FINE ARTS.

BIRMINGHAM EXHIBITION OF MODERN ART.

BY WILLIAM CAREY.

ON Thursday, the 11th instant, this annual display was opened to the public at that noble edifice, the Institution of the Society of Arts or Artists, in New-street, and owing to its commencement so late in September, any notice of it to be in time for insertion in the allotted pages of "The Analyst," to be published on the 1st of October, can include little more than a cursory glance at a few leading points, and some general remarks on the character of the whole. Owing to this urgency, by far the greater number of the pictures and of the exhibitors must be passed in this brief outline without mention, solely through a want of space and time. The candid reader and the impartial artist, will not, therefore, mistake the omissions for any indication of a want of inclination on my part, or of merit in the works so unnoticed. My will may be judged of by the fact that, although not wholly recovered from the sufferings of an acute illness, I have suspended my own immediate avocations, and journied from a distance here, at some risk of a relapse, but, fortunately, as yet, without any ill consequence, to write my notes for this brief communication, from the exhibited paintings and sculpture. When these things are considered, and that I have no personal interest whatever in the exhibition, or in the publication in which these observations are intended to appear, my wish to be of service will hardly admit of question, although my judgment very justly may.

The collection includes 532 productions of the British pencil and chisel, and necessarily, like all other public exhibitions in England and on the Continent, it includes some inferior things, some of a better order, a great majority very excellent, and many master-pieces of the highest class. I may truly say it is a very splendid exhibition. The great national school, the Royal Academy, has lent its powerful aid. The President, Sir Martin Archer Shee, and the following Royal Academicians are exhibitors:-Bailly, Calcott, A. E. Chalon, A. Cooper, Collins, Constable, Daniell, Etty, H. Howard, Leslie, Reinagle, Sir J. Soane, Phillips, Turner, Westall, and J. Ward; added to these are the associate Academicians, G. Arnald, J. J. Chalon, Drummond, F. Danby, Stanfield, and Witherington. These eminent artists, on this muster of British genius, appear, generally, with one or two exceptions, in their strength. There are also one hundred and ten additional London artists exhibitors; fifty of Birmingham and its immediate vicinity, and seventeen more provincials. In the whole number, there are fifteen female artists, fair candidates for public favour.

In the great room, there are three subjects from Shakspeare; one of them, "No. 1-Miranda entreating Prospero to allay the Storm,” by J. King, is a large picture, which, from the necessity of the arrangements, is hung at the top of the room too high for any detailed observation of its merits. The other two, 124 and 128, are of a small cabinet size, by T. P. Stephanoff, and, with the exception of Desdemona's profile, in the best manner of this popular artist. There are four sacred and scriptural subjects; "15-Abraham and Isaac in thanksgiving after the deliverance from the Sacrifice," by J. King, one of the most successful efforts of his

pencil; 137-a capital gallery picture of "Christ disputing_with_the Doctors," by R. Westall, R. A. The composition is full but not crowded. The various workings of the passions are strongly marked in the old heads, and the meek fervour, in the countenance of Christ, is a fine specimen of expression; the light and shadow are well diffused, and the general effect is solemn and reposive. "152-The Calling of Samuel,” by W. Green. This is intended for a gallery, and if the artist has not wholly overcome all the difficulties of the subject, he has evinced much practical skill and originality of invention. 157-Eve," by J. Mills, is rather a small size, and, being hung at the top of the room, is too high for critical inspection.

There are, in this room, two interesting scenes from Lord Byron ; "11-Haidee and her Attendants recovering Don Juan after his Shipwreck, a free, tasteful, sketchy performance, by S. Drummond, A. R. A.; and "57-Haidee aroused from her Trance by the sound of Music," by H. G. Hurlstone. These figures are half-lengths, about the size of life, and cleverly composed. The expression, particularly the vague unsettled gaze which betrays the disturbed mind of the heroine, is very good. The characters of the Corsair and Harper are strikingly defined, and the young attendant is well introduced. There is an ideal elegance in the forms of Haidee's head, neck, shoulders, bosom, and extended arm; and the execution is loose and full. The colouring, in general, is mellow; but the cold purple drapery descending from her shoulders forms a line down the middle of the composition, which disturbs the union, and, as it were, divides the effect into two. As this artist is skilled in the science of scumbling and glazing, a very little effort of his able pencil would bring this cold drapery into tone, and remove the only flaw in this, otherwise, commanding picture.

