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artist will produce a picture honour- eye back along vistas of remote anable for high intent.

tiquity. The great French painter, In a chapter devoted to eccentri- Ingres, was accustomed to throw cities might be comprised Bathers,' the domestic incidents of classic by Mr Frederick Walker, the artist times into interesting and instructo whom the French have awarded tive cabinet compositions. Gerome the only medal they could spare for has followed the initiative thus well "water-colours." There is certainly taken. Coomans, in the same vernothing watery or washy in these satile country, treats Pompeian inopaque ‘Bathers.'

The mud on teriors decoratively. Cupid-like their skins undoubtedly suggests children who go about naked, the propriety of ablution. That are with him a favourite resource. figures so ungainly should be seen Alma-Tadema in Holland, working in the nude is surely a misfortune. the same vein, paints manfully They evidently have been modelled as an old Roman. Mr Moore then by Walker, not Apelles. Mr Whist- need not feel discouraged ; good ler makes himself truly useful in men keep him company. His picExhibitions. His pictures do to be ture, The Musicians,' is more gaped at by the groundlings. Critics careful and thorough than heretoalso, ever thankful for some diver- fore. He will do wisely, in common sion from hackneyed commonplace, with other revivalists, not to exagsee in waywardness the promise of gerate the failings of the originals genius. Symphony in White, No. he seeks to emulate. It will be well 3,' is clever as a conceit; it is sug- for him to remember that beauty, gestive, as a subject is apt to be when symmetry, and subtle finesse in exedaubed in indefinitely. 'Sea and cution, are the qualities we have Rain' is also what critics call “sug- learnt to esteem in classic art. In gestive" and "promising”-sug- this chapter of anomalies must be gestive of the pump and promising mentioned 'The Portrait of Rema deluge. If the painter could have brandt,' by Mr John Gilbert. In pushed his peculiar treatment a the painting of pasticcii, otherwise little further, he would have suc- pictures which assume the style of ceeded in washing out his subject some well-known artist, Mr Gilbert altogether. It will be well for Mr has already proved himself adept. Whistler to remember that talent This portrait of Rembrandt affects cannot dispense with industry. Mr intentionally the manner of RemA. Moore is another young artist brandt, consequently it becomes an still afloat in limbo ; a course of anomaly in an English Exhibition. severe purgatory may in the end Rembrandt himself would scarcely put him right. Last year the hang- obtain a place on the line in our ers suspended the painter for his Royal Academy. His pictures might presumption at the ceiling, and so be voted a bore, and pronounced perhaps the sins now committed coarse. Yet next door—that is, in are smaller, and indeed venial. It the National Gallery-several thoumust be confessed Mr Moore has sand pounds have been afforded for an express vocation; he seeks to ' a work by the vulgar Fleming. rehabilitate domestic life in classic Dutch styles and cabinet pictures times; he composes pictures in the are once more in the ascendant. T. spirit of Pompeian art; he throws Webster has not for a long time exhimself into the mental attitude of hibited so profusely or well. 'Practhe painters of ancient Rome. In tising for a Village Concert' is in France, and other Continental coun- the artist's happiest mood. For detries, the same line has been taken lineation of character, for readiness with marked advantage. In Eng- in seizing salient traits, for raciland we have been too busied with ness in sly satire, for neatness in contemporary topics to turn the turning a subject out of hand, Webster indeed is not surpassed. In The best portraits of the year the painting of Dutch interiors, F. purely in point of art are by Wells, D. Hardy, J. Hardy, and G. Smith, Watts, and Herdman. Mr Wells display accustomed adroitness. Still last season fairly won his associatewe incline to think that small ship on the strength of that manly cabinet or miniature works are picture, Volunteers at a Firing not quite so plenteous as in for- Point.' He now sustains his honmer days. Artists, in fact, are ours by a very different, but in its now ambitious of greater things ; a way an equally excellent picture, painter scarcely cares to execute a 'Helen, Daughter of Mr Charles small work when he can compass a Magniac.' The style of Mr Wells large one. It is often, indeed, your is somewhat a novelty in the Engself-formed men whó take to the lish school. It is a departure from Dutch department. An Academy the prescriptive Vandyke manner education generally inspires ideas transmitted through Lely and Reywhich soar above Teniers and his nolds down to the present day. bright brass kettle. Yet our paint. Rather may it be taken as a ers, as we have seen, commonly stop recurrence to the firm and solid short of bigh art. It is in the in- school of Van Helst; only, however, termediate walks, the happy mean, with this important distinction, that English art is most at home. that a suspicion of Venetian colour,

