A Roirs.r. Coatausstosi and. an Act of Parliament, both having
markable power of suggesting action. The group of Arabs on in view " the improvement of the stream, bed, and banks of the the right hand are positively alive. A masterly drawing of " An Thames," bodes no good to artiste who have been used to derive Amphitheatre " (306), and an (apparently) early sketch of the from them ta their actual condition some of their highest inspira- " Watzmann " (276), with its bare peaks and craggy slopes, are tion. Hitherto, indeed, the omnipotence of the Legislature seems well understood, and full of character. A comical contributor to to have availed only to provide all persons passing through a a daily journal has taken occasion, from this present Exhibition, to Thames lock with neat tickets of pink paper, which they are to rate Mr. Haag severely on Ms excessive use of body-colour. Those deliver up at the next lock they reach. But graver things are who never saw Mr. Haag's drawings will scarcely believe that he apprehended. Father Thames is to exchange his waving reeds and never uses that vehicle. Yet, so it is; and it would be juster to crown of sedge for a close crop, and his loose green mantle for a say that he is the only member of his Society who at all times strait-waietcoat ; or, to speak plain prose, his banks are to be confines himself to transparent colour than, with the Daily Tele- neatly hemmed, his bed scoured, and his wooden locks replaced graph, to accuse him of loading his sketches and drawings with with brick and cast iron, and on his stream, instead of the pictur- an impasto of Chinese white. Mr. Haag is, indeed, a master in esque sail or oar, the fussy and abominable steamtug. The immi- rendering surfaces—texture, as it is called ; and so many artists nence of these changes has during the past summer crowded the of the present day are satisfied with effects of this kind, which Thames with an unusual number of artists eager to rescue a few they can produce with body-colour, that a careless or ignorant last nuggets from that well worked yet still unexhausted mine of observer might suppose that this was the only way to a like end. the picturesque. Mr. G. Fripp, as he was about the first of his But one who sets up for a teacher would do well to remember an Society who perceived and transferred to paper the peculiar essay by one of our greatest humorists, in which he labours to beauties of the Thames, so he ha never ceased frequently to prove that it is good before writing on a subject to learn something revisit scenes which, many as have been his followers in about it. Mr. Haag is a great example to his weaker brethren, the same field, none have excelled, or indeed equalled him that what they aim at with body-colour is only to be completely in truly and feelingly representing. He has always, too, been attained by thoroughly eschewing it. Among the more skilful
a little before them in breaking new ground ; and at this moment employers of this vehicle are Mr. Holland and Mr. F. Walker. he is alone among the long levels of meadow and broad cornfields, The latter is a good colourist, and escapes the incongruity with their busy complement of haymakers and harvesters, through which is a fault common with those who are not blessed with which the river winds so silently. The frame (180) contains an eye for colour, yet seek for solidity or texture in a corn- several of these, all lighted by the veritable light of day. The bination of diverse media. He exhibits a sketch , which is very lower one on the left hand may be particularized as a singularly good in colour and tone (336). Mr. Holland has no equal as a good specimen of a sketch, slight perhaps, but admirably arranged, brilliant sketcher of flowers (360), and his landscape sketches are, and abounding with the life of true gradation. The golden light among their other merits, generally very instructive, as showing of a summer afternoon was never more freshly painted than in the points on which he thinks it needful to dwell. Look, for in- " Rush-Cutting" (39), while (69) and (112) show how, in the stance, at the few characteristic lines which he has selected hands of an artist, the commonest materials. may be made to in drawing the distant mountain in his view of Genoa convey a seuse of the serene beauty of Nature. Messrs. E. (316). His are as properly examples of " sketches " as Mr. Duncan, J. Jenkins, and S. P. Jackson each contribute Thames Danby's or Mr. Davidson's of "studies." Mr. Danby'a drawings. Mr. Duncan's designs are, as usual, fitted to the paper "Early Morning" (128), with its clear yellow sky, is one with unfailing skill ; but his colour is at fault, and smacks of the of the most charming bits in the Exhibition. Its greys studio. His greens are too heavy and his skies too leaden, and are perhaps not perfectly pure, being a little inclined to both are cold and poor. A little sketch of his of a sunset on the purple. Mr. Davidson makes progress in detecting the nicer sea-beach is, however, quite free from those faults, and far gradations of tint and shadow in nature ; and is therefore on the worthier of the artist's fame. Mr. Jenkins' colour is yet further high road to the acquisition of the highest of all arts, the art of from being either simply true or artificially beautiful ; and making a picture by simple means, without transparent artifice. Mr. S. P. Jackson, with all his apparent industry, quite fails The upper of two little drawings in frame (379) fully attests this to reach the heart of the matter. His drawings are not untaste- advance. There is no more devout worshipper of Nature, or more fully composed, but each object, or set of objects, is as flat as a steadfast searcher into the arcane of hie art than Mr. Doclgson. side-scene at the theatre, artificially separated, and unnaturally With no particular facility of execution, he has a method of his disjoined from the next, by a too obvious and violent change of own which seems peculiarly adapted to express his thought, and tint ; while the popular notion of " finish " is flattered by innu- what his thought is like may be seen in a powerful coast scene, merable brush marks, which might as well have been laid on by "Whitby Scaur " (181), a great red cliff (deliciously " broken " machinery. It looks like painting with the fingers, but not at all with grey), with an angry sea below. The progress of the artist with the mind, and the result is laborious shallowness. Of quite is visible on comparing this, which is a late work, with another sort is Mr. Alfred Hunt's work. This artist has never some earlier sketches, such as "The Interior of St. John's, before painted, or at least exhibited, Thames scenery. He brings Chester" (75), a broad and effective sketch, yet lacking the to