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gow will still go to Grangemouth, As is the case with other public the Union Canalonly taking the goods, bodies, feuds have happened among which, from their value, small bulk, our painters, and the secession of maand the necessity of regular arrival, ny artists has unfortunately taken are transported at present by land. place. To trace this effect to the If, however, the shore-dues were really cause, we do not hold to be difficult ; affected, this would be a legitimate and " nine hundred suns have now objection against the canal. For af- gone down,” since we ventured to ter a sum of half a million has been give counsel on this very subject. laid out on the harbour, on the faith This schism, we believe to have of a certain return, the public hav- taken place, chiefly in consequence of ing secured this benefit, are not to the system now adopted, of converting snatch away the revenue for other the whole of the funds collected, to undertakings.

N. the immediate emolument and private

advantage of the artists, without re

cognising any view to their own imRemarks on the Exhibition of Paint- provement and the extension of the ings by Scottish Artists in 1815. art. The wish of all the more liberal

friends and cultivators of painting AMONG the number of wonderful we know to be, that some part at least

events which this year has wit- should be set aside, first, for procuring nessed, we have now to record the a commodious and permanent exhibi. Edinburgh Exhibition of Paintings, 'tion-room, and next for forming a by Artists in Scotland, for 1815.- collection of specimens of art, casts, Considering the defalcation that has prints, drawings, works on painting, taken place in point of numbers, we and other means subservient to their laud the great exertions of those few improvement. We have access also who have for the present submitted to know, that there are persons here their works for the gratification and of taste and opulence, who, if they instruction of the inhabitants. De- saw such a spirited design really set voted, as we confess ourselves to be, on foot, would come forward and conto the study of this fascinating branch tribute liberally. Nay, we have no of the fine arts, we feel anxious to ex- doubt, that a plan similar to the Bricite in the minds of others a corres tish Institution in London would ponding taste. It affords' an inex- meet with general patronage and suphaustible fund of entertainment and port. In this case, of course, the reflection; nay, we will go so far as contributing Amateurs would be en. to say, that there will hardly be dis- titled to a vote in the arrangements; cerned among mankind a single in- and this, for reasons which we do not stance, where moral improvement is state, for the first time would, we are not heightened by an intimate acquain- persuaded, be of the greatest benefit tance with the arts. This, however, to artists and to the art. Were it is not to be acquired by idly gazing only to prevent the disputes which on the works of others; or to use a necessarily arise from jarring interests, vulgar phrase, by pinning our opin- particularly in regard to the admission ions on their sleeves. To discover and hanging of the pictures, and the beauties of a picture, and the ta which have brought the Exhibition lents of the artist, one must both feel to its present reduced state, this surely and think for himself; and to know would be doing the greatest possible merit perfectly, an acquaintance even good. But we apprehend, that it with the mechanique of the art we will also secure a much more judicious hold to be absolutely indispensible. and impartial system of management.


When the disposition is to be made las. In this example of Mr Douglas's by a committee of Artists, it is per- pencil, and indeed of the whole he fectly impossible that the individuals has exhibited, there is much to admire, composing it should not feel some both in handling and colouring; and, partiality in their own favour. In- in so far as our acquaintance extends, deed, we do not conceive artists the likenesses are faithful and striking. so well qualified to judge even of the No. 112,-appears in character, by comparative merits of their own pro no means perfect; for, to us, the two ductions, as others of sound taste, who figures have more the air of a mother are free from every prejudice. Al. and daughter, than of two young sisthough Edinburgh is not, perhaps, ters, as we are informed. very eminently distinguished for taste The general impression made by his in painting, it yet contains a compe

works on us, amounts to a want of tent number of respectable indivi- sentiment in them, which rather produals, every way qualified for such a duces an air of stiffness ; neither do we task as we have now suggested, and altogether admire his mode of finishwhose love of the object would make ing merely the head in colours.