In portraits there is not much to sombre, half shadow, half light, record. Toujours la même chose generally enters the pictures of Mr is the common cry. Still a few Wells. There is certainly no better works call for comment. The portrait style going, scarcely exceptpicture of 'Her Majesty at Os- ing that of Mr Watts, whose works borne in 1866,' by Sir Edwin we must by no means forget to Landseer, cannot be criticised. It mention. This wonderful colourist is painful, and we pass it by. The has certainly been too lavish of President paintsHer Grace the warm pigments in the painting of Duchess of Sutherland' as a duchess the pale student head of the Dean should be painted, handsomely and of Westminster. Mr Watts, in this with state. This full-length figure as in some other of his works, has beauty and ladylike bearing. Sir emulates the Venetians even to exFrancis Grant is in a different way cess, and so the portrait of the Dean equally successful with Lord Stan- has the doubtful merit of being ley. The able Minister of Foreign less like the living man than an Affairs looks the astute and firm old Italian picture. The artist, statesman from top to toe. The however, has made ample amends artist seldom turns out of hand a in that lovely portrait of the Hon. . more thorough and solid picture. Mrs Seymour Egerton. The picture Mr Weigall has rarely displayed is perfect as a study of colour : it such artistic skill as in the portrait is glowing, liquid, and translucent of his bride, Lady Rose Weigall. a Venetian canvass.

• Herr F. Winterhalter, like H. Weigall

, is Joachim,' a lamplight study by the best when simplest. It has been same artist, is a masterly achieveWinterhalter's misfortune to make ment, grand and suggestive. The reputation by meretricious perform- picture may be taken in evidence ances. Yet it is difficult to con- of a cherished theory which teaches ceive of a head in better taste than the essential oneness of colour that of Mrs Vanderbyl.' The and sound : it were at all events flesh is delicate, the gauze dress a pretty fancy that the melody is gossamer, and the grey back awakened by the musician's touch ground, which Winterhalter seldom brings the picture into chromatic fails to manage nicely, is in exqui- harmonies. We congratulate Mr site tone and keeping.

Herdman on the advance he has


made. His work last year was

rate be seen. The grievance of commendable : the portrait he now which we complain is so old that sends of 'Mrs Shand,' by its rare Academicians, who are safe of “the artistic qualities takes the Academy line" themselves, begin to look upby surprise. The painting of the on it as time-honoured. No one, flesh and the drapery, and especially however, will begrudge Mr Creswick the skill and taste displayed in the space he is accustomed to occupy the treatment of light and colour, to his own credit and the advanare worthy of all praise. The pic- tage of the Academy. 'A Beck in ture has a silvery delicacy, a sunny the North Country' is among the cheerfulness, which are peculiarly painter's happiest efforts. Spepleasing. Altogether the Academy cially to be enjoyed in this simple displays a creditable array of por- sylvan scene is the sight of that traits, and it is evident that no lady graceful ash-tree growing in the or gentleman need find much dif- corner. To an observant student culty in the transmission of cher- of nature, who in his walks among ished features to posterity,

