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claim the boor. The apparent fa- No. 955. View from the water cility of the handling is also very of one of the Abutments, and one of fascinating to an artist's eye. the Arches of a Design for a Bridge.
No. 497. The Gloves nearly won. L. VULLIAMY—Simple and noble. No. 508. Blindman's Buff: R. Wes- No. 1049. St. Peter's, Rome, from TALL, R.A.-We are always pleased the back of the Colonade. S. PAto see great talents devoted to the Terson.-A very bold, rich, and illustration of scenes of domestic broadly-executed drawing. life. Mr. Westall has here presented We cannot quit the Library, withthe public with two beautiful little out loudly remonstrating against drawings, from subjects of a well- the introduction of pictures in oil known and cheerful description among the architectural drawings. They would make an attractive pair This is a practice which has been of prints.
gaining ground for several years ; No. 517. Portrait of Madame but we never saw it carried to so Ronzi de Begnis, in the character pernicious an extent as in the Exof Fatima, in the Opera of Pietro bibition of this year. The intert'Eremita. A. E. Chalon, R.A. mixture of pictures in oil with drawThere is no artist equal to Mr. ings in water-colours is always inChalon in subjects of this descrip- jurious to both, especially to the tion. He draws with great correct latter; but to architectural drawings ness and spirit, and decorates his it is destructive in consequence of figures with unrivalled magnificence the flatness of their tints, and of and taste; especially when it be- their seldom being made with any comes necessary to introduce any reference to general effect. We do splendid foreign costume. He is hope the Academy will see the im. then perfectly at home. We cannot, propriety of this innovation, and however, say that this portrait does will entirely reform it next year. justice to the original; a more beautiful countenance, and more simple
MINIATURES. attire, would have been, in our It is surprising to observe how opinion, far more expressive of the little discriinination is shown in this personal and intellectualaccomplish- very interesting part of the Exhibi. ments of the present Prima Donna tion. Mingled with and overpower. of the Italian Opera.
ing, by the gaudiness and rawness of
their hues, some of the most charmARCHITECTURAL DRAWINGS. ing productions of taste and genius, No. 964. Part of the County Hall, are a mass of wretched daubs, which Lancaster Castle, for trying civil would disgrace any shop-window in causes, and electing Members of the Metropolis; and which are, of Parliament for Lancashire. No.969. course, wholly unworthy of a place An Architectural Composition, from in the Exhibition of the Royal an idea of the Hollow Way between Academy of Great Britain. Never Argos and Mycene, on reading, surely was humanity imitated so
, , Pausanias, book II., Chap: 23 and abominably!" From amidst this
. 24. J. GANDY, A.- Two drawings full crop of tares and thistles we of a very opposite nature; the one shall glean a few ears of corn, al: being of fact, the other of imagina. though they are almost choked by tion ; but both exhibiting Mr. Gan, the vile weeds about them. dy's extraordinary and acknow No. 674. Portraits of the Hon. ledged talents : talents, which the Misses Drummond Burrell
. Mrs. country has reason deeply to regret, J. Robertson.-A Vandyke in miare not more frequently called upon niature. Nothing can exceed the in the execution of the various great beauty and grace of the drawing, architectural works of the present the sweetness of the expression, the day:
harmony of the colour, and the dis, No. 987. View of one of the Consol position of the general effect. No. Offices, in the Bank of England, in its 729. Portrait of a Gentleman, by the progressive state of construction. J. same fair hand, is full of intellectual Soane, R.A.-What a strictly ar- character chitectural drawing seldom is, ex- No. 816. Portrait of a Younge tremely picturesque and beautiful. Lady. No. 834. Portrait of a Lady.
S. P. DENNING. — Mr. Denning's trio of sisters, who all evince great admirable miniatures show the great talents. advantage which he now derives No. 803. A Head. J. BURGESS. from his early and elaborate studies -Nature herself. after Lawrence. They are finely No. 860, Portrait of a Lady. G. drawn, and replete with grace and H. Patten.-We were much pleased beauty. He must, however, guard with the sunny purity and clearness against becoming a mannerist.- of the half-tints in this clever little “ Squareness," as it is technically head. called, is a good quality ; but it ought not to be too manifest.