Up them consider its toils as light. We on the whole, however, a very striktake a deeper interest than ever in ing improvement has, we think, taken the success of this proposal, because place in the performances pf this artist. we are convinced that it is now the No. 10. “Cottage in North Wales." only possible mode of ever placing J. F. Williams. We are chiefly inart on a respectable footing, as well duced to notice the specimens of this as of reviving and diffusing a taste for author, in consequence of having obso bewitching a study among the en served some demonstrations of imlightened population of this metropolis. provement in his calling. His pro

We shall now, however, proceed to gress, it is true, is slow, as his feeling for make our observations upon some of art is not apparently very sensible ; the principal works exhibited on the but while there is really something present occasion.

to praise in his attempts, he has yet No. 1. “ Portrait of Dr Monro, much to learn ere he reaches to very sen." W. H. Lizars. A drawing, in great eminence as an artist. black lead, of this venerable and ce No. 19. “ Four designs :" (per l'inlebrated physician; well drawn, and cisore, as the redoubtable Mr Skirdelicately finished, much in the style ving would have said,) A. Carse.of the late John Brown. Having From the many opportunities of im. seen the Doctor recently, we provement this artist must have had vouch for the accuracy of the like- since he went to town, we confess to ness, It is, however, much injured have felt disappointment in viewing by the injudicious proportions of the the works he has now exhibited. No. ponderous frame in which it is placed. 34. “ The witches late-wake," from

No. 2. “ Fishermen going out, an unpublished poem by Mr Carse! Morning." J. S. Good. This bit is is a very vulgar bit. If the picture tanto buon, che val nicnte.

bears any analogy to the character of No. 3. “ Crocuses, from. Nature.” the poem, we doubt if either the auMiss C. Schetky. The first look of thor, or his publisher, will much enthis drawing conveys strongly the truth rich themselves by the performance. of the assertion marked in the cata- No. 51. “ The hot argument,” is logue. The thing is but a trifle, but another instance of the coarseness of then, as far as it goes, it is truth itself. the mind of this unfortunate gentle.

No. 5. “ Full-length drawing of a man, who truly appears to us to have young gentleman and dog." W.Drug- made lately no advancement what


ever in art. It is slovenly treated, der part of the glove on his hand is black as Erebus, and lacks the origin- absolutely black-a perfect anomaly ality both of Scots costume and cha- in the open air, and in the day time. racter. His great deficiency appears Hamlet's excellent rule in his ada to us always to bave arisen from a vice to the players, to be moderate, want of knowledge in drawing the even when they are to express the figure, and of perspective; and to the most energetic passion, ought also to study of those important steps, in the be attended to by painters; taking first place, he should, by all means, care, “ to use all gently, and not to sedulously to apply, if ever he ex- o'erstep the modesty of Nature," pects to immortalize himself. which never, in morn, noon-day, or

No. 23. « Portrait of a Lady.” sun-set, and indeed in.very few of her H. Raeburn. This celebrated artist's appearances, exhibits that excessive works have been so often described, blackness which is the vain effort of inthat our notice of them, at present, ferior genius to force out an impressive shall be both brief and general. We effect. The legs of the figure, too, have frequently taken occasion to re appear of unequal length :--but not mark the impropriety and want of knowing the original, this passage may truth in his shadows, which are gen- perhaps be perfectly correct, and true erally too dark, and often quite pur

