PICTURES AND ARTISTS.
MR. HAYDON'S EXHIBITION.
IN painting the grand picture of Xenophon, Mr. HAYDON gives the best of all proofs of his genius and energy, and, in the most satisfactory man- - ner, vindicates his claims, as an historical painter, to public and national patronage. It represents the advanced guard of Xenophon and his Ten Thousand, on their retreat, coming suddenly in sight of the sea, which they had toiled with almost superhuman endurance to reach. In the centre of the picture is a warrior mounted on an Arab horse, bearing before him his wife, whom he supports in his arms by a scarf slung over his shoulder : she appears exhausted by fatigue, but looks eagerly with glistening eyes towards the sea. In the foreground, a youth has sunk down exhausted, and is dragged along by another soldier, who is pointing towards the mouth of the narrow defile, through which the foremost men are rushing to the desired- prospect. Behind this, the principal group, is a young soldier, bearing on his back his aged father; and lower down is a trumpeter ascending the rock, lifting a standard, and blowing a circular trumpet. On the edge of the precipice above, Xenophon is seen on horseback, waving his helmet to his troops ; and part of the cavalry are defiling along the ridge, their horses snuffing up the breeze from the sea, which is visible in the distance. It is a stirring scene, full of energy and ex- citement, and depicted in a masterly manner. The spirited figure of Xenophon, and the varied action of the horses and men above, are in the highest degree characteristic, and the movement is finely expressed. In the throng immediately before the eye, also, the appearance here and there of an eager face—the straining action of every limb—the trum- pets and cymbals, which you almost seem to hear—and the crowd of helmeted heads in the gorge of the pass—all tend to convey the eagerness and breathless anxiety that animate the wearied soldiers. The composition is vigorous, well-arranged, and well-filled ; and the drawing is such as we see in no other pictures but those of Mr. HAYDON. In this respect his power is unrivalled, as well as in depicting physical. expression and energy of action. We would point out as especially worthy of admiration, the graceful repose and natural attitude of the female, supported by her husband, whose sinewy limbs and brawny flesh (rather too orange in hue) in contrast with her delicate form, show off its fairness beautifully. The drawing and colouring of the young man reclining, are the perfection of art. His air and attitude are expressive of powerless languor. His limbs, and indeed his entire form, are ab- solutely real. The feet and hands are not merely indicated in a gene- ralizing manner, but accurately made out in every part ; and, like the legs and arms, are solid, fleshy, and glowing with the warm hue of life. The expression of his face, however, is not indicative of that extreme degree of exhaustion which a Greek soldier must have felt who had not strength sufficient to raise his head or get on his feet at such an inspi- riting moment : he seems more like one resting from fatigue. The head of the old man is a fine study ; and the figure and action of the trumpeter, instinct with energy, cannot be surpassed : his attitude is graceful and spirited, and his cheeks seem ready to crack. The horse is drawn in a masterly manner, and displays the artist's knowledge and careful study of the animal : the texture of his coat is, however, too smooth—which gives it a wooden appearance. The draperies, armour, and other accessories, are well painted; though the colouring is some- what harsh, owing to the want of reflex tints. Still, this defect is not painfully apparent; and the force and purpose of Mr. HAYDON'S style, as well as his power of drawing, redeem it. The effect of the picture is admirable; and as a whole, as well as in its details, it is one of the
finest works that Mr. HAYDON or any other British artist has pro- duced.
The exhibition is rendered more various and amusing by the intro.: -action of the Mach Election in the King's Bench, lent by the King to the original painter for the purpose. • • Those who have not seen this admirable production will be painfully interested in the melancholy scene, so vividly represented, of men " making their shame their pas- time ;" and those who have seen it will find it improved by the mellow- ness of its tone. There are also several small pictures of comic and domestic subjects. Of the former, Waiting for the Times is the best. A visiter at a tavern, who has finished his dinner and wine, is seated with hat and gloves on, and in "marching order" impatiently waiting his turn for the paper, and eyeing fiercely the fortunate Wight in possession, whose person is screened by the double broad sheet which he holds before him. The incident is well told, and the picture painted in a forcible and finished style, with a fine broad
effect. Artists will appreciate the skill with which the quantity of white in the picture is managed. In this, and in Sunday Even- ing, Mr. HAYDON has introduced a rich depth and breadth of effect which is new to us, from Mins The Falstaff is a caricature, and more worthy of KIDD than of HAYDON. The domestic subjects are in too severe a style ; and as the painter is apt to insist too strongly upon the minor points of the picture, the moral keeping (if we may lie al- lowed the term) is destroyed. The Dying Boy seems too robust ; and from his being clothed and seated in a pillowed chair in the parlour, we should guess him to be an urchin with a sick stomach merely. His mother's grief is well expressed : though her face is concealed by the handkerchief, her distress is not the less evident.
Of the three sketches of Napoleon's Musings, we cannot speak fa- vourably. Mr. HAYDON fails in depicting passive emotion ; he cannot deal with repose of thought as with the energy of action. The one re- presenting Napoleon in his tent, at Egypt, is the best ; but be is not in a calm state ; his countenance expresses sudden mental energy ; he looks as Brutus might at Ciesar's apparition.
The Mercury and Argus has been before exhibited ; and we cannot admire it : we see what the painter meant to do—which is good, but he has not been successful. Mercury holds his sword as a child would a dagger of lath ; and Io is so comical-looking a cow, that we cannot sympathize with the " fire-ringed eyes" filled with tears. The Achilles Playing the Lyre is of quite another sort : it is the true ideal of an Homeric hero. The all but giant bulk united with elegance of form—the union of grace and power in figure and attitude—we have • never seen more nobly delineated ; and the drawing and colouring are vigorously yet delicately natural. The head is grand, with good ex- pression. It is well painted, and most carefully finished. Were Mr.
HAYDON to paint historical subjects on this scale (cabinet size), he would surely have no need to raffle his pictures. He cannot plead in-
ability, for this picture will not only-bear, but requires close inspection. What a field is there in Homer for a painter of genius ! There Mr. Havnox would be in his proper element ; and we know of no artist of the present day who could equal him in this class of subjects.
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