Current:

Leader (1850-1860), 5th May 1855, Edition 1 of 2, Page 429, Untitled Article

Page 429
Page 21
21 of 24

On this page

  • Text (5)
  • Transcript

    • Note: This text has been automatically extracted via Optical Character Recognition (OCR) software. The text has not been manually corrected and should not be relied on to be an accurate representation of the item.

      Additionally, when viewing full transcripts, extracted text may not be in the same order as the original document.

      Untitled Article

      ^^^ - —^^^^ ^^¦¦¦¦^¦^^^^^ 1 ^^^^^ " ^* " ^^" *^^^"^ " ^^*^ ^^^*"""^^^^^^^^ opportunities and misjudged pictures since Academies and abuses first existed ! When we enter on the subject at greater length next week , we propose to direct the attention of our readers especially to the senseless , unjust , and ( in some cases ) audacious arrangement of the pictures this year on the Academy walls . At present , it will be more useful if we confine ourselves to mentioning a few of the best pictures , which it is desirable that spectators should especially look out for , on a first visit . Among the figure-pictures , there are three which are , in very different ways , admirable as works of genuine High Art . The noble picture of the " Rescue" by Mr . Millais , stands first in the order of merit as a work exhibiting the ^ highest originality , the most genuine dramatic vigour , and the finest technical qualities of any in the exhibition . Next comes Mr . Leslie ' s exquisite scene from " Don Quixote , " one of the very best pieces of genial humour and masterly characters painting that he has ever produced . And next to this work , we rank the " Life and Death of the Duke of Buckingham" ( in two companion-pictures ) by Mr . Ego . The choice of subject here is excellent , and the treatment ( in the case of the picture illustrating the death of

      Buckingham especially ) impressive and dramatic in the best sense of the word . The greatest advance on former works has been accomplished by Mr . Hook—who has two delightful pictures of cottage life . The greatest Academical fuss—if we may use so small a word in relation to so great a body as the Royal Academy —has been made about a large picture of the " Triumph of Cirnabue , " by a new artist—Mr . Lexohton . This work neither deserves its good p lace on the walls , nor its noisy Academy reputation . It is a tame , conventional picture—apparently promising great things , at a distance , and performing none of them on close inspection . Among the landscapes , the large canvases of Mr . Stani-ield and Mr . Roberts , will speak for themselves . Mr . Creswick . has a river-scene ( painted in conjunction with Mr . Ansdell ) the distance and sky of which are especially excellent . Mr . Lee ' s landscapes are so chalky in effect , so false in treatment , and so lamentably conventional in subject , that they had better be avoided by all visitors to the Academy who admire and understand Nature . But we have no space this week to warn people off the bad pic tures . They will require an article to themselves .

      Untitled Article

      THE OLD WATER-COLOUR SOCIETY . We never remember seeing a better collection of drawings by the Members of this Society than the collection which they are now- exhibiting . Not the landscapes only , but the figure-subjects as well , are in many cases of the highest order of merit as works of Art . Taking the figure-pictures first , it is pleasant to be able to record the success of a young artist , who is , we believe , a new member of the society—Mr . F . W . Burton . This gentleman has a drawing of " Peasantry of Upper Franconia waiting for Confession , " which , in composition , colour , and graceful adherence to Nature , is one of the most beautiful works of water-colour art that we ever had the pleasure of looking at . Mr . Burton has a second and larger drawing of " Pilgrims in the Cathedral of Bamberg , " even more admirable as a composition than the " Peasantry waiting for Confession , " but inferior to it both in colour and effect . Mr . Topham presents the result of his recent experiences in Spainin the shape of two drawingsexcellently studied from nature ,

      , , and delightfully rich and harmonious in colour . Mr . Carl Haag has been all the way to Montenegro in search of materials for his art , and exhibits some picturesque specimens of the people of that interesting and little-known country , which are especially noteworthy for their vigour of treatment and look of local truth . Mr . J . F . Lewis has two small eastern scenes , -which in their exquisite minuteness and delicacy of finish are nothing less than marvellous . The drapery on the camel ' s back , in No . 135 ( " The Well in the Desert" ) , is in itself a perfect triumph of detail , obtained without any sacrifice of effect . Both this drawing and itsicompanion are really and literally unique . Mr . Alfred Fripp , too , has done his best drawing this year . He appears , as a colourist , to striking advantage in " Peasants of Olevano returning from Labour . " Mr . Hunt exhibits more of those exquisite little pictures—it seems incorrect and unfair to call them drawings—which have for so many years past ranked among the chief attractions of the Old Water-Colour Exhibition . He has , this year , one portrait of himself

