Графични страници
PDF файл
ePub

be sorry to see exhibited anywhere. The drawing is worth a hundred of the painting. The group under the feet of the pale horse, and that of the lion and the horse at the left, are all that is worth preserving in the latter. The rest is feeble--common-place, or absolutely wretched. The fore-legs of the pale horse, like the fore-legs of almost every other horse that Mr. West ever painted, are too short. The character and position of the head, though altered from the drawing, are altered for the worse. The introduction of another figure, so important as the "Gospel," (I believe that is the one, is injudicious, and the group at the extreme left, representing animal courage in a young man, is an unparalleled falling off, from the original drawing.

And so with several other pictures by this extraordinary man. The drawing of CHRIST HEALING THE SICK, is worth all the painted copies together -including that purchased by the Academy, and that in America.

the person whom Congress have employed to paint a series of pictures connected with certain events of the American Revolution, at (if I recollect rightly) nine thousand dollars a-piece, (about two thousand pounds.) Three of these are completed; and, unless I except the first, (prints of which are now in this country,) called the “Signing of the Declaration," and which is only a respectable picture, they are among the greatest and most unaccountable failures of the age. The President may not be superannuated, but these pictures are. In fact, not to disguise the matter at all, one out of the three is contemptible; one tolerable; the other nothing extraordinary; and valuable only as a collection o tolerably well-arranged portraits. It is a great pity; every lover of the art must grieve to see the first efforts of a young country so unhappily misdi rected. There were several painters in America, who would have made a magnificent affair of that which is handled like a tapestry-weaver by Mr. Trumbull.

Yet Mr. Trumbull was a man of considerable power. His well-known "Sortie of Gibraltar," the original sketch of which has lately been exhi

By the way, it is not very judicious to exhibit such pictures, as are exhibited in the gallery of Mr. West,-for his first essays in the art. It is not judicious-because nobody can believe that they are what they are call-bited at the Suffolk Street Exhibition, ed; and because there are others was a very fine picture; but worth, it much worse in existence, (and shown, is true, every thing else that he has te, in Philadelphia, America,) which ever done. His portraits are no great were much more, probably, among things. They are bold and strong, but the first of his essays. These things all of a family-all alike. And so are always do harm. Great pretension is his historical pictures. His "Battle of quite sure to provoke severe examina- Lexington" is partly stolen ; his tion. When Mr. Galt, in his "Life "Death of Montgomery," and "Sortie OF WEST," had the courage to say, of Gibraltar," are only variations; no matter on what authority, that the and I remember one of his pictures, first essay of Master Benjamin was in "the Surrender of Cornwallis," where painting the portrait of a child asleep, a whole rank of infantry are so exand smiling; and that he succeeded ceedingly alike, that you would supin making a likeness, he did more to pose them to have been born at the injure the substantial, fair reputation same time, of the same parents. of Mr. West, than his bitterest enemy (if Mr. West ever had an enemy) could have done.

TRUMBULL-HISTORICAL AND PORTRAIT PAINTER. Mr. Trumbull is an American. He studied, however, and pursued his profession for a long time, in this country. He is now President of the New York Academy; and is

REMBRANDT PEALE-HISTORICAL AND PORTRAIT PAINTER. Mr. Peale in an American. He studied and pursued the business of portrait painting in France. There are several painters in America of this name and family, but Mr. R. Peale is altogether superior to the others. One of his portraits attracted a good deal of admiration some

years ago, at Paris; and another (of Mr. Matthews the comedian) was lately exhibited in London. I have never seen it, but am told that it was a masterly thing. His portraits are beautifully painted, but rather cold, formal, and, until very lately, wanting in fleshiness. He has changed his manner, however, of late, and is now a very fine portrait painter.

His essays in historical painting are numerous, and quite wonderful, when we consider the disadvantages under which he must have laboured in America; with no models, no academy figures, no fellow-labourers, to consult; nobody even to mould a hand for him in plaster, and few to hold one, long enough for him to copy it, of flesh and blood. His "COURT OF DEATH," it is probable, will pay a visit here. It is a very large picture, and has parts of extraordinary power.

---

ALSTON- -HISTORICAL PAINTER. Mr. Alston is an American; studied in London-at Rome; and is undoubtedly at the head of the historical department in America. He is well understood, and very highly appreciated, in this country, and should lose no time in returning to it. His "JACOB's VISION" has established his reputation; but he owes to this country a debt which he will never pay if he remain at home. We have claims upon him here, for

"He is, as it were, a child of us;"

and his countrymen will never give him that opportunity which we would, if he were here.