to nature. No. 50. “ Portrait of the ple. The fine specimens of Raffaelle, Right Hon. Justice Clerk.” Except or Guido, afford no example of this ; that the person of this much-respected their shadows being always pro- judge appears under. sized, we conduced by the incidental colour. Nei- ceive the rest of this graceful picther are the works of Mr Raeburn, ture to be excellent. The figure in all cases, accurately drawn :--the stands elegantly and firmly on the ff-fore-leg, for instance, (to use a ground, and the under part of his Jockey phrase) of the horse, in the dress in particular, is absolutely a define manly picture of Sir D. Baird, ception in art. appears as if distorted and twisted un The great merit of Mr RAEBURN der his counter; and perhaps the other occurs to us to consist in the feelfore-leg is bent too much inwards. ing of manliness and genteelity which By the comparative anatomy of the he conveys in all his portraits of genfait of a man and of ahorse, the lat- tlemen, and of the delicacy and tenter moves on tip-toe ; and for this rea derness he so powerfully expresses son we doubt (except in some anoma in his pictures of the other sex. Не lous case, the possibility of any horse paints with a vigorous and determinexhibiting so constrained, and so greated pencil-expresses well the suba concave curve at the fetlock joint. slunces he has to depict; and the glos

No. 30. “ Portrait, full length,” sy sides and character of the war(5.J. Hope-Weir of Craigie Hall, Esq.) horse has long been confessed in the This, in our opinion, is not one of Mr number of his happiest efforts. Raeburn's happiest efforts. The har No. 31. " Breaking up of the mony of colouring in the dress of the camp." J. Howe. On looking over figure is chiliing and cold. The blue the whole of this artist's works this coat and black pantaluons go indiffer- season, we think them, in general, ently well; but this passage might per- superior to most of those put forth in haps be improved, by a knot of scarlet former exhibitions. In this picture there ribbon for a watch-chain, which would is considerable merit as to its compo. give point to the picture, and intro- sition, and the colouring is preity good; duce a warm colour among thuse of but it is conducted in the same sluvencoldest hue. The shadow on the un- ly stile as the rest of his works,

Vlay 1815.

No. 54.“ Cossacks seizing a French tendency to raise his talents in the Eagle,”—is borrowed, in its charac. estimation of the public. No. 149. ter, from Leonardo do Vinci's beauti- Shipwreck,” is a very incondite, illful and spirited composition of the composed specimen. The water wants Battle of the Standard :--but with its character; and indeed we think it a this fact we have no great quarrel.- complete failure,—with the exception, Touching the drawing, we wish to perhaps, of the figure lying prostrate have been equally passive :--but real- on the sand. The heathen world, we ly the marking and twist of the ches- are told, had so little idea that pernut horse's neck baffles us to reduce fection was to be expected amongst it to any thing approaching to reason. men, that with them one quality or Were length of neck the measure of endowment, in an heroic degree, made excellence in a horse, such a specimen a god. These quaint persons took no of perfection was never before produ- exception to the beauty of Minerva,ced. But our difficulties do not cease the wisdom of Venus, -- or to the wit here, for we are puzzled to find out of Hercules; but immortalized any the body of the horse, to which this one who possessed a single serviceable goose-neck belongs. Great want of gift, and overlooked all his imperfecperspective is also evinced in the tions. No. 67. “Cottage girl and · wheels of the gun carriage, the one“ Child,” is more in Mr Thomson's in the distance being far too small. way : and here we think he has treat

No. 92. “ Hawking, at Barro- ed his subject with much address, and chan.”

There is more good in this been fortunate. In his miniature picture than in any of the others.- painting, we have only to repeat a The black dog clipped into the figure story that has been often told, -that of a lion may be a correct portrait, he is at the head of his profession here. but it is a most un picturesque object. His portraits are richly coloured, and The left hand of the leering game- in general well drawn, but they still keeper appears to have been painted have a smack of stiffness : they want from a model of the Apollo, whilom that freedom and smartness of touch at Rhodes : the hawk appears also too which are requisite to complete excel. large, and the landscape is much in lence. Mr Thomson's portraits in want of aerial perspective. As it oil, are, in our opinion, subject to the appears that a print is to be engraved same remarks. The likeness in two from this picture, considerable altera. of them, (all we know,) is pretty tions ought to be made throughout the faithful, and these are handled in such whole ; and some attention may be a stile as to give token of improvegiven to these hints, should they, by ment. The difference of the vehicle any chance, meet the artist's eye, or used in oil-painting is great, and will be deemed worthy of his attention. embarrass any artist in his first essay.