No. 688. Portrait of the Countess No. 620. Portrait of Canova : of Blesinton. A. E. Chalon, R.A. enamel after the original, painted at -An elegant portrait of a bewitch- Rome, by J. Jackson, Esq. R.A. in ing subject.
the collection of F. Chantrey, Esq. No. 703. Portrait of the Countess R.A. No. 621. Duncan Gray : enaof Denbigh. No. 819. Portrait of mel after the original, by D. Wilkie, Miss Kirkpatrick. A. ROBERTSON. Esq. R.A. in the collection of Lord -Mr. Robertson's pencil is free C. Tornshend. C. Muss.-in force from the slightest vulgarity. His and richness, and above all, in that male portraits lave invariably the most important quality resemblance air of gentlemen, and his female to their originals, Mr. Muss's enaportraits of gentlewomen. These mels unquestionably transcend any are fine specimens of high finishing. thing that has ever been produced.
No. 722. Portrait of Miss Paton, They are perfect fac-similes of the of the Theatre-Royal, Covent Gurden. works of which they are copies, and W.J. NEWTON.-Mr. Newton has which they render immortal. been very successful in transferring
No.506. The Duke of Wellington: to his ivory the feminine softness, enamel; after the original, by Sir mingled with intelligence, by which Thomas Lawrence, P.R.A. No. 509. this lovely and accomplished young St. John: enamel, after the original,
, , actress is distinguished.
by Sir Joshua Reynolds. H. Bone, No. 827. Portraits of two Children R.A. – Two very beautiful and of R. Pollen, Esq., W. C. Ross.- highly finished enamel paintings. Children are delightful creatures ; The first is a faithful imitation of and any picture in which they are one of the most characteristic porintroduced, if only tolerably exe- traits that ev's was painted. cuted, becomes interesting. How No. 533. Magdalen : enamel, from much more so when the infantile the original picture, by Guido, in the character is represented with so possession of Walter Fawkes, Esq. much truth and vivacity as it is in Farnley Hall, Yorkshire. J. LEE. this animated little composition. ; -This is also a very fine enamel.
No. 704. Portrait of a Lady. S. The tones of the flesh are remarkably J. RocyARD.-A spirited and richly soft and mellow.' coloured whole-length. Mr. Roch. ard seems to have studied Sir Joshua MEDALLIC PORTRAITS Reynolds with great benefit to him. self. In the depth and vigour of There are in the Library several his effects, and in the breadth of bis beautiful medallic portraits, by P. execution, he appears to us to be Rouw, and D. Morison; and some unexcelled in his branch of the pro- delicate and tasteful intaglios, from fession.
ancient and modern subjects, by S. No. 818. Portrait of Mrs. Salmon.
HENNING. No. 836. Portrait of Edward Foxall, Esq. Mrs. Green. These Death of Abel, hy Mr. Wood.beautiful miniatures recall to our We were much pleased with this minds the richness and mellowness picture, and, not having seen the of handling of poor Shelly.
name of the artist in former exNo. 681.. A Portrait. Miss hibitions, were induced to make Sharpe.- Firmly and vigorously some enquiries respecting him. We painted. Miss Sharpe is one of a have ascertained that Mr. W. is a Eur, Mag. June, 1823.
very young artist, and this picture with much skill, and the whole is his
first attempt at historical paint- effect is very striking and attractive. ing, and as such we must confess, it The colouring is chaste, and with a gives extraordinary proofs of his little more practice he will become powers. Adam and Eve are sup- a distinguished member of the proporting the dead body of their son. fession. We are happy in this opThe figures are correctly drawn; portunity of recommending a very the position of Cain is well managed, clever artist to public notice. * the lights and shadows are contrived
TAE NINETEETH EXHIBITION OF THE SOCIETY OF PAINTERS IN
(Concluded from page 446.)