Mr. Alston's faculties are a very uncommon union of the bold and beautiful; and yet, there is a sort of artificial heat in some of his doings, much as if it were latent, elaborated with great care, and much difficulty; not that sort of inward fervour which flashes into spontaneous combustion, whenever it is excited or exasperated.

MORSE-HISTORICAL AND PORTRAIT PAINTER. Mr. Morse is an American; studied in the Academy, in some degree, under Mr. West. His model of the dying Hercules ob

are powerful, free, and distinguished by masterly handling. He has done but little in history.

SULLY-PORTRAIT AND HISTORY. Mr. Sully, who is the "Sir Thomas Lawrence" of America, is an Englishman, born, I believe, in London. His father, when Master Sully was about five, went over to America with his whole family. Many years after, the son returned, and continued in London for a considerable time, pursuing the study of his art, and copying some fine old pictures for his friends in America. That over,he returned, and, after years of great assiduity, has become,without question,one of the most beautiful portrait painters in the world.

His general style is like that of Sir Thomas Lawrence, by whom he has profited greatly; in fact, his composi tion, sentiment, and manner, are so much of the same character, now and then, that were it not for the touch, some of his portraits could not be distinguished from those of Sir Thomas. He is remarkably happy in his women. They have not so much of that elegant foppery which characterizes most of Sir Thomas Lawrence's females, but, then, they are not heroic, and, perhaps, not quite so attractive, or, if as attractive, for that were a hard question to settle, there is not that exquisite flattery in his pencil that we see in the pencil of Sir Thomas Lawrence, which, while it preserves the likeness, will make a heroine, or an intellectual woman, of anything; and yet there is flattery enough in the pencil of Mr. Sully to satisfy any reasonastonishment or pleasure than I do at able creature. Nobody can feel more the address and power of Sir Thomas Lawrence, in transforming the most absolute, and, I should think, sometimes the most unmanageable corporeal beings, into spiritualities; but, I not bear to meet any of his originals, confess, at the same time, that I canafter I have been looking at their pictures by him. My emotion, whenever I do, is unqualified astonishment,———

The "Passage of the Delaware," a copy of which is now in Scotland, (on a smaller scale,) is

tained the medal here. His portraits by Mr. Sully. It is a remarkably spirited picture.

[ocr errors]

19

ATHENEUM VOL. 2. 2d series.

astonishment, first, at the likeness; and astonishment, secondly, that there should be a likeness between things that are so unlike when compared. How he contrives it I cannot imagine. I have seen a picture of his, indicating a fine, bold, poetical temperament; a handsome and expressive countenance, a frame above the middle size, and, altogether, a princely fellow. I have met the original, whom I had never seen before; been struck instantaneously by the resemblance, and yet the original was a paltry, diminutive, sordid-looking chap, with no more soul in his face than , nay, nor half so much as I have seen in a fine Irish potato.

By the way-a remark occurs to me here, which may explain this phenomenon. A stranger will see a resemblance where a friend would not. The more intimate one is with any object, the less easily satisfied will he be with a drawing of it. Anybody may see a resemblance in a caricature, an outline, or a profile, while he who is familiar with the original, will see nothing in the same caricature, profile, or outline, but a want of resemblance. This would seem to explain a common occurrence in portrait painting. Strangers know the picture immediately, perhaps, or the original, (having seen the picture,) wherever they may happen to encounter it; mere acquaintances burst into continual exclamation at the sight of it, while the intimate friends of the original are dissatisfied, exactly in proportion to that intimacy. Painters attribute this to the foolish partiality of affection or friendship; the multitude, perhaps, to affectation, blindness, or want of judgment. "What!" they say, "when we, who are stran gers, know the portrait at a glance, how is it possible that it cannot be a likeness!" They do not know that, because they are strangers, they cannot perceive the ten thousand deficiencies, or the innumerable delicacies of hue and expression, which go to make up a likeness to the eyes of love or veneration. The world see only the whole; the intimate friends love to look at the parts, at the minia

ture. It must be for the world, then, that a man has painted, if his pictures are such startling resemblances, that while we are ready to cry out with pleasure at the likeness, we are ready to cry out yet louder with astonishment, if we see the originals, that there should be any likeness.