the task a sensitiveness to the more subtle qualities of nature, a fullness and refinement of the other, where, for instance, a refinement of taste and an enthusiasm for his art, which was sure host of atmospheric effects not dreamed of in the early work to produce, and have, in fact, produced sketches and studies of are noted, and compelled by a masterly process of generalization great originality and great beauty. The study of hay-carry- to play up to the final result. Progress similar in kind is to be ing, in cart and punt (349), has a quality and fullness of colour observed in the sketches of Mr. S. Evans (281, 311). They have rarely attained by any artist ; and with its lightly floating con- more of what artists shortly call " quality " than any of his pre- gregation of small clouds reflected in the calm river surface, its vious paintings. So has a sketch by Mr. Smallfield of "Hedge- stately ehns and atmosphere loaded with sultry sunshine, satisfies Bow Elms" (267), throwing their long shadows on the sloping the eye and imagination with a presentment of nature that grass ; a somewhat awkwardly composed, but very artist-like is as beautiful as it is faithful. Opposite to this hangs drawing. Among Mr. Boyce's sketches, "Carting Hay at Arisaig " another (333), scarcely, if at all, less delightfully painted, (331) should be remarked for its beautiful sunshine ; and among quite in a different key of fresh green and pure grey ; and of the Mr. B. Jones's, his very harmonious study of colour on one screen rest of Mr. Hunt's sketches, whether in colours or in sepia, it (371) may fairly be set against a shockingly harsh blast of blue may be said they are all the reverse of common-place, and give on another (355). It may, however, be a question what is the evidence of thought, and of a desire not to astonish others, but tendency of such art as this, founded, as it is, not at all on direct to satisfy his own high sense of an artist's duty. The value of intercourse with nature, but on recollection of a bygone stage in these qualities may be estimated by comparing such work as Mr. the history of painting. Mr. Birket Foster exhibits two sketches, Hunt's with that of others even in this gallery, whose only object "Tees High Force" (356), and " Newbiggin-by-the-Sea " (373), seems to be to try how far general ignorance may be imposed on which few at first sight recognize for his. They are vigorous,
without risk of discovery. freely handled, and luminous, and show that if Mr. Foster will Finished painter as he is, Mr. C. Haag is no less distinguished as but abandon his wretched habit of scratching all over his draw- a sketcher. Not only is he skilled in all the mechanism of art jugs with a metallic pen,—if, that is, he will paint for Art's required to make a complete picture, but he has the compreheneive
_As R rr. perception needed to seize an idea clearly and firmly, and to suggest it by means that appear slight, but which plainly.convey
SKETCHES AND STUDIES BY THE WATER-COLOUR the intention. The " Halt at the Pyramids" (6) is a good ex- SOCIETY. ample of his accuracy and freedom of drawing, and of his re- A Roirs.r. Coatausstosi and. an Act of Parliament, both having markable power of suggesting action. The group of Arabs on in view " the improvement of the stream, bed, and banks of the the right hand are positively alive. A masterly drawing of " An Thames," bodes no good to artiste who have been used to derive Amphitheatre " (306), and an (apparently) early sketch of the from them ta their actual condition some of their highest inspira- " Watzmann " (276), with its bare peaks and craggy slopes, are tion. Hitherto, indeed, the omnipotence of the Legislature seems well understood, and full of character. A comical contributor to to have availed only to provide all persons passing through a a daily journal has taken occasion, from this present Exhibition, to Thames lock with neat tickets of pink paper, which they are to rate Mr. Haag severely on Ms excessive use of body-colour. Those deliver up at the next lock they reach. But graver things are who never saw Mr. Haag's drawings will scarcely believe that he apprehended. Father Thames is to exchange his waving reeds and never uses that vehicle. Yet, so it is; and it would be juster to crown of sedge for a close crop, and his loose green mantle for a say that he is the only member of his Society who at all times strait-waietcoat ; or, to speak plain prose, his banks are to be confines himself to transparent colour than, with the Daily Tele- neatly hemmed, his bed scoured, and his wooden locks replaced graph, to accuse him of loading his sketches and drawings with with brick and cast iron, and on his stream, instead of the pictur- an impasto of Chinese white. Mr. Haag is, indeed, a master in esque sail or oar, the fussy and abominable steamtug. The immi- rendering surfaces—texture, as it is called ; and so many artists nence of these changes has during the past summer crowded the of the present day are satisfied with effects of this kind, which Thames with an unusual number of artists eager to rescue a few they can produce with body-colour, that a careless or ignorant last nuggets from that well worked yet still unexhausted mine of observer might suppose that this was the only way to a like end. the picturesque. Mr. G. Fripp, as he was about the first of his But one who sets up for a teacher would do well to remember an Society who perceived and transferred to paper the peculiar essay by one of our greatest humorists, in which he labours to beauties of the Thames, so he ha never ceased frequently to prove that it is good before writing on a subject to learn something revisit scenes which, many as have been his followers in about it. Mr. Haag is a great example to his weaker brethren, the same field, none have excelled, or indeed equalled him that what they aim at with body-colour is only to be completely in truly and feelingly representing. He has always, too, been attained by thoroughly eschewing it. Among the more skilful sake, and throw away the tricks, at once puerile and meretricious, which have made him so generally popular, he has that within him which may yet give him a place among true artists. Mr. F. Tayler's sketches of horse and hound are racy, as usual, and spirited. He is essentially a sketcher ; as also, by comparison with his more laboured works, is Mr. B. Willis. Mr. B. Bradley, the latest animal painter added to the ranks of the Society, has not yet exhibited anything on which to found very great expecta- tions. But on the whole, and in spite of the non-appearance of one or two of the most eminent of its members, the Society's Winter F.Thibition is on this occasion remarkably full of interest
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