      ( thinly disguised under the title of " Le Malade Imagiuaire" ) , making a very wry face over some very nasty-looking physic , which for quaint , irresistible humour , is , in our opinion , the best work of its class that he has ever produced . The landscape painters have not been behindhand in contributing to the excellence of the exhibition . The finest among the many fine drawings this season , is a sea-piece ( No . 186 ) by Mr . S . P . Jackson . The effect of July heat is conveyed with exquisite power , softness , and brilliancy . The smooth , hot sea , the white mist of heat hanging above and on it , the lazy dropping over of the small shore waves , and the sultry brightness and dryness high up on the beach , are expressed with the most surprising , the most perfect truthfulness . Next in merit to this beautiful drawing we are disposed to place Mr . Duncan ' s " Harvest

      Morn "—a lovely effect , conveyed with delightful softness and delicacy . Mr . Richardson has two views in the Bay of Naples , which are admirable in their atmospheric treatment . Mr . Bramwhite ' s " Pool on the Conway" —Mr . Davidson ' s " Haymaking" —Mr . Callow ' s " Distant View of Edinburgh "Mr . Naftel ' s brilliantly-painted " North-east Coast of Guernsey "—and Mr . Brandling ' s careful and interesting studies of the architectural beauties of Nuremberg—are all , in various ways , drawings which rank among the foremost attractions in the collection . Many other charming works , which we have not unfortunately space enough to mention , we must leave our readers who intend to visit the Room of the Old Water-colour Society , to find out for themselves . We have sincere pleasure in assuring them beforehand that there is hardly such a thing as a bad drawing to be found in the whole Collection .

      Untitled Article

      THE NEW WATER-COLOUR SOCIETY . This exhibition is scarcely up to its own standard in past years . We cannot , by any means , ascribe thia to the members who have left it , although we no longer find Davidson and some others , who have passed over to the senior aocioty . Hknhy Waiirkn , the President ; Weunkht , Charles Weioall , John AnsoLON , Louis Haohh , Edward Corijould , and several others , who have materially contributed to the reputo of the brotherhood , are still working in it characteristically . Yet the total effect falls short of that which we have expected from the experience of past years . Hague , for example , who has so either

      often given us striking pictures of interiors , hardly does himself justice , in striking effect , or in dramatic interest . There is no denying the masterly execution of the littlo picture on the screen— " Work First and X'lay Afterwards " —intended to display costume and furniture ; but the effect does not pass tho matter-of-fact , and tho composition is tame . There is something wearisome in the general influence of tho exhibition from tho constant repetition of tho same subjects . There may bo variety , but thoro ia no novelty . Yot novelty of object , whero there is not some strong dramatic or historic interest , is surely essential to a real living interest in a picture . Tho scene in which Mr . Henry Warren places tho figures of Adum and Evo has a certain grandour , yot it is a landscape

      treated with a dramatic power of the palette very much after a manner familiar to us for years and years past . Henry Warren can deal with subjects that require vigour and grandeur ; but this year he is more successful in a . Scotch girl , who is exclaiming with some softness and naivete "Ye hae tellt me that afore , Jimmy . " . Some of the landscapes , of course , are excellent . Among the best are , ' * St . Germain l'Auxerrois , Paris , " by D'Egville ; the " Place de la Basse Vieille , Tour , Rouen , " by J . S . Prout , and a " Norman Doorway , " by Charljjs Vacher .. ¦ ... * ' Mr . Edward Corbould is ambitious as usual , and strong in the still life of historical painting . "Paul and SilasJn Prison . at Philippi , " where the prison is rent by an earthquake during a thunder-storm , is powerfully painted in the riven timbers , the flashing light , the extinguished torch , the glittering armour , and so forth : and the story is passably told .

      Amongst the more interesting pictures of the exhibition are . what seem to be the pencil products of Mr . John Absolon's recent "Travels in France " - — "Boulogne in 1804 , " where Napoleon gives liberty to two English sailors who wanted to cross the Channel in a cock-boat ; " Albert's arrival in 1854 ; " " Going to Market—Crecy , " a peaceful scene on the old battle-field—these are amongst the most fresh and interesting pictures in the exhibition . They are drawn very carefully—with considerable exactness ; with plain tints , not attempting very great gradation ; and with a lightness and breadth that give the whole effect of nature . The very life of painting lies in this escape from routine ; and it would be well for the painters of the New Water-Colour Society if more of them were aware of that simple fact .

      Untitled Article

      MR . ALBERT SMITH . On Wednesday " Mont Blanc" was crowded for the thousandth time , and Mr . Albert Smith is still in the ascendant . Indeed , we see no reason why he should not be "in for another thousand , " for the attraction is undimimshed , and even the badness of the season and the bitterness of the times are scarcely felt within the Egyptian Hall . This unparalleled success is completely justifaed by the character of the entertainment , in which all ages and all tastes find something to amuse , and if Mr . Albert Smith will pardon us for saying so , something to instruct . . To us the constant charm of an evening with Mr . Albert Smith is the easy , conversational tone of the host , which places you at once at your ease in a social and friendly manner , and which identifies the enjoyment of the audience with the delightful good humour of the lecturer . As it was said of a perfect lady , that to love her was a liberal education , so it may be said that to pass an even ^ ing with Albert Smith , is to make the happiest and liveliest of tours without fatigue , and without those petty miseries which are the moral baggage of continental travellers . . .