STEWART-PORTRAIT PAinter. Mr. Stewart is an American. He was a long time in this country, many years ago,-painted the principal nobility, and ranked, even then, among the first masters. He is old now, but unquestionably at the head of American painters. In fact they all bow to his opinion as authority. Some notion of his prodigious power may be. gained from this fact. The best portrait in the Somerset Exhibition, this year, that of Sir William Curtis by Sir T. Lawrence, and that which is least after his own style, is exceedingly like the pictures of Stewart, so much so, indeed, that I should have thought it a Stewart, but for two or three passages, and the peculiar touch of the artist. There is, however, more breadth in Mr. Stewart's pictures than in those of Sir T. Lawrence, but much less brilliancy and gracefulness. Mr. Stewart hardly ever painted a tolerable woman. His women are as much inferior to those of Sir T. Lawrence, as his men are superior to the men of almost any other painter. His manner is dignified, simple, thoughtful, and calm. There is no splendour,-nothing flashy or rich in the painting of Stewart, but whatever he puts down upon canvass is like a record upon oath, plain, unequivocal, and solid.

LESLIE HISTORICAL AND PORTRAIT PAINTER. Mr. Leslie was born in this country, (a circumstance not generally known;) went to America in his childhood; attracted some attention there, while he was a clerk in in a book-store, by a few spirited sketches of George Frederick Cooke, and some other actors; was persuaded to return to this country and study the art of painting as a profession. He has been here twice, (in the whole, from ten to a dozen years,) and has now a reputation of which we, his

countrymen, as well as the Americans, have reason to be proud. His portraits are beautiful, rich, and peculiar; his compositions in history, graceful, chaste, and full of subdued pleasantry. There is nothing overcharged in the work of Mr. Leslie. If anything, there is too strict an adherence to propriety. His last picture SANCHO BEFORE THE DUCHESS, though very beautiful, is, nevertheless, rather tame as a whole. This, of course, proceeds from his constitutional fear of extravagance and caricature, which is evident in almost everything that he has done, or, perhaps it would be better to say, from his exceedingly delicate sense of what is classical. But that must be got over. A classical taste is a bad one, where men are much in earnest, or disposed to humour. Whatever is classical is artificial, and, of course, opposed to what is natural. One is marble, the other, flesh; one, statuary, the other, painting. No great man was ever satisfied with what is classical.

NEWTON-PORTRAIT AND HISTORICAL PAINTER.-Mr. Newton is an American, but born within our Canadas; a nephew of Mr. Stewart, (already mentioned,) and a man of singular and showy talent. He has been pursuing his professional studies in London for several years, and begins to be regarded as he deserves. His portraits are bold and well coloured, but not remarkable for strength of resemblance, or individuality of expression. But, then, they are good pictures, and, of the two, it is higher praise even for a portrait-painter, to allow that he makes good pictures, than that he makes good likenesses. It is easy (comparatively) to make a resemblance, but very difficult for any man to make a picture which deserves to be called good. All portrait-painters begin with getting likenesses. Every touch is anxious, particular, and painfully exact; and it is a general truth, I believe, that as they improve in the art, they become less anxious about the likeness, and more about the composition, colouring, and effect. Thus, the early pictures of

every great artist will be found remarkable for their accurate resemblance, and the later ones remarkable for everything else rather than for that quality. Their likenesses fall off as their painting improves.

Still, however, (the last remarks have no especial application to Mr. Newton,) some of this gentleman's portraits are not only good pictures, but striking likenesses.

In history, it is hardly fair to judge of him; for what he has done, though admirable on many accounts, are rather indications of a temper and feeling which are not yet fully disclosed, than fair specimens of what he could produce, were he warmly encouraged. His "author and auditor" is the best that I know of his productions; and a capital thing it is. The last, which was lately exhibited at Somerset House, is rather a fine sketch, than a finished picture. It is loose, rich, and showy; wanting in firmness and significance; and verging a little on the caricature of broad farce ;-broad, pencil farce, I mean. For this, of course, he is excusable, with Moliere for his authority. It is a very good picture, to be sure, but not such a picture as he should have produced for the annual exhibition. himself injustice by it.

