THE SOCIETY OP PE3IA.LE ARTISTS.
The enterprise which last year began an exhibition created solely by lady-artists, is continued this year, and under more favourable con- ditions. The ladies are earlier in the field; they have migrated to a very advantageous site, Lord Ward's Gallery in the Egyptian Hall ; which his Lordship, as we hear, handsomely offered for their convenience; they have bespoken the cooperation of some of the best workers within their own ranks, absent last year ; the number of contributions is increased, and, even so, a very large quantity remain excluded, from want of room ; finally, there is a general aspect of increased solidity and competence of style. A considerable proportion of works sold at the private view ; and everything which meets the eye promises a fair field to this laudable and spirited effort, and its permanent establishment as a "fait accompli." For our own part, we need scarcely repeat that we wish every possible good to the undertaking ; and that the ladies will continue to receive at our hands—what we imagine they will prefer to mere unmeaning "compli- ments "—the same candid criticism for efforts honestly made, whether with a result of success or deficiency, which we give to men. The artistic nature is the same in woman as in man; the aim is not different; the means identical, the capacity, when properly developed by study and persistent work, is, as far as we know, equally fitted in each case for the attain- ment of high imaginative excellence. We rejoice to find that women are at last awaking to the conviction that fine art is the province of both sexes, and are determined to assert it ; and we are satisfied that no legitimate argument against the feasibility of a thorough and excellent practice of art by women is to be drawn from the fact of the almost total dearth up to the present time of female artists competent to enter the lists with men. What had to be made was the effort, in a genuine spirit of work, and not of dilettanteism, and it is being raade : we know no reason why it should fail, nor any insuperable limitation of its success. The absence of a complete catalogue as yet makes us take the pictures as they come, without system, beyond the division of off-pictures, water- colours, &c. OIL Pitcroasis. Harriette Hitchings : Rocks at Ilfracombe. A nice faithful study, pleasant in colour and manner. Mrs. Richards: Portrait of Mr. Fletcher Norton. The work of an accomplished hand, easy and sure, but not remarkable for individuality. Miss Sarah Linuell : Gipsies' Haunt. The style of the Lionel family is unmistakeable in this work, and others by other ladies of the name. Powerful, but somewhat want- ing in refinement. The autumnal oak-tree and other vegetation very clever in their way. Mrs. Brown : A Welsh Spring. We know no artist who renders the delicate foliage of the birch and other such graceful trees with more tenderness, feathery lightness of hand, and sweetness of feeling : the colour also, though a little immature, nicely expressed. This work, and two others by the same lady, show that a little more practice will make her a thorough, as she already is a true, artist. Miss Mary Linnell : Farm Road. Still better than the work already mentioned, by Miss Sarah Lio- nel : more stuff for development, and less tendency towards display. Mrs. Hurlstone : Oriental Pastime. The title rather ambiguous. The turn of the slim rounded body of the sleeping fair one is very sweet and elegant. Mrs. F. G. Thompson: Morning in the Riviera—Porto Fino in the Distance. Appears to be a good piece of artistic work, and is cer- tainly marked by delicate appreciation of natural effect. Hung out of sight. Miss C. Hardeastle : Autumn. A study of fern and foxglove, uncommonly firm and powerful in relief and tint. Miss Blunden The Emigrant. She has seated herself at the vessel's side, and buries her face in her hands, in tender womanly home-sorrow. The calm blue plain of the sea sways and murmurs on to the horizon, lit by the mo- mently varying hues of sunset, each more lovely than the last. This is a very touching work, and surprisingly simple : perhaps no one but a woman could have made its appeal to the sympathy quite so unerring and quiet. Mrs. Blackburn : Sea-Gull's Nest. We regret to find unfair- ness, perhaps spite the invariable characteristic of hanging-committees, female as well as Lie. Mrs. Blackburn stands almost at the very head of the corps of lady-artists, and this is an admirable work : yet it is placed literally beyond the range of unassisted sight. Every detail is elaborate without pettiness : the crinkled extremities of the ferns, the rippled sea, the bluebells and primroses. The varied sweep of the flying gull's wing is extremely fine and full of quiet mastery. The colour is objectionably dim, but true in its relations. Mrs. E. M. Ward : The Bath. A little fellow is contemplating ruefully his impending immersion by Susan the nursemaid ; another, still smaller, nestles under the bed- clothes till his own fatal moment shall come. This accomplished lady is never at fault in point of cleverness and efficiency : but the colour here is very raw and glaring, and the whole has something of a vulgar look. Miss Homer: Master Leonard Lyall. Well painted, with sprightly childlike expression, approaching that for which Sir Joshua Reynolds furnishes the type. Nannie Leigh Smith : Lizzie. A little girl crowned with a hop-garland. Simple and good, though one can see the hand of a beginner. Mrs. Carpenter : The Little Boat-builder. A