No. 35. “ View at Culross.” 17.J. Mr Thomson's motive for cultivating Thomson, Whilst we highly ap- this branch of art, we have been told, plaud the efforts of this very respec- is, that in the event of his sight failing table artist, in a department of art so in the fatigue of miniature painting, different from his staple commodity; he may have a resource in oil. We and while we allow that this View of think this commendable in the artist, Culross, together with No. 90, and and wish him all manner of success. some other of his compositions, possess No. 39. Composition, “ Evening." considerable merit, we have much P. Gibson. We do not think there doubt of their being altogether fit for is any artist in this place, who has the walls of this exhibition room, or made such decided improvement, or even if these bits will have any great who treads the path to excellence, in


landscape painting, with more appa- discovered in a servile adherence to rent prospects of success, than Mr nature! In this picture we think Gibson. His pictures are chiefly of there is a want of chiaro scuro, which a grave and classical character. One produces rather an appearance of moof them, (No. 77,) we hold to be poet- notony; and the tone of the sky is ry itself. In the specimen we have certainly too blue, and very cold, first alluded to, there is great know- neither can we discover any legitiledge displayed of his art;

and his skill mate cause for thus treating it. There in conducting his foregrounds is very is also a meretricious passage in leadimposing. In its composition, how- ing a water-fall between the forked ever, there appears too much art, in the hills on the right, which, by the way, columns introduced on the left, and is higher placed than the probable the sky is too much in impasto ; but source of the spring.

source of the spring. The figures these defects are to be overlooked in are introduced with great judgment, the general good. We admire the and the whole specimen, in our opi. placing, and the point produced by nion, does great credit to the artist, the colouring of the figures; but we and confers an honour upon the city are certain the whole might still be in which he resides. We have been improved, by giving some aërial per assured, on respectable authority, that spective to the distance.

in the British Institution, this season, No. 45. “ Composition,-Moon- there was not to be found many piclight," is a beautiful picture ; freely tures superior to this effort of Mr handled, and the force of moonlight Gibson's genius. This artist has is well understood. Were the means some other pictures in the room of frequently employed by that learned great merit, but our limits preclude person, Sir John Sinclair, to be used us from going farther than offering with this specimen, viz. a pair of general commendation. scissars; and were this useful instru No. 41. “ Portrait of a Lady." ment applied to pare off six or eight W. Nicholson. This artist, we uninches from the murky left side of derstand, is much a favourite with the picture, which would then make the public, and we are of opinion that,

an upright, and also, were the power in this instance, they have placed their of the moon itself kept down, we are attachment correctly. His touch is of opinion it would be very much im- bold, and given with a full pencil, proved, and rendered a more desirable and he appears to have a good knowpicture.

ledge of colouring. The chief deNo. 77, “ Landscape.-Composi- fect in his pictures arises from his tion,” is really à grand example of squeezing more subject into his canof art. Common nature is no more vas than it is capable of containing, fit for a picture of this class, than which produces a painful sensation in plain narration is for a poem. A the spectator. No. 79, “ Portrait of painter must raise his ideas beyond Sir Brook Boothby;" No. 110, of what he sees, and form a model of “ R. P. Gillies, Esq.;" and No. 106, perfection in his own mind; which of the Ettrick Shepherd,” all afaltho' not to be found in reality, at the ford illustrations of this opinion. Sir same time, ought to be probable and Brook's portrait is a good likeness of Tational. We have been induced to the Baronet ; so also is Mr Gillies ; state this opinion, on account of the although rather childish and jejune notions very frequently to be found in character, and rather less in size amongst those who have not betaken than he appears to be. Mr Hogg's themselves to acquire a knowledge of is in too theatrical an attitude, art, and who think that the chief ex. and it does not convey a very strong cellence in landscape painting is to be likeness of this respectable poet.

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