He did

C. HARDING--PORTRAIT PAINT

ING. This extraordinary man is a fair specimen of the American character. About six years ago, he was living in the wilds of Kentucky, had never seen a decent picture in his life; and spent most of his leisure time, such as could be spared from the more laborious occupations of life, in drumming for a Militia company, and in fitting axe-helves to axes; in which two things he soon became distinguished. By and by, some revolution took place in his affairs; a new ambition sprang up within him; and, being in a strange place, (without friends and without money-and with a family of his own) at a tavern, the landlord of which had been disappointed by a sign painter, Mr. H. undertook the sign, apparently out of compassion to the landlord; but in reality to pay his bill, and provide bread for his chil

dren. He succeeded, had plenty of employment in the "profession" of sign-painting; took heart, and ventured a step higher-first, in painting chairs; and then portraits. Laughable as this may seem, it is, nevertheless, entirely and strictly true. I could mention several instances of a like nature; one of a tinman, who is now a very good portrait-painter in Philadelphia, U. S. A. (named EICKHALT); another of a silversmith, named WooD, whose miniatures and small portraits are masterly; and another of a portrait painter named JARVIS, whose paintings, if they were known here, would be regarded with astonishment -All of whom are Americans. But, as they are not known here, and have not been here, to my knowledge, I shall pass them over, and return, for a minute or two, to Mr. Harding.

Mr. H. is now in London; has painted some remarkably good portraits (not pictures); among others, one of Mr. John D. Hunter, (the hero of Hunter's Narrative,) which is decidedly the best of a multitude; one

or two of H. R. H. the Duke of Sussex, the head of which is capital: one of Mr. Owen, of Lanark; a portrait of extraordinary plainness, power, and sobriety; and some others, shown at Somerset House, and Suffolk Street.

Mr. H. is ignorant of drawing. It is completely evident, that he draws only with a full brush, correcting the parts by comparison with one another. Hence it is, that his heads and bodies appear to be the work of two different persons-a master and a bungler. His hands are very bad; his composition, generally, quite after the fashion of a beginner; and his drapery very like block-tin; or rather, I should say, this was the case; for there is a very visible improvement in his late works.

Thus much to shew what kind of men our American relations are, when fairly put forward. There is hardly one among the number of painters, above-mentioned, whose life, if it were sketched, as that of Mr.H. is, would not appear quite as extraordinary; and as truly American,in that property which I have chosen to call a serious versatility.

NELL GWYNN.

[Written after viewing a Portrait (supposed to be of this celebrated beauty) by Sir Peter Lely, from the collection of R. Cracroft, Esq. in the Gallery of the Northern Society at Leeds.]

I.

BEAUTIFUL and radiant girl!

We have heard of teeth of pearl,-
Lips of coral,-cheeks of rose ;-
Necks and brows like drifted snows,-
Eyes-as diamonds sparkling bright,
Or the stars of summer's night,-
And expression, grace and soul.
But a form so near divine,
With a face so fair as thine,-
And so sunny-bright a brow-
Never met my gaze 'till now!
Thou wert Venus' sister twin

If this shade be thine, NELL GWYN!

II.

Cast that carcanet away!

Thou hast need of no display-
Gems, however rare, to deck

Such an alabaster neck!

Can the brilliant's lustre vie

With the glories of thine eye?
Or the ruby's red compare
With the two lips breathing there?-
Can they add a richer glow
To thy beauties? No, sweet, no!
Though thou bear'st the name of one
Whom 'twas virtue once to shun,
It were, sufe, to Taste a sin
Now-to pass thee by, NELL GWYN !

III.

But they've wronged thee--and I swear
By thy brow so dazzling fair,-

By the light subdued that flashes

From the drooping 'lids' silk lashes,

By the deep blue eyes beneath them,―
By the clustering curls that wreath them,-
By thy softly blushing cheek,-

By those lips that more than speak,---
Glossy white without a speck,-
By thy slender fingers fair,-
Modest mien-and graceful air,—
'Twas a burning shame, and sin,
Sweet, to christen thee NELL GWYN
IV.

Wreathe for aye thy snowy arms,

Thine are, sure, no wanton's charms!
Like the fawn's-as bright and shy-
Beams thy dark, retiring eye;—
No bold invitation's given

From the depths of that blue heaven ;—
Nor one glance of lightness hid
'Neath its pale, declining lid!
No! I'll not believe thy name
Can be aught allied to shame!
Then let them call thee what they will,
I've sworn-and I'll maintain it still
(Spite of tradition's idle din)

Thou art not-canst not be NELL GWYN !

« ПредишнаНапред »