THE ARTS.
NEW SOCIETY OF PAINTERS IN WATER COLOURS.
THE Exhibition season seems fairly to commence when the New Water Colour Society opens; and this season commences well. The walls are covered by about four hundred pictures; of which it may be said that very few fail to bear the traits of cultivated taste and skill, while many of this junior body are steadily making their way to the higher walks of their profession. Several of the pictures, we notice, have since Saturday been adorned with the pleasing label which indicates that they are "sold? The principal figure pictures, indeed, are not of so much stirring inte- rest in subject as they have been. Mr. Wehnert in particular has sobered down to very placid topics, an abstraction of the Angel of Peace; and a landscape representing " The precincts of a large city" at even- ing; the latter a striking effect. Louis Haghe has two pietures,-a fire- side scene entitled "The Veteran's Story," which is feebler in design than the artist's works usually are; and "Vespers in the Church of St. Anne, Bruges," one of' his finest productions. The effect of rich wood- work and rich stuffs in the dresses, with the crossing lights glowing in the distant aisle and glancing among the arches above, is very beautiful. John Absolon is not so happy as usual: in his harvesting scene of "Plenty," a work of some size, the composition is scattered, and a certain abstraction in the countenances imparts to the whole a want of life and reality: his two trifles, "Dorothy Vernon" and "The Proposal," are too small and slight-a sort of rough miniatures-to be more than pleasing scraps of patchwork. Edward CorbouM appears as if he would never cease to grow in mechanical skill, and never do what he might with so able a hand: his principal picture, "The Murderers of Thomas Chase of Amersham draw- ing up the letter to the Clergy," is a capital specimen of his powers and, his fault. It is by no means devoid of expression; on the contrary, the Cardi- nal's pleased countenance, radiant with a cruel animation, and his animated action, are conceived in a truly dramatic spirit. But the design is overlaid by the details. Although the countenances are good, and the action better, the still life is best of all,-especially a magnificently painted suit of plate armour. For force of effect and truth of colouring, water-colours have never gone beyond this picture. "Happy as a Queen " is in a less elaborate manner-one of Corbould's drawings of pretty girls, in somewhat even tints, and one of his prettiest: the delicate rounded drawing of the face and arms, the simplicity-, delicacy, and vividness of the colour, attain to a certain perfection. Mr. Warren's ambitious historical picture of "Joseph's Coat brought to Jacob" is not without merit, but impresses you un- pleasantly with the sense that the artist has gone beyond his force.
The landscapes are abundant and good, even the second and third-rate productions being of a high grade. Aaron Penley catches beautifully the luxurious repose of "Twilight" on a rich landscape scene. D'Egville brings some vigorous sketches from Italy: one of Chioggia (111) endows the paper with the splendour of sunlight and the solidity of stone walls. 'Pitcher illustrates the scenery of contemporary history, in open views of Taormina and Rome. Capital English scenes are contributed by Thomas Lindsay, W. Bennett, Hardwick, John Chase, Thomas Robins, and others. One of the young artists who is forcing himself most into note by the sheer force of a truthful and strong pencil, is Charles Davidson; who con- tributes several park and common scenes from Sussex,-a hilly meadow scene on a fitful gusty day, peak glades, elms with restless leaves, fiat com- mons with bright blue ponds reflecting the sky above; in all of which Na- ture herself, with all her vivid light, her changeful tints, her very move- ment, seems to be shown in the simple mirror of truth.
Previous page