In this first room there are also twenty-eight fancy subjects, single figures or groups, inventions from nature, or striking incidents from modern novels, &c. There is one composition, “25-Hylas and the Nymphs," from "Apollonius Rhodius," by Wm. Etty, R. A.—but that one, though not without some of what Pope, in referring to Homer, has termed, "brave neglects," is an exhibition in itself. This precious work of art is now the envied property of Vincent Thompson, Esq. This room also contains sixty-nine landscapes, thirty-five portraits of ladies, gentlemen, and children, fourteen pictures of dogs, horses, cows, a Spanish ass and foal, one of fish, and four of dead game. It will be seen from this rough and hasty classification, how the public taste runs; and sorry am I to observe that the taste for British historical painting is not advancing. On the contrary, judging from this, and other recent exhibitions, in London and elsewhere, it is rather losing than gaining ground.

Again I remind the amateur reader, and the candid artist, that the necessity of hastening this manuscript to the Editor, allows only a few opportunities of detail, and obliges me, unwillingly, to confine myself to a very concise and scanty general idea. The superior class of landscapes is numerous, but amidst this rich harvest, I can only name a few, and if some commendation escapes from me on any work of excellence, I feel like a criminal, in being forced to pass the next, perhaps of equal or superior merit, without a name or notice ! Among these treasures of art, are, "9-A landscape," with boatmen in a market-barge on a river, in the dusk of evening, and a sullen gleam of sunny reflection still lingering on the horizon of a sombre sky; a picture of a deep, low tone, and prodigious power. When I first saw it, some years ago, it was much clearer; it is now loaded with smoke, or impure varnish, which gives

a degree of heaviness to the effect. "37-Stormy Evening," and "99-The Thames, near Twickenham," are by Wm. Havell, whose whole soul is wrapped up in the poetry of art. These two are fine works of genius. The sun absolutely glitters in the latter; but it is somewhat coarse and mannered in the handling; the former combines the grandeur of Titian with the phenomenic flashes of light and fierce tones of Mola. The spirit of the storm is abroad, the huge oaks appear to topple, and the whole landscape is in motion. This inspired creation reminds me of "Stormy Twilight," by the same artist, which I noticed in 1809, in my printed letter to J. A. (Colonel Anderdon), a connoisseur in London." Mr. Angerstein afterwards purchased that splendid water-colour painting.

The enchantment of this Havell has almost spell-bound me, but I

must proceed to "58-Caernarvon Castle," ̧” “61—A Water Mill at Aberayron, Wales," and "73-A Timber Ship ashore, near Aberystwith," by Wm. Earl, three works which reflect high honour on this excellent artist's taste, feeling, and execution. "64-Solitude," the property of John Gibbon, Esq. by F. Danby, A. R. A., is a composition of the very highest quality, replete with beauty and grandeur; the handling vigorous but solid; the colour, the living truth itself, and a truth delivered in such a tone of deep and golden harmony, that no words can convey an adequate idea of its magic effect upon the mind. The breadth is so extensive, so admirable, that without any sacrifice of clearness or form, it presents all the various objects and passages in the landscape as one! Never did the pencil of Nicholas or Gaspar Poussin, at whose altars I am, and ever will be, a worshipper, represent the stillness of the sublime with more majesty and repose. This fine production adds a new glory to the British school. It is a chef d'œuvre by one of the greatest landscape-painters in the world. In the very foremost line of the first class, as a colourist; great as a designer; with the elevated imagination of a poet and painter; what is it that he cannot accomplish if roused by a sacred emulation to the highest pitch of his extraordinary powers? -On the Banks of Loch Lomond," by P. Rogers; the cool, clear, airy serenity of Claude, in his purest silvery style, pervades this delicious landscape; the execution is all in fine taste, and the effect very fascinating. "153-L'Isle Berb on the Soane," C. Stanfield, A.R.A.; this jewel beyond price, is in the collection of the Right Hon. Lord Northwick. Here, also, the cool, airy, local colouring enchants the eye, with the simplicity, truth, and freshness of nature. I never think of it, but I catch myself repeating "oh, how lovely! how very lovely!" "48-The Horse-ferry," by A. Cooper, R.A.; a cabinet picture, which for correct drawing, and general delicacy of penciling, might hang beside a Wouvermans, and not suffer by comparison.