woodlands has oft and again stopLandscapes have, in our Academy, ped, arrested by the beauty of the in common with the other aca- feathery foliage of the ash as it demies of Europe, to give way to floats and quivers in the breeze, figure subjects. Landscapes, in- a tender green softened by quiet deed, are not academic, neither do greys seen against the deep blue they impart to an exhibition the sky of summer—to the lover of attraction and popularity which nature, we say, it is a great treat to attach to historic compositions. come upon this ash-tree as painted The world has, however, generally by Mr Creswick. The graceful supposed that the strength of the bend of the trunk and curve of the English school lies in its tran- stems, the painter has drawn to the scripts from nature. Yet certainly very life. The cool and modest no such strength is manifest on colour of Mr Creswick finds violent the face of the Academy. Land- contrast in the fiery sunsets of Mr scapes, in fact, such as there are, Linnel. It is extraordinary that have been treated badly. They artists will not learn that nature have almost, in fact, been altogether has no mannerism ; that she cannot driven from the Exhibition by the be induced to repeat herself ; that hangers. It is no

uncommon since the day God created and thing to see a foreground of flowers clothed the earth, the sun has not and valley-loving ferns growing at risen or set upon the face thereof the ceiling ; coast scenes are not twice alike. Certain artists, howunfrequently, to use a geological ever, make themselves celebrated term, turned into raised beaches; forgiven sunsets, just as great actors the tops of doors are washed by become identified with notorious the waves of the sea ; Swiss moun- characters. We can imagine a painttains and rock-climbing pines have er before his canvass, as a player long felt themselves quite at home before footlights, enacting for the in the upper regions of the Exhibi- thousandth time his well-matured tion. This, we trust, will be all sunset. Much to his own satisfacchanged for the better, in the tion, he floats across the sky a timecourse of two years, when the Aca- honoured cloud with its golden demy may hope to get into more edge, remembering how oft that commodious quarters at Burlington cloud has gained him applause and House. The French have long a purchaser. In one corner of the managed things more wisely in studio are valuable properties, such their annual salon. In Paris a pic- as studies of sheep settling down ture found worthy to be hung at all, at sunset for repose; on the oppoobtains a place where it can at any site wall hang a shepherd and shep


herdess. Thus have our artists landscape. The last thing new, and during the course of long and pros- good too, is the style which Mr P. perous careers gone on persistently Graham has imported into London. multiplying some favourite effect. His 'Spate in the Highlands of

' Hence the Academy cherishes glow- last season is followed by ‘Moor ing memories of the Danby sunset, and Moss,' pitched in the same

, the Turnersunset, the Linnel sunset, key, painted in like monotone. &c. And the worst of the matter The world was taken by surprise; is, that effects which flashed swiftly nature promised the Exhibitionacross the heavens, which fired the going public a new sensation. The imagination of the painter as with "Spate' was the talk of the season; the light of inspiration, become the artist obtained worshippers, stereotyped by tradition, descend and, of course, disciples and imitalifeless through successive genera- tors. Painters who had been long tions from father to son, and are in search of an idea, at once put dispensed collaterally, as goods and together campstool, colours, and chattels, among a circle of nume- folio, and started for Betwys y Coed. rous friends and acquaintance. By the autumn several small And so certain sunsets or twilights, spates " had found their way to storms, shipwrecks, and other com- London Exhibitions. And this, it motions in earth and heaven, be- will be seen, is but the old story come the property of given fam- over again. Originality was the disilies; they are heirlooms and tinguishing merit of Mr Graham's artistic hereditaments of positive first landscape ; even his own remoneyed value, even as the furni- plica of a grand effect over sky, ture of a house. Thus the younger moor, and mountain, loses inLinnels enter on a goodly estate; terest by repetition. Still there thus the two Danbys reign as by can be no objection that this the right in heaven's serenity; thus in last idea out should be worked a divers exhibitions, Pyne in Turner- little hard. Mr Graham comes as esque furor blazes fireworks into a wholesome reaction. The public the sky, and the numerous family could no longer endure the childish of Williamses, under varied pseu- trifling and the pernicious nonsense donyms, rear ghostly mountains as of Pre-Raphaelism, and so something presiding genii over shadowy si- directly Post-Raphaelite is hailed as lent lakes. Now, we think it can a happy deliverance. We may now scarcely be cause for wonder that hope that the great Italian landpeople grow a little weary of this scape school slandered by Mr Ruseternal reiteration. The Academy kin, will be once more restored to would indeed do a good service its legitimate influence. The great could it suppress pilfering and and immutable principles of landbring thieves to justice. The pauci- scape composition, as distinguished ty of new ideas is as incredible as from mere topographic mapping, it is inexcusable. Nature is con- will, we trust, restore grandeur and stantly enacting something new, noble intention to landscape art. while our painters are copying Mr Graham paints up to the pitch things old. Preraphaelitism, as of an idea, as all true landscape it was called, was seized upon as artists before him. Thus is gained an escape from effete methods. expression, force, and dramatic

