglier husband, who is occupied in sketch- ing a corpulent Cupid in white chalk upon his canvas. The figures are very feeble in drawing and ill proportioned. If this be a work of li's it must be every early one; but it bears infinitely more re- semblance to the style of Hayman. Leslie, whose " Reading of the Will' and "Don Quixote's dispute with the Chaplain" were among the most prominent features of last year's exhibition, is represented on this occasion by only one picture, and that a small one. ".The Miniature" (186) is a half-figure of a girl leanin,"a her elbows on a table and gazing at a locket, the edge of a letter peeps from her bosom. The face has no particular expression, but the figure is graceful. The cold dry colour suffers in being surrounded by the gorgeous hues of Reynolds. " Mary Wolstonecraft" (173), by Opie, and Ramsay'e "Jean-Jacques Rousseau" (145), should have been hung lower, on account of the interest attaching to the originals. Of their execution, it is scarcely possible to speak with certainty. The " Rousseau" is a dark Rembrandt-like three-quarter, painted with much force, though not without a tendency to opacity. " Rom- ney and his Father," by Romney, is interesting. It has a gloomy asceticism of treatment. The heads are characteristic, particularly that of the blind father. A large "View of Richmond" (205), taken from the hill, is an excellent specimen of Holland. The calm evening sky, the long shadows, and the mist-covered distance are all carefully, studied. Two De Loutherbourgs (185 and 187) call for no special remark beyond a wonder that any admirers can be found for such cumbrous leaden libels on landscape painting. Works by Sir Joshua Reynolds occupy a large space on the walls of the South Room. In them we may trace the gradual development of his power, from dry literalness to the culminating richness and grandeurof his later manner. No greater contrast can be afforded than by comparing the hard miniature portrait of " Sir John Eardly Wil- mot" (142), or the laboured mechanism of "George Greville" (157) with the " Lord Richard Cavendish" (170). This is one of Sir Joshua's best-coloured and noblest representations of manly dignity. It is a half-length : the figure stands with the right arm akimbo ; the left hand rests on a rock. The face, remarkable for power and in- dividuality, looks out from the picture. The painting presents a notable instance of the " Old Stilton texture" and rich warm tones affected by Reynolds. Other instances of this painter's capacity as a delineator of men will be found in " Henry, Earl of Pembroke" (196) and "Sir George Beaumont" (189), a perfect nun, yet beautiful even in its decay. The colour is still most delicate and pure. But the beauties of Reynolds's style are more advantageously displayed in his portraits of females and children. It would be difficult to find a more delightful rendering of maternal grace and loveliness than is given in "Lady Ilchester and her Daughters" (84). The young mother is seated between her two children, the elder of whom, a thorough romp, stretches out her arms towards her sister, who holds apparently a skein of worsted. All three figures are in white; the background is dull brown, relieved by a red curtain, the colour of which is repeated in the shoes of one of the children and the ribbon in the mother's hair. This simplicity of effect is not more remarkable than the smiling gracefulness of the mother and the artless attitude and unaffected expressions of the little girls. The "Duchess of Devonshire and her Daughter" (203) and "Countess Spencer and her Son" are two charming portrayals of a more mature maternity and infantine playfulness. Of portraits of children there are some admirable instances. "The Princess Sophia," sprawled at full length on the ground and playing with a spaniel, is sure to find numerous admirers. " Viscount Althorp, aged four years" (176), is large and broad in style, but for quaint originality in childish portaiture nothing could, surpass " Master Bunbary" (188). The little fellow sits exactly opposite the spec- tator, his hands on his knees and staring hard out of the can- vas. It is scarcely possible to repress a smile while gazing on this gently humorous version of childhood. " Children of Lord Eardley" (166) would have been benefited by a coat of varnish; the colour looks flat and dead. Above the mantelpiece are three full lengths of ladies, two of them being examples of Sir Joshua's "ideal" manner. "Mrs. Peter Beckford" (183) is represented as a classical priestess, standing within the portico of a temple, and sur- rounded by the necessary tripods, statues, &c. "The Duchess of Ancaster" is a long, attenuated figure leaning on a rock, over which she has thrown a scarlet and ermine mantle. She stands on a fiat sea- shore, in such close proximity to the waves that there is only room between her and them for an awkwardly-drawn tree to shoot up its eccentric branches for the double purpose of assisting the composi- tion, and defying natural laws by growing in such an exposed situa- tion. Notwithstanding time dignity and general grandeur of treat- ment in these works, there are few but will prefer the truer repre- sentations of the life and costume of the time, such as the "Lady Ilehester" before mentioned, to these masterly but mistaken produc- tions. Reynolds rarely succeeded in works of an imaginative character, though even in his failures few can fail to recognise the element of greatness. Other female portraits worthy of careful study are : " A. Lady" (204), in which, though the painter has had to contend with a preposterous conical hat, adorned with long blue ribbons and white feathers, he has, nevertheless, contrived to make the face piquant and interesting; "Mrs. Kennedy" (202), stately and dignified; and " Countess of Pembroke" (210), the colours of which, however, have unfortunately flown in a disastrous manner. The flesh looks livid from the greenish hue which has found its way to the surface. The celebrated " Schoolboy" (160) must not be forgotten, presenting as it does so remarkable an instance of successful dealing with warm colours without allowing the picture to look hot or fiery in tone. The boy's face is glowing ; he wears a rich amber-coloured dress ; the book'he holds and the background are warm brown. Such a combi- nation of warm tones in the hands of any but a great colourist could not fail to have an unpleasant result. Here not only has it a reverse effect, but by its mellow colour and massive breadth this picture be- comes a monument of the magical skill of him who has been justly styled "the founder of the British school of painting."
Day POINT.
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