No. 104. Corn-field--a Study from so fine, and various, and well-comNature. G. F. Robson.--A charm- posed a groupe of simple and artless ing little study.' We particularize beauty. it, because it has a certain sharpness No: 123. Passengers going off to in its execution, which shews that a Packet. Copley FIELDING.-We Mr. Robson can at his pleasure ab- must really repeat, with reference to stain from that excessive softness this drawing, the expression of as. and harmony, which severe critics tonishment which No. 40, called say have occasionally a tendency to forth from us, at the extraordinary degenerate into tamenes.
facility and inexhaustible resources No. 115. Scene at a Fountain, In- of Mr. Fielding's pencil. It is, as verary, North Britain. J. CRIS- old Christie used to say, “ a perfect TALL.—Mr. Cristall possesses the gem." rare power of imparting a classical No. 157. Hotel de Ville, Louvain. air to all his rustic figures, without S. Prout. — A magnificent town. depriving them of their natural cha- view. racter. Frequently have we con- No. 170. Scene on Bagshot Heath, templated with admiration such a with Sheep. R. Hills. — Apother scene as he has here depicted; and of Mr. Hills's highly characteristic as frequently have we wished to see drawings. The effect of the shower it faithfully represented on paper or in the distance is so true, that, as we canvas. To those who are familiar scowled at it, we reproached ouronly with the acquired graces of the selves for our indiscretion in having town, and who can admire only that left home without an umbrella. factitious elegance which is the joint No. 181. Study of Trees, near produce of the dancing-master and Oakingham, Berks. G. F. Robson. the corset-maker, this delightful - Nothing can be more tender and drawing may perhaps seem insipid. beautiful. But the man who can say with No. 213. Windsor. Copley FieldGoldsmith,
ING.-We thing Mr. Fielding emi
nently successful in painting up to “ To me more dear, congenial to my
whatever subject he proposes to himheart,
self. It is impossible to conceive a One native charm, than all the gloss of more picturesque and complete emart,"
bodying of the following antitheti
cal passage in Pope's “ Windsor will be long before he will be able Forest,” than this fine drawing forto withdraw his eyes from gazing on
In our last number we omitted to notice this painting by a young artist of considerable merit, and as our object is particularly to encourage youth. ful talent, we have here supplied the omission with pleasure.
* Here waving groves a chequer'd scene copy has been made for the express display,
purpose of its being engraved. It And part admit, and part exclude the
is, indeed, a lively and powerful deday;
lineation of that period of gay There, interspers'd in lawns and open
thoughtlessness, and innocent mis
chief to which the cares and anxieing glades,
ties of the world induce most of us Twin-trees arise that shun each other's
to look back with a sigh of regret. shades. Here in full light the russet plains ex
Never was hubbub more completely tend;
personified. Availing themselves of There, wrapt in clouds, the bluish hills the temporary absence of their masascend,"
ter, about a dozen fine, noble lads,
of the right age for frolic, are reThe introduction of the venerable paying themselves by every descripfigure of his late Majesty, in this his tion of license, for the previous refavourite haunt, has a very appro- straint to which they had been subpriate and pleasing effect.
jected. One of them, having asNo. 221. Solitude. G. BARRET. sumed the Dominie's seat, dress, and -Mr. Robson's "Solitude” is amidst office, is affecting, with great pomrocks; Mr. Barret's is among trees. posity, to hear the lesson of an imEach is admirable in its way. pudent young braggadocio ; who,
Nos. 232. 236. Studies from Na- with his arms a-kimbo, appears to ture. W. Nessfield. There are defy the terrors of ferrule or birch. several larger drawings by Mr. Ness- Another little vagabond, who has field in this Exhibition; but we were crawled up behind the mock-master's especially struck with these charm- chair, is emptying the contents of an ing little studies. They evince an ink-horn on his scarlet cap, a feat accurate eye, and a practised hand. that seems to be highly relished by When Mr. Nessfield can communi. the leering and winking bystanders. cate to his distances and middle- In the fore-ground of the drawing, distances, and to the tout-ensemble the sly and sudden twist of one end of his composition, as much trath of a form has sent several fellows, and gracefulness as he has given to who were amusing themselves on these fragments of fore-ground, he the other end of it, sprawling on the will rank with our most accomplish- floor. The distress of one of them ed landscape draughtsmen.
