PICTURES AND ARTISTS.
NEW WATER-COLOUR SOCIETY, EXETER HALL. THIS young society stands its ground manfully, notwithstanding the secession of several exhibiters since last year It has now become consolidated ; and though in forming a permanent body of members,
prepared to sink or swim together, its dimensions have been contracted at first, we doubt not but it will grow. in strength and size every suc- cessive year. This being still the only society of water-colour painters open to all, it will become a sort of nursery of nascent talent ; and what it lacks in maturity of power, will be compensated by the interest which attaches to fresh indications of rising promise in an art yet com- paratively young.
The present exhibition_, humble as are its pretensions, will gratify
those who are attracted by the novelty of attempts by artists new to this style ; while such as are pleased with any imitation of nature in a pictorial shape will recognize touches of truth in the modest as well as the more ambitious efforts of tyros.
On entering the room, the visiter will be struck with the glare of
colour ; the effect of crude and injudicious attempts to attain to the high tone of painting that prevails in all modern exhibitions. This defect, however, is not to be taken as a proof that "exhibition pitch" is in too high a key for nature. The free and unskilful use of raw tints has a more glaring effect than brighter colours harmoniously combined and mellowed in tone. The two most powerfully-painted pictures in the room, for instance, are two splendid Fruit pieces by LANCE, (136 and 148); whose dazzling hues are borne up to a rich deep tone by the harmony of effect. They are not coloured beyond nature : on the contrary, the pine-apple, grapes, and pear, in 148, look like reality ; and might stand a comparison with the actual fruit. A glance at a brightly-coloured piece of still life (141), by SHEPHERD, just below, will at once explain what we mean. The objects in this picture are not equal in richness of colour to the reality ; yet they appear more highly-coloured than in nature. Mr. Pastas's elaborately-finished picture "The Greek Mother" (144), maintains its position between LANCE'S paintings, by force of colour, but it looks overcharged, -though it does not enrich the eye as its rivals do. The exhibition, on the whole, is strongest in Landscape ; water colours being peculiarly well suited to imitate freshness and aerial tone of out-door views. E. DUNCAN is foremost in the number, maturity, and talent of his landscapes. They are solid, sober, truthful, and powerful ; and his marine pieces are remarkably faithful. DOWNING, In two large drawings and meny smaller ones, displays a style more ambitious than agreeable. In seeking to attain breadth and aerial effect, he has lost sight of solidity. His buildings are of cobweb texture, and deficient in local colour as well as substance : even his atmosphere is vacuum. He shows power, nevertheless, that may be rendered efficient if it be made subservient to the imitation of nature. flown is another artist whose style is ambitious, but it does not run so wild. In his view of Cologne (244), he emulates the breadth and purity of CALLCOTT ; though the water is almost nonentity. nig numerous little sketches of Gothic architecture and figures are touched with spirit and cleverness, resembling CarrEastosE too much, but showing original talent and feeling notwithstanding. We anticipate great things from him. 0. SIMS'S sketches are admirable for sobriety and truth, and a free, bold touch, and artist.like style. In his more finished pictures, he uses red injudiciously. MARSHALL, though he displays a too exclusive fondness for violent effects, evinces talent and observation of nature. LINDSAY, in aiming at brightness of colour, becomes artificial, though he evidently looks attentively at natural effects out of doors. His landscapes, which are care- fully finished, have the smooth gay look of a coloured print. A little more experience of the mechanical part of the art will enable him to do justice to his perceptions of what is beautiful in colour and effect. FAHEY, who also colours brightly, imitates the aerial fresh- ness of nature with considerable success, and shows a feeling for land. scope that only requires more matured skill to develop very delightfully. OLIVER, too, evinces a nice apprehension of atmospheric effects. CAMPION has made several bold attempts to represent the romantic features of mountain scenery, and with a degree of success that bids fair to attain a higher point. INIAISEY'S smaller and lighter sketches we prefer to his large picture ; which is comparatively less effective. SIDNEY SHEPHERD'S numerous street views are remarkable for verisi- militude, though too gaudily painted, and neither so true in local colour nor so neat in execution as is desirable in these literal pictures. In rural scenes he is more true : a haystack and tree, at mid. day (234), are sunny bright.
SCIIARF, who excels in a Dutch fidelity of representation of Local
Scenes, and Buildings, is the very reverse of SIIEPIIERD in style ; being as much below the tone of nature as he is frequently above it. A panoramic view of the Ruins of the two Houses of Parliament, taken from the top of Westminster Hall, and including all the objects within view from that point, is an extraordinary specimen of Mr. SCHARF'S ingenuity and perseverance. It is painted with extreme elaboration and minuteness, even to the indication of the melted lead on the roof, and he colour of the houses in Abingdon Street ; and the effect of reality is siirprising, nor-. ithotsnding a want of force in the painting. The picture is out flat, but angular; in order to diminish as much as pos- sible the incongruity unavoidable in a panoramic view represented on a plane surface, and seen from one point. The spectator must therefore fancy he is standing on the south-east tower of Westminster Hall, and looking all round him. Below the eye are the ruins of St. Stephen's Chapel and the Speaker's house and Cloisters : the workmen are visible on the scaffolding of the present temporary houses, and the people in the street beneath ; and in the distance are seen the Bridges, Lambeth Palace, and the Abbey. The artist proposes to make a lithographic print from the picture. The original is a pictorial record—a document of official value.
In designs of Figures, this exhibition is not rich. KEARNEY takes the lead, with two clever historical subjects; the Slaughter of Comyn by Bruce (104); and Popish Queen Mary receiving the address of the City at Framlingham (54). This last is painted with con- siderable power the character of Mary's physiognomy is admi- rably preserved. He also exhibits one or two poetical designs, and several views of merit. There is a pleasant vein of humour in some slight sketches illustrative of Peregrine Pickle, by WEIGALI4
and a couple of little fancies (205 and 221), in which cocks are the dramatis personw, will excite a laugh at the ludicrous applicability of the quotations they illustrate. The look of rage and defiance with which a Dey of the Dunghill asks of the enemy who dares to molest him,
" Do you bite your thumb at me. Sir ?"
and the self-important strutting air of Chanticleer, who, adopting the country actor's new reading of SHAKSPEARE, says as plain as he can crow, " 'Tis I, my lord, the early village cock "—are bit off with the felicity of LANDSEEIL There is also a spirited and well-conceived study of Janet Gellatley (322), by the same artist. These are indica- tions of originality of mind that promise, if further developed, to pro- duce great things. Mr. WEIGALL is, we understand, a gem-engraver of eminence, though we are not personally acquainted with his talent in that art. We hope he will pursue the practice of design in pictures as well as on stones. We have also a second remarkable instance of an artist of great ability in another branch of art essaying painting. Mr. HAGHE, whose lithographic drawings are so justly admired, shows various and striking talent in a study of landscape effect (95); an inte- rior of Tournay Cathedral with a procession of Monks (131); and a powerful picture of a Janissary chief (147), in which the sumptuous indolence and despotic will so characteristic of the Turkish commander are portrayed admirably. Of B. R. GREEN'S Portraits, the best and most interesting is one of Rammohun Roy, the son of the late Rajah of that name (33). ROCHARD'S Miniatures, HARDWICKE'S sketches of Architecture and Figures, and RIYIERE'S studies of Rustic Life and Character, also deserve particular notice.
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