BRITISH INSTITUTION—THE SCULPTURE.
Ox a second visit to this exhibition, we were surprised to see a marble statue, the size of life, which was not there before. It was scarcely pos- sible that among the very few specimens of sculpture iu the gallery-- most of which are huddled together like so much crockery on a side- board—so prominent a figure should have been overlooked ; and on re- ferring to the Catalogue, no such work as Dacia Slaying Guliah, by Louci:, is to be found. The explanation of this circumstance will give an idea of the way in Which matters are managed at the British in- stitution; the Governors of Which include some of the highest nobility and the most distinguished patrons of art. The statue of " David" was refused admittance, on the ground that it was too large to be got up stairs. Mr. LOUGH, indignant at this lying subterfuge, made his ease known to one or two of the Directors, whose interference caused the miracle to be wrought by which the alleged impossibility was made practicable ; and his figure now stands where one of the same dimensions by CAREW stood three or four years ago. Meanwhile, Mr. Loucies name does not appear in the Catalogue ; his work is not noticed by the press, nor seen by the privileged many who have the entree at the private view--for but a small pro- portion care to pay a second visit to this gallery now. Lucidly, it is a commission from Earl GREY, so that Mr. LoucH has not lost a purchaser. A trumpery plaster model for the Nelson Monument, that has hsett exhibited till people, disgusted at the result, are tired of the subject, is stuck up in a conspicuous place, because it is by tin Acade- mician, while a noble statue in marble is excluded on a false pretence, because the sculptor does not write R. A. after his name.
We are weary of repeating the question, How long will such things
be permitted ? Year after year have we called ettention to the dis- grace:id doings at this Gallery but hitherto in vain : we can only re- peat that the Directors are guilty of a dereliction of duty in sufftseng such scandalous abuse of a public institution. At no one of the five Annual Exhibitions can an unfriended artist be secure of his works finding a glace where they may be seen to advantege. The Academicians monopolize all the best places at 'Trafalgar Square ; the petty clique in Suffolk Street mimic the n,i,,,leeds of their betters ; the tiv,; Water- Colour Societies only admit the productions of members ; and at the British Institution no one has a chance who does not condescend to propitiate the manager in a way that is unlisppily too noto- rious. What a reproach to the arts of the country ! Nor are the artists themselves free from blame. They are content to sub- mit to injustice, till it is their turn to profit by the wrong which places others at a disadvantage. A new gallery is talked of; but if it is to be conducted on the old system, it will only be a new evil. We fear the artists are too much split up into parties to act consentaneously and with disinterested spirit ; else a free and perpetual exhibition, is proposed in this journal by 3Ir. Pam: the sculptor, on the plan of that at Rome—where each artist rents a cer- tain space of wall for a given time, on which lie may display any pic- tures he chooses--would be the most desirable.
To return to time Sculpture. Mr. LOUGH'S static is a noble figure of a man, in a graceful attitude, finely modelled, and sculptured with a degree of fleshiness rarely seen iu marble ; but, besides being too mature a form for a stripling, neither the look nor action are charac- teristic of David at the moment after he has launched the stone that slew the giant : the action and air of the upper pastor the flame remind one of the Apollo, though the position of the lower limbs is different ;
but the calm dignified energy which is an appropriate characteristic of godlike power, is unsuited to the simplicity and ardour of the youthful David. It strikes us, moreover, that the repose of as figure after the violent action of slinging a stone, would not be of the kind here shown—the right arm placidly extended, and the hand, yet grasping the sling, open, We urge these objections the more strongly, because we think Mr. Louon has not hitherto done justice to his almost unrivalled powers of modelling, by giving his inventive faculty fair play : his admiration of the antique interferes with his perception of natural action and cha- racter, and prevents hint front receiving the highest honours of genius— the credit of originality. A model in clay.of a Female Captive, by the same artist, is a fine combination of beauty and suffering; but it is almost a plagiarism from
MICHAEL ANGELO.
A Statue of an Orphan Flower-Girl, by Miss M, FRANCIS, in the North room, will not fail to excite admiration of its sweet simplicity and natural grace—though the forlorn expression essential to convey the idea of an orphan is wanting: the sharp folds of the drapery vary the effect of the mass without interfering with the repose, and set off the delicately-rounded limbs. Tin' Young Champion, (4560 by T. KIRK, is a spirited group, less than life, of an urchin gallant protecting his little sister, who seems entreating her defender to forbear : the threaten- big attitude and angry front of the " young champion " are capitally expressed. A miniature group in plaster, by CALDER Mansnate Hercules Rescuing Hesione from the Sea Monster, (448,) has great merit : the look and action of the nymph as she clings imploringly to her deliverer, are expressive and beautiful iu the highest degree.
Previous page