is of a very ludicrous nature. A fine No. 239. Drinkallia. J. STEPHA- rosy-cheeked apple has been whirled noff. “As soon as a traveller ar- out of his hand by the jerk, and is rives at Drinkallia, he must drink, making the best of its way in a dior be carried before a magistrate to rect line to an aperture in the boards, render account of his obstinacy.” which yawns.to receive it. In vain
Very humorous; and most deli- does its disappointed owner stretch cately touched. The figure of the his arm and fingers to their utmost sober culprit is remarkably happy. length to intercept its progress; it
No. 261. Boats on the Thames; is evident that in a second it must Gravesend in the distance. No. 265. disappear for ever; and he contemBoats on the Thames, Evening; plates the approaching and inevitaGreenwich in the distance. D. Cox. ble catastrophe with a look of unut-Two brilliant little drawings. terable despair. In one corner of
No. 263. A Picture of Youth ; or, the room there is a “ battle of the the School in an Uproar. H. Rich- books,” grammars, vocabularies, and TER., — The original drawing, of dictionaries are furiously flying which this is a copy, or nearly so, about in all directions; and some was the ornament of one of the ear- of them are letting in a little necesliest Exhibitions of the Society; and sary air by demolishing two or three its not having been immediately en- panes of the window. In another graved has been a matter of surprise corner, a fancied jockey, with a garto us ever since; convinced as we ter for a bridle, is riding a cockhave always been, that, if justice horse, at the rate of at least twenty were done to it, it would prove a miles an hour. Behind the door, a most popular print. We are glad young artist, whose own head is to find by the Catalogue, that this eminently beautiful, and seems to
have been suggested by one of Ra- this admirable drawing are equally phael's in “ The School of Athens," deserving of praise. Some of them is making a drawing in chalk, al- manifest truly Hogarthian humour. though not Italian, of the Pedago. Among these is an open copy-book, gue, to which he has of course im- on the leaf of which is repeatedly parted an abundant portion of ugli inscribed, what no doubt was the ness. Cautiously stealing in at the master's favourite sentence: “ Zeno door, and unperceived by any of the loved silence! Zeno loved silence! rioters except by one terrified urchin, Zeno loved silence.” On a slate, who endeavours, but to no purpose, shattered by coming in contact with to apprize his com-rogues of the ap- the knee of one of the overthrown palling fact, is the Pedagogue him- heroes to whom we have already self; whose irascibility is evidently alluded, is written " Vulgar Fracexcited to the utmost by the horrible tions. din which salutes his ears, and who We must now take leave of this grasps his slender rattan with an very interesting Exhibition; repeateager ferocity which threatens spee- ing our best wishes for the prospedily to convert the shouts of mirth rity of the Society, to whose genius and exultation, into the wailings of and talents bears such ample tespain and woe. The accessories of timony.
EXHIBITION OF THE BRITISH INSTITUTION.
In the course of the last inonth, nothing which he did not adorn;' the Gallery of the British Institution and his works prove to us, how much has been opened with an assemblage more depends upon the artist's skill of pictures by Sir Joshua Reynolds, in treating bis subject, than upon and a selection from the Italian, Spa- the subject itself. nish, Flemish, and Dutch Schools. “ His practice we have before us; In our next number we purpose his theory will be found in those mentioning some of the most beau- excellent discourses which he delitiful of these works of art; and in vered at the Royal Academy, which the mean time we think our readers can never be read by the lover of the may be gratified by the perusal of arts without interest, the scholar the following preface, which we ex. without delight, or the painter withtract from the Catalogue of the Ex- out instruction. hibition, and the tone of which, in “ Some of us remember the kind. our opinion, does great credit to the ness of his heart, and the complaGovernors of the Institution. cency of his character:—these dis
“ Ten years have elapsed since we positions led him in the practice of offered to public inspection the paint. his art, generally to select subjects ings of Sir Joshua Reynolds; and which belong to the gentler feelings, if at intervals of the same period, we and the kindlier affections of our were to present an Exhibition of his nature; but the examples here preworks, we are convinced it would sented to us fully shew, that the prove most useful to the painter, and most forcible expression of the gratifying to the public.
strongest passions was not above “ Taste and fashion seldom per- his reach. haps go hand-in-hand, but they ne. “ We are proud of our countryver were more at variance than when man; we rank him among the most Sir Joshua was in the full exercise eminent painters the art has proof his powers; female dress was duced; we honour his name; and never more unfavourable to the we hope others may be led into the painter's art, than at that period; same path, and may be excited by and yet female beauty was never re- his success to similar exertions. presented with more fascinating “ The liberality of the possessors charms, than by his pencil. The of ancient pictures has enabled us truth is, that he was one of the also to exhibit to the public some greatest masters of grace and ele- distinguished works of the Italian, gance that ever lived : 'he touched Spanish, Dutch and Flemish Schools.