very fair ex- ample of this lady's professional skill. Mrs. Blackburn : The Defenders of Glasgow. The fire-brigade rattling their engines along the streets. Like Mrs. Blackburn's other picture, hung out of sight; in colour, per- haps an advance in skill upon anything she has before exhibited. Miss Fox: Portrait of W. 1. Fox, 31.P. An excellent likeness, and very suc- cessfully painted : resembling Knight's portraits, and not greatly inferior. Mrs. Robbinson : Ballad-Singer, Connemara. Our exhibitions have been for some years familiar with imitations of Maclise by this lady, sur- prisingly like, and only too full of competence and confidence. She can do whatever she pleases in her own manner, but must discard it, and re- cur to nature seen through no one's spectacles, before she achieves any- thing of intrinsic value. Miss Witcomb : Flooded Meadows. Very clear and sweet; the delicate tinge of green in the blue sky caught with great refinement. Miss Sinnett : Portrait of Mrs. Wm. Bennett. Promises real excellence in portraiture : the flesh very firm and pulpy, and pure in tint, with rather too much tendency to whiteness ; the hands particularly well painted, In style, sound and unaffected. Miss Yetts : A Woody Slope. Another work altogether of the Lionell type, as modified by the younger generation of the family. To be like Lionel is a good way on towards being like nature ; and this nice picture shows that Miss Yetts has nature always in her mind's eye. Mrs. Robertson Blame: A Woman of Bethlehem. The large, musing, languid eyes very soft and naïve. Mrs. E. M. Ward : Flora, a Nursery Sketch.—A Good Meal. Both sprightly capital little things : the "Good Meal" is an unfortunate little live chicken which perhaps would not have thanked the sympathizing artist for looking upon him from that 'point of view. Miss Mary Con- stance Clarke : The Child of the Marshalsea (see "Little Dorrit.") Miss Clarke has entered well into the patient enduring character of Mr. Dick- ens's heroine, but need not have made her so decidedly ungainly in per- son, though she is no beauty in the book. The picture is a promising one, nevertheless. Ann Mary Hewitt: From a Window. A glimpse including Caen Wood, Highgate. Painted with a great deal of detail and resolute purpose of truth. The twilight meadow is lovely, and very delightful. In the strong hues of the American creeper and the crimson- streaked sky there is some failure of harmony. WATER-COLOURS. Mrs. Bodichon : Pass of Chifa Algiers. Perhaps no lady has pursued art in a more resolute heart; manner than Mrs. Bodichon, (hitherto known under her maiden name of Barbara Smith,) or has shown more natural aptitude, or power of cultivation. To use Mr. Mulready's expression, recorded by Ruskin, she "knows what she has to do, and does it." We do not of course mean that she is always, or entirely, successful ; but that her eye is right, and her band right, within the reasonable limits of frailty of an artist-student. Several de- signs of Algerian scenery and vegetation in this gallery attest her claims - the "Olive and Cactus," and the "Aloes in Blossom," are particularly careful, picturesque, and impressive in feeling. Some others are not up to Mrs. Bodichon's mark—the "Arab Graveyards," in especial; and there is a kind of compromise, or look of compromise, in most of the drawings, between mere tinting in blues and greys, and positive local colour. This is probably right as an educational process, but it lessens the interest of the designs, and puzzles those whom Mrs. Bodichon has heretofore accustomed to hues markedly positive and undiluted. Miss B. G. Townsend : Sketch of an Eton Breakfast-table. A pottle of straw- berries and other still-life, rather rich in colour. Mrs. Parker : View of Hillsboro ;from the Capatow Hill, Ilfracombe. A clear, green, brisk sea effectively rendered. Mrs. Higford Burr : Cathedral, korence. A real service was rendered to art by the careful studies which this energetic lady made of mediseval Italian buildings and decoration, in (*Operation with the active course of fresco-tracing undertaken by Mr. Layard. The drawing before us belongs doubtless to this series. Catharine El. Spooner: Malden Lane, near CO mbe Wood, Surrey. There is force here, but not yet well under the artist's control. Miss Stone : Edinburgh, frotn Calton But. The purple greys of twilight agreeably caught, and altogether creditable, as far as we can examin e it. The two studies by this lady of Ferns, and Fungi," are very faithful and beautiful, abundant without overloading, and strict without stiffness. Miss Malleson : Sunset in
relation The gorgeous sunset-reds attempted without timidity, and with
considerable richness and sweetness. Miss Malleson has some other meritorious designs, but perhaps this is the best harmonized among them Mrs. Elizabeth Murray : A Shepherd Boy. We paid this lady last year the tribute which her very uncommon power, facility, and vividneas, equally shown in action in expression, or in pia-League colour, so amply merit. We are glad to 'find now that the grave deficiencies then apparent in steadiness of study and realization seem to be in process of correction. There is still not a little to do ; and, if Mrs. Murray could miss being clever for the next two or three years, and only be vigorous, it would be all the better; but this, we suppose, is impracticable. Any artist might be proud of the ease and decision with which the line of this Italian shepherd-boy's body, poised against his grounded staff, is struck at