THE ARTS. REMARKS ON THE EXHIBITION OF THE ROYAL ACADEMY, THE Exhibition of this year equals in splendour any that has yet been presented to the public. The style that pervades the whole, whether in colour, drawing, or form, would certainly not disgrace the most refined nation that ever existed. The fastidious critic will find in it few opportunities of turning away with disgust, or the jocose one of devoting industry to ridicule. There is, indeed, another class of observers, who will here have less reason to deviate from the usual bent of their reflections-those who anxiously wish to see the Arts, in their own country, advancing in the highest paths of eminence, will still feel occasion to regret, that, among the dazzling efforts of genius and fancy, very few are to be found in the dignified class of history; that the beautiful garden expanded before them is every where adorned with wild-flowers and daisies, almost to the exclusion of the laurel and the oak. Of this dearth of classic energy, let us not, however, impute the blame to the artist,—let us lay it where it is more truly deserved, and where, there may be reason to fear, it will be more unconcernedly endured. If, among the various, and now numerous, lovers of painting, few are yet awakened to a vivid sense of such encouragement as would reflect honour on themselves and their country; if they find a more alluring or more social indulgence in the mutual contemplation of each other's persons; it is in them the true cause must be sought of the restrained limits of art. But let it not be forgotten that the shackles which they forbear to loose are worn by hands worthy of superior toil. The exhibitions of every year demonstrate talents inadequately exerted, and genius stooping its powers to custom, or sacrificing them to casual employment. But neither, in this point, let any thought of despair be admitted into the mind.While such splendid prices are every day given to the names of those, whose historic works have enriched former ages and foreign countries, and while we can boast of living artists capable of being the ornament of our own, a just sense and desire of the due encouragement of art in its higher branches, cannot fail gradually to arise in a PUBLIC, accustomed to appreciate the comparative worth of various labours, or in a GOVERNMENT, attentive to maintain an unshrinking competition with other nations in all just pretensions to eminence and fame. 99-VOL. XIII. It is deserving of notice that the arrangement of the pictures in the rooms of the exhibition this year, has, in general, been admirably conducted. The historical subjects principally entitled to notice, will be, as usual, first selected for observation, together with those of the greatest merit, in any manner connected with the same class. No. 8. A Cap for the Dunce. BARNEY. The pictures of this artist are, in the present year, distinguished by no inconsiderable force of natural expression and good colour.The subject before us is happily treated, and the picture one of Mr. B's most finished performances. He is in the path of advancement in his art. No. 10. Banditti. DRUMMOND. A spirited composition, brightly painted. The figure lying on the ground is happily executed. In No. 252, the figure of the Monk has very natural expression, and 255* displays academic study. No. 27. David. REYNOLDS. Well studied, and of an historical style. No. 30. The Unfortunate Traveller. OPIE, R. A. The principal figure of this interesting subject is well designed and well coloured, and the singular composition and tone of the surrounding landscape, every where lonely and gloomy, give an impressive force to the whole work. There is wanting, however, in this picture, an apex, a commanding point, which the painter of it gives ample proof of his ability to achieve. The dog is highly natural, and his intent look on his dead master, excellent. No. 162 displays a soft natural colour and simple composition. Two other historical pictures of this artist (180 and 195) ably maintain the celebrity of his name. The Female Mourner, watching over the slain warrior, is full of solemn grandeur. The Angry Father is of that species of domestic history which comes home to the bosoms of all. It seems to belong to the country in which the artist paints. It is the story of an English family, and a lesson of universal nature. The daughter, accused and abashed, exhibits the mortification which arises from the consciousness of transgressed duty. The indignation of the father, more violent than her fault may re quire, is checked by the affectionate interposition of the mother, from which it is evident that the deluded girl has an excuse to plead, and Adam and Eve lamenting the death of Abel. interest is of course excited for her sufferings. In the whole of this graphic narration, the expression, character, and design, are bold and forcible, in the usual manner of this true painter of nature. The colouring is of the same cast, simple and natural; the effect of light and shade broad and strong, and the execution powerful in the highest degree. We believe that this picture, and two of the same kind, exhibited in former years, are parts of a regular series, designed by the artist to display the dangers to which youthful beauty is exposed. No. 37. Ruth returned from gleaning. SINGLETON. This picture has not the usual grace of colour or expression of the artist, who this year appears with singular eminence in his Interview of Coriolanus with his Wife and Mother (267), a work highly deserving of praise, in composition, character, and colour. The