FINE ARTS.
EXHIBITION OF MODERN BRITISH AMT.
Ax exhibition under this title was opened on Saturday last, to private view, at the Gallery of the Old Water-Colour Society. Its promoters—a body of amateurs—aim at bringing the artist into immediate commu- nication with the purchaser; and "no charge is made either for the ex- hiition or disposal of any work." The advantages of such a system ass palpable. The artist is enabled to make his work public, without expense or deduction of any kind ; while facilities are at the same time offered for that which mainly recommends private sale—its directness of transaction.
In another respect also this undertaking is satisfactory. A long annual interregnum has hitherto prevailed in art from the closing of the Academy in July to the opening of the earliest exhibition in the succeeding Fe- bruary. Some cause may be assigned for this so fur as the artist is con- cerned,—the necessity for devoting ample time and thought to his labours for the ensuing year; but for the public it is anything butdesuable, more especially for visitors and foreigners, who would scarcely know in what direction to look for a compendious sample of living art. The first step towards remedying this was taken by Mr. Grundy last year, when he opened his Winter Exhibition. But that was essentially a dealer's ex- hibition—a matter of business benefiting its agent, through both artist and public. We speak without in any way prejudging the case when we express pleasure at an undertaking in which the painter's profit is as im- mediately consulted as the dealer's. The collection comprises various works from private galleries, and se- veral not intended for sale. Among these are some sketches for pictures- already exhibited in their finished state : of which. we could have spared Mr. Johnston's " Hay-field" (39), Mr. Frank Stone's, " Impending Mate and Mated" (170), Mr. Brookes, and Mr Goodall's,—suggestions of what has never been adequately carried out, and perhaps never deserved to be so, and offering therefore no points of interest or instruction. Mr. Egg sends. " Three Scenes from the Devil on Two Sticks' " (128) ; one of which only,- now in the Vernon Gallery, do we recollect to have seen executed. The tone of the studies is rather bronzy, but the story ie well told. In the "Katherine and Petruchio" (282) we observe that the leg of the male figure is less violently foreshortened than in the picture., and in better drawing. Mr. Hook's "First Sketch of a Picture of Francesco Novelle and his Wife " (114) is in a tone of deeper mellowness than the work, exhibited this year. Here are Mr. Ward's sketches for his pictures of the MSS. of the Vicar of Wakefield and Robinson Crusoe (78 and 123), and Mr. Frith's for his " Coming of Age" (118), "An Old English Merry-mak- ing" (134), and "The Village Pastor" (153) ; the latter not going beyond a very careless compilation of commonplace. No. 2455 " Lord Foppington Describing his way of Passing the Four-and-twenty Hours," has not, we think, been carried out; and, indeed, it would not be easy to amplify so Limsimple a composition of so secondary a subject into a picture. Mr. Lin- n exhibits a " Study " (148) of his Venice ; one of the honours of land- scape art in the present year's Academy ; besides two other small works, stamped with the impress of his power. The best strength of the collection is centered in the works of Messrs. Armitage, Kennedy, and Anthony. A small picture by the former, "Socialists" (274), sent to—we cannot say exhibited at—the Academy; is here so placed as to be visible. Each figure is full of capital character. By the same painter, original and supremely artisan, is " The Artist's Siesta in the Forest of Fontainbleau" (122) ; a work whose materials would be comic and even grotesque, were they not managed with con- summate skill. Stretched lazily in the sun, and resolved to be idle and luxurious, his hat covering his face, is the artist, a genuine' member of a French atelier' habited en blouse. A whitish parasol expanded occupies the centre of the composition ; and everything has settled down so si- lently in the heat that two rabbits come out and investigate the neglected paint-box. A singular effect is produced by the frequent scattering of loose stones over the green of the background hillock, with the sunshine brooding steadily over all ; and the spectator can believe the whole to be fact painted• foot by foot. Mr. Xennedy's pictures, "The Inconstant" (164), and "The New Ballad." (172), are simply deli- cious; cool like the entering into a bath in July, and warm too as new milk. Yet, after all, wherein lies their beauty ? Are they well drawn ? ie there beauty of form, of face, or of expression? is there truthfulness of detail, or literal fidelity of general aspect ?