      It is not only a Spectacle dans unfauteuiL , but a Voyage dans un fauteuil , with a companion whose spirits never flag , whose observation never fails , whose resources are never exhausted . Mr . Albert Smith has been sometimes regarded in one aspect only—as a literary caricaturist . He won his spurs , no doubt , in a field most dangerous to followers . But since the appearance of " Mont Blanc" he has become familiar to an immense public as a humourist of amazing versatility , touching a lmost all arts , and speaking almost all tongues ; as a man of feeling a « well as fun , of heart and imagination as well as of common sense and vivacity , as one who can be grave as well as gay , composed as well as " fast , " serious and refined as well as rattling and uproarious . On est toujours Smith it is tru bit

      resclave de son premier talent , and Mr . Albert , always , e , a of an iconoclast , has scarcely been able to escape the consequences ot his original reputation . But it is not difficult to trace a thoughtful vein of sincere admiration for all that is beautiful , and of respect for all that is noble amidst all that merciless mimicry and that incessant feu dejote of jokes . Mr . Albert Smith can feel and describe the awe of the solemn night and the splendour of the lonely dawn amidst the eternal snows , and he can descend trom the mountains to catch the passing follies of our friends and our cousins on their travels , and in the " Galignani" song condense the news of the world into a sparkling shower of epigrams with a facility , an abundance , a brw quite

      irresistible . . , , _ ^ , ... ,. Going up the Rhine , or through Holland , Switzerland , and Italy with Mr . Albert Smith , you get to know really more of the life of those countries and of the habits of the people than in reading a hundred dull books of travel , made up of ex post facto sentiment and remarks , as per Murray . We can only advise such of our gentler readers as were not present at the thousandth performance , to remember ( when the two thousandth comes ) that a bouquet is presented to every lady in the stalls on these occasions . Meantime , let us advise all who want to know how to spend an evening most agreeably to look in at the Egyptian Hall , where , in a picturesque chalet , in the midst of fountains and flowers , and all sorts of pleasant reminiscences of foreign travel , you are chatted to by a gentleman de la medleure compagniewho has plenty to say , and says it m

      , the happiest manner , who sings a canital song in any language , and accompanies himself upon any instrument ; where Mr . Beverley ' s magic pencil bnngs tho lakes , the rivers , the mountains , the busy streets before you «• like life , but life looking its best ; where invisible , soft music , " brings delight and bores not . " That Mr . Albert Smith should have been able to entertain the public tor a thousand days , almost without interval , is itself a miracle of energy and animal spirits . How manfully must he have struggled against headache , against influenza , against low spirits , and other inevitable ailments which afflict even tne liveliest humanity , and yet , from first to last , he has never disappointed the public by " indisposition . " May he live to ascend Mont Blanc ( in Piccadilly ; a thousand thousand times , and may we live to accompany him !

      Untitled Article

      ROYAL GALLERY OF ART . This handsome series has now reached a considerable number of parts , anflwe have before us no fewer than eighteen of the plates . The oo"ection , of m ° dera English artists appears thus far to consist of a very good c" ^ ' ° B ™ % ^ works . We have highly characteristic specimens ot ^ « v « Si some ? of the Stanfield , Jenkins , Uwins , Mach&b , Abmvtage , " r d pv c Jn 7 e /^ at tainyounger men whom fatalities of one kind or another have P ^^ fr sketch of ing to their maturity in art-such as Townsheno . A ^ ^ f ^ S ^ ith " Ariel" by him is of tho collection Tho P ^ XwhotoK ?^ tho clearness and brilliancy that wo observed at flrbt . *»? ™ " ° " ° \ ° Derfectly incalculated to bo of an exceedingly popular kind , good in ] " ^ ^ . ^^ St 5 f telligible to the vulgar . Amongst the pluteB . thero » s . " ^^ " ^ h J £ account " Garrick and his wW ' -a picture that = combine , hem . ^ ft * " * , ™ >™ of the artist and of the two people . ^ " ^ J'ieSity and force both as a well understand all the nceoimta of «^« gK ^ SJ 11 ^^ strong feeling , comic and as a tragic actor , there is so mum " " ""y * •" and strong marking in the countenance .

      Untitled Article

      i i 1111 111111 1 May 5 , 1855 . ] THE LEADER . 429

  • Citation
    • Leader (1850-1860), May 5, 1855, page 429, in the Nineteenth-Century Serials Edition (2008; 2018) ncse-os.kdl.kcl.ac.uk/periodicals/l/issues/vm2-ncseproduct2089/page/21/