figure of the hero is of a truly historical class, at once simple and energetic. Of the other works of Mr. S. the Infant Neptune, and the Nun going to Matins, are painted with equal brightness of colour. The sketch of Lord Strafford is well grouped, but of fainter effect. No. 44. Dorothea. Don Quixote, B. IV. CLARKE. The figure is remarkable for its natural attitude and expression. It has a quick air, like one really starting, as she is supposed to be, at the first sound of voices near her. The colouring is clear, and the whole picture has a singular facility of execution. No. 57. Henry and Birtha. THOMSON, A. The two figures are skilfully grouped for the display of contrasted objects, necessarily differing in colour and expression. The sent ment is pleasing and correspondent to the subject. No. 84. Mary. HOPPNER. R. A. A deep and strong colouring, in the style of Rembrandt. We have been more pleased with Mr. H. in his own style. It is doubtful if this picture belong to the present class, or that of Portrait. No. 85, A Soldier recounting his Exploits. MISS SPILSBUBY. This and other pictures by Miss S. in the present Exhibition, possess the same sprightly intelligence, variety of natural expression, and lightness of pencil, which distinguished the works of the artist last year. In the present picture, the anxious concern of the old woman is most happily contrasted with the infantine carelessness of the boy leaning on the soldier's knee. In the Fair Day, the whole back-ground is of the most brilliant execution, and, in the Pastoral Scene, the lightness and simple grace of the young dancer, is a no less true than difficult copy of nature. Miss Spilsbury's performances may be considered as some of the most pleasing ornaments of the exhibition. She has few equals in her line. Let her accept a caution amidst this praise-let her be aware that she is, in some points, in danger of deviating into affectation. Let her exhibit, perseveringly, the naïve character of expression, for the perception of which she is evidently endowed with more than ordinary faculties. No. 107. Psyche. PELLEGRINI. Is well drawn and richly coloured. No. 117. The cutting out of the French Corvette, La Chevrette, from the Bay of Camaret, by a Detachment of British Boats.LOUTHERBOURG, R. A. This is a spirited composition, of which the groups are admirable, and the expression powerful, in the usual style of the master. There is an appearance of confusion, which, however natural in the subject, probably arises from want of a principal object, sufficiently distinguished by effect of design or colour. 875, by the same artist, has equal spirit and execution. No. 128. The Reception of the Hostage Princes of Mysore, before Seringapatam, by Marquis Cornwallis. DEVIS. This picture, which is executed in a masterly'style, both with respect to the grouping of an infinite number of figures, and the general tone of colour and effect, receives additional interest from the circumstance of all the persons represented being actual portraits, chiefly painted in India, on or near the scene itself. The background, and sky, distinguished by a large mass of towering clouds, are not without their claim to praise. No. 133. Arion cast into the Sea, and saved by a Dolphin, &c. WEST, R. A. Mr. West, besides the usual chaste and simple style of his compositions, appears this year particularly as a colourist. His small pictures evidently glance at the school of Titian. The preference is perhaps to be given to No. 134.* ** No. 137. The Welcome Visitant. JOSEPH. The female figure gracefully disposed. The colouring too fiery, Arethusa. Ovid's Metamor. B. v. No. 147. The Minstrel. WESTALL, R. A. The attitude of the boy is natural, and the figure well drawn. The eyes, that roll to heaven, have rather a plaintive air than the appearance of deep thought. The general effect and colour are bright. Every merit in this picture is subordinate to the general aim at execution, which is of a highly finished kind, as far as relates to the figure. The execution of the landscape and sky is as elaborately coarse and rough as that of the former is delicate. It is difficult to guess the artist's intention in this singular discordance of one part of his execution from another. No. 181. Allegorical: representing the Institution of the Literary The No. 198. The Village School Dinner Time. BIGg, A. Exhibits a studied and successful expression of nature. colouring is clear, but there is a want of greater harmony. The figures press alike on the eye in all points. No. 254. The faithful Gelert. ECKSTEIN. THE animals in this picture are justly admirable for their drawing and expression. The wounded dog, in another picture by the same artist, likewise excels in natural expression. 369. The School Mistress. Owen. Has much natural expression and colour, with great strength of effect. No. 469. Girls with a Fire-stick. TATE. A clever design and execution. No. 502. Victims of a Storm. THOMSON, A. A bold conception, well painted. Greater distinctness would have placed it in a still higher rank. PORTRAITS. THE portraits exhibited this year are so unusually numerous, that barely to name them all, would more than fill up our narrow limits; and we shall therefore be obliged to mention a comparatively very small portion of them. Taken collectively, they exhibit an extraordinary display of cultivated taste. Whoever shall compare the general appearance of the present exhibition with those of ten or twelve years ago, will not fail to perceive the progressive advancement of art amongst the great number of those who apply |