manner essentially weak, character. small, and drivelling, of course, was With more than ordinary pleasnot long in becoming stale and un- ure do we now bid adieu to Preprofitable, and so it lived its short raphaelitism, as it makes its exit day and then died out. The Aca- from the Academy. “The Sketchdemy, we rejoice to say, scarce- er" in these pages was among the ly contains a single Preraphaelite first to laugh at the folly of a

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coterie of young artists who pre- many imitators : the result is far sumed to tell the world how to from pleasing. The scene-paintings paint from nature. He boldly de- of Mr Ansdell constitute what may clared that the practice and prin- be called “the menagery school.” ciples of the young men were delu- His Spanish subjects have truth sions—that English art was about and beauty. Human nature lifeto lose her strength and dignity- size may be esteemed high art : that she would descend from a the brute creation life-size usually mental creation to a mere handi- degenerates into low art. Into craft. The prophecy proved true. a picture of animals there can selThe works elaborated at infinite dom be thrown sufficient thought cost of time and patience were or mental expression to fill a wretched as pictures. At last large canvass, save when sky, nature herself disowned these her field, or forest brings to the comwould be disciples. And so the position a wide-stretching pano

school is at length dissolved and rama. Mr Davis, in a very remarkdispersed, and no one can tell of able work, follows the usual pracits doings and its whereabouts. tice of Rosa Bonheur, in bringing All that can be said with certainty a landscape in itself beautiful to is, that now and then a painter the aid of his composition. Mr given up for lost rises again to the Davis has studied in France, and surface, expressly to exhibit a pic- his picture, strange to say, manages ture in refutation of his once cher- to reconcile the largeness of the ished creed.

French manner with the smallness Sir Edwin Landseer has driven inseparable from Preraphaelite into the Academy a herd of 'Wild practices. The hybrid compounds Cattle from Chillingham.' It was of foreign and domestic schools, a bold venture to paint, close upon now brought within the circuit life size, these “beasts of the chase of our modern art, are anomalous that roam in woody Caledon.” as they are infinite. The tendency Should, however, the race become of international picture - galleries, exinct, the Earl of Tankerville will and French and Flemish Exhibiretain the next best thing to nature tions in Pall Mall, undoubtedly is herself — a picture by Landseer. to mingle and amalgamate styles From the same estate in Northum- formerly distinct. Art becomes berland the same artist has taken each year more cosmopolitan. a flock of deer. Sir Edwin Land- Sea, coast, shipping, and fishing seer departs from his usual draw- craft furnish our artists with usual ing-room style in the treatment of material. Hook is not at his best : these immense canvasses, painted, he presents us with nothing new, no doubt, for an entrance-hall or save a wave as large as a whale, a hunting-box. The world contains which wellnigh swamps some brave but few animal pictures which ap- little fellows in a boat. Cooke is proach life size. The French have uncommonly good — 'The Giuseldom painted a horse, or even a decca, Venice,' has more than his dog, to the scale of nature. Rosa usual colour, and is, of course, acBonheur's 'Horse Fair' would curate as a photograph. The artist have been double its present di- has been addicted to science as well mensions had the horses been as as to the painting of pictures, and many hands high as the living origi- so, from time to time, he gives the nals. Paul Potter's Bull at the world works dedicated to science Haghe, and James Ward's rival and art conjointly. 'Her Majesty's Bull at Kensington, were the ships Erebus and Terror, ice-bound largest animals known on canvass in the Arctic Seas,' was a contributill these last bold attempts by Sir tion to science. So, too, is the Edwin. The painter will not have picture now exhibited—the skele


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