—There is none of these. Elevation there is none, nor character, nor invention. The thing does not affect the thought, and the soul stands by and kaows not of it : but the sense drinks it in like perfume or the first breeze of summer. It is earthly, but not earthy. No faintest glimpse of heaven, indeed ; nor gross clogging matter of earth ; but a perception of a Maho- mctan paradise; sense subtilized as in the visions which opium creates-. There is nothing moral in Mr. Kennedy; strictly speaking, nothing im- moral. This Inconstant kneels to one lady in the presence of his former love. She is a little disdainful, piqued perhaps, but not indignant. She was not made to be indignant, but to charm, and baa no business there under any other conditions. We feel that all this is enervating, if not debasing ; that it ought to cloy on the sense, and shame us ; but it does not cloy. It should pall, but it only refreshes. One can look at the painter's works, and guess how life may have been possible in the Bower of Bliss, and what Cymocles was, and his nymphs. " The Landscape- Sketch " (133) is a jumble of colour, scarcely assignable to any motive or principle ; yet gloriously dark and cool ; a thing accomplished in its way; finished before any beginning has been made. Mr. Anthony, again, is an exceptional painter. He does his work by strength of will ; and has the instinct of means, while Mr. Kennedy pos- sesses the perception of result. Mr. Anthony seems to fight through his work. He will do a thing; and there it is. He works with prodigious, force and by means of a prodigious heap of material. Others would find the effort defeat itself by excess ; but his natural power can bear it with- out overstraining, and everything finds its place at last. We can imagine him treating his ideas like Dante's Cerbcrus the ghosts
"Graffia gli gli scuoja, ed isquana"
yet they cohere, though rent piecemeal. "The Guerilla Watch" (11) is a load of colour which no theory would attempt to justify, but which is explained by its result. "The Wanderer" (215) may probably in the course of its working have been a blotch, but the upshot of alt is here. An utter:abandonment : there is no help in the sky, which retreats on either side lowering storm, nor in the level earth bare around them ; the mother lies along the road, with relaxed limbs, uncomplaining and vacant ; while the child reaches back groping into the blackness of her shadow. Here is genius. The process is the artist's ; the product is here for us to
judge.
Mr. Topham has somewhat redeemed his position with the works here exhibiting. "The Highland Mother " (131) especially shows refined natural feeling. Mr. Kenny Meadows's two Shaksperean scenes, from "Twelfth Night " and "As You Like It," (26 and 32,) are in his least happy and most mannered. and exaggerated vein. Not a little resembling. this artist's style is Mr. Elmore's "Beatrice" (40),-a lady of puffy charms ; but there is very skilful painting, with some expression, in " Re- flection" (34.) Mr. Alfred Fripp, a gentleman whose declension and up- rising seems to accompany Mr. Topham's, shows, like him, to far better advantage here than in the Water-Colour Gallery of the present year. We observe, however, that the " Interior of a Fisher's Cottage" (300) bears the date of 1844. No. 42, "Sketched in a Garden at Clapham," by Mr. Chalon, and his " Sophia Western " (72), speak of his graceful and practised hand ; but the lady might be rechristened Lucy Waters, and be only the more appropriate in character. Mr. Hunt's " The Admonition" (86), a figure of a monk, shows his usual strength and accuracy of ex- pression ; his fruit-pieces are such marvels of imitative art as their pre- decessors for some years past have been. A " Sketch for a Picture of The Neapolitan Saint-manufactory' " (54), by Mr. Uwins, R.A., is a worthy companion to his " Development" in the Miniature-room of the last Academy exhibition ; and therefore, we need scarcely add, not worthy of much commendation. The original sketch for this artist's "Cupid and Psyche" (156) possesses some grace, but of the kind which verges on feebleness. Mr.. Jenkins's best work is " The Close of Day-a Study" (85) ; being less a conventionalism from his own previous works than is often encountered : his other designs also are in his better style. Of the same school, but of superior quality, is "The Gentle Reproof" (197), by- Mr. W. Lee ; a very graceful design, tender in expression, and exe- cuted with delicacy ; altogether of high character in its line. The feet of the elder sister struck us as too big,-a fault against the common tenden- cy in such works.
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