once and finally. The face also is excellently rounded, substantial, and very national. The same may be said, in terms of even enhanced praise, of the chief female face in the drawing, "The Best in the Market." "An Old House at Ycod" is the next best of Mrs. Murray's contributions. "The Peak of Teneriffe " has perhaps more drawing in the middle distance and background than usual from her hand ; but here the colour is raw and rank—as indeed it almost al. ways is too bright and ungmduated, assaulting the eye' instead of tempt- ing it. The "Spanish Girl at Prayer" is a failure, though this too a right in the intention of the expression. Mrs. Murray cannot be too cautious how she proceeds, if she means to take a firm position, and do herself justice : if she is content with loud and rapid admiration, and with a display of talent which browbeats competitors and surprises loungers, she is already at the summit of her ambition. Charlotte James : A Reminiscence of the Temple Gardens in November 1857. This is a glimpse of the chrysanthemum-show, very nicely touched and tinted, though there is rather too much of spotty high-light, and reduced tone. These qualities happen to be not much amiss, however, in the drawing of chrysanthemums : in Miss James's other floral studies—all diligent and well done—they should be guarded against. Harriet Harrison: Cyclamen. Like other members of her family, Miss Harrison paints flowers agreeably, partly because she unmistakeably loves them. This cyclamen is pretty,—the "Spring Flowers" further on still better. E. Webster : A Winter Study. A small group of trees nearly leafless; well felt and carefully studied. Miss Isabella Jones: Old Houses is Rouen. A very clever Proutish study ; not up to Prout certainly, but well up to the more eminent among his disciples, such as Mr. Rayner. Mrs. Bunkhouse: La Rose de Louis XIV. We don't catch the appro- priateness of the title. The whole affair is but ballet-art, but shows ease of handling, which Mrs. Backhouse may some day be glad to apply to more solid purpose than any of her present contributions evidence. Miss Jervis : Cats. Quite admirable in expression—the mother-puss, ruffled and feeling the responsibility of her position, ready to pounce upon anything that presumes to disturb the placidity of her ugly carrotty kittens. Solid and vigorous in painting, too, besides the expression. Miss Barker : Bead of a Spaniel. Head of Setter. Also clever animal' studies, though with more of conventional dexterity. Mrs. James Has- sey: dunset, Chris/church Abbey, Hants. A modest little sketch, full of promise. E. Webster : Cottage-door in Kent. The colour rather dim, but nicely toned and blended. (Is Miss Webster a relative of Webster the Academician? The style might have a touch of his.) There is a white kitten put in so artistically in the threshold-corner as to make this _one of the most enjoyable pictures in the gallery. MISCELLANEOUS. Anne Winston : Copy of Teniers's Misers. Quite uncommonly successful in tone, manner, and general effect. Among that belated body of students, the copyists of old masters at the British In- stitution, Miss Winston would be a very Aaron's rod, swallowing up all others. The Copyright Commission ought to place her under sur- veillance. "A Lady " : Pen and Ink Sketches. We happen to have learned that, were this incognito broken the sketches from Italian cities before us would be enhanced in interest. But, in themselves, they are really beautiful—clear, sparkling, picturesque up to just the right pitch, with no make-up or nonsense. The Sketch of Florence may be called perfect in its kind. F. A. Claxton: Scenes from the Life of a Female Artist. Miss Claxton is evidently what ladies call—or used to call—a " quiz " ; and these sketches evince so much raciness and good-hoolser that some young gentlemen of our acquaintance would willingly com- pete to be laughed out of countenance by her. Nor is there any lack of artistic style in her designs. Miss Fraser : The Shunamite's Bev. The reputation which Miss Fraser has already. acquired for delicacy of sentiment and execution ought certainly to gam by this little series: we rate it as her best. Miss M. Gillies : Portrait of a Lady. A large-sired miniature, dignified in manner and expression ;
the artist's skill. Frederica Bremer: Miniature of a Swedish Lady. "We point this out to the curiosity of visitors ; candour forbids us to say, le, their admiration. Miss Durant : Statue in marble of Robin .Hood. 1 we are not mistaken, a plaster cast of this figure has been exhibited in the Academy. It is a very creditable work. Mrs. Fiddler: Savage Ne-
e first-rate example of A spirited and well-executed group of wild horses. The reader will have observed, from the titles, that the lady-artists are generally modest in the range of their efforts. This, we have no doubt, is as it should be for the present. Modest achievement, or even study, is better beyond all kind of comparison than presumptuous non-fulfilment : but we hope that, as the exhibition gains maturity, it will be no Pre" sumption for ladies to grapple with important subjects of passion or pa- thos. We have by no means exhausted the list of works for which there is a good word to be said, and we believe that others remain still to be exhibited; but generally, for those which we have not had space to aPe- cify, the description of pleasant feeling, with a more or less near ap- proach to adequate execution, would be found to suffice.
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