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"101-Entrance into the harbour of Marseilles," by W. Daniell, R.A. is one of his very attractive pictures. He has, also, "76-A rich romantic prospect in Ceylon," and 296, 385, 418, and 489, all well selected picturesque scenes in India, embellished with groups of figures in their native costume, painted with much taste and elegant fancy, and furnishing very interesting and beautiful views in that country. 133The Moorish Tower at Seville, called the Geralada, painted in that city, in 1833," by D. Roberts. The splendour of light in a bright unclouded sky, and the rich colour on the principal building, combined with the singular variety and grandeur of the Moorish architecture, render this one of Roberts's most magnificent prospects. With all Canaletti's exquisite sense of colour, his happy selection of Venetian architecture, and his brilliant execution (to which I do homage and pay the full tribute of admiration), yet, here, he is not only equalled, but surpassed, by this

British artist. What a glorious triumph this for the British school, if placed in the national gallery!

“19—Throwing the Casting Net," by J. R. Lee.-This is a picturesque, but rather a close, woody scene; with well-drawn figures; a felicitous execution; a touch in the foliage, trunks of the trees, grounds, and every other object, free but firm, and full of character, without anything hard or laboured, or vague or spongy; and with a mellow breadth of verdure combining the true local colour and freshness of English scenery with a noble sobriety of tone. It is evidently not a work of imagination, but a truth from nature, told without swagger or pretension, without a stroke too little or too much, and without a flaw. At first glance I took it for a production by Henry Lines, and from the resemblance of style, I cannot avoid, perhaps, an erroneous surmise, that the two artists must have studied together, or that one has been a pupil of the other. "154-The River Dart-Summer," by the same artist. This is, also, a woody scene, but darker, more extensive, and romantic, with admirable figures; and a Ruysdael-like flow of water inviting the eye to wander and the mind to muse. The verdure is shadowy and solemn, but with all the delicious freshness of English landscape; and the handling unites everything essential to a vigorous freedom with all that is excellent in truth. What a source of inspiration for a poet! What a study for a painter! What a banquet for an enthusiastic lover of nature! What a jewel for a collector of the beauties of British art! These are the two first works, which I have seen from this artist's pencil; and they leave nothing to be wished for in their class.

T. Baker has the following very charming landscapes :-"33-Holloway, near Hales Owen;" "44-In the Leasowes ;""" 77—View on the river Leam, in Warwickshire" "113-Landscape with Cattle, near Leamington;" '126-Ivy Bridge, Stoneleigh," and "149-Scene at Battersea." In the happy choice of his subjects, the crispiness, delicacy, and sweetness of his penciling; the mild chastity of his tone; the calm, clear, unclouded breadth of his light; the depth and repose of his shade; and the brilliancy of his general effect, this artist's style so closely resembles that of Creswick, the admirable Creswick, that, at first view, I thought these were the works of the latter. I can give Baker's performances no higher praise than to point out this similarity. Yet they do not betray the smallest trace of that servility or tameness, which marks the manner of an imitator; they have all the pure and beautiful spirit of originality. "110-A Brook Scene," and "112-A Wood Scene," by this artist, hang close to "109-A Landscape-Morning," by Creswick; and "111 -A Street Scene near Llangollen," by the same. The four little gems are very small, nearly of the same size, and in the sparkling lightness and vivacity of the penciling, are equal to the most admired small landscapes by Velvet Breughell; but, in chastity of colour and tone, they possess a beauty which the Flemish master never reached. A visionary might suppose the soul of Creswick had entered into Baker; or of Baker into Creswick. Which is the master or scholar? What is their age? Or whether they ever studied together, or not, are matters of which I know nothing.

The above are only a few of the excellent landscapes and city views contained, with three or four exceptions, in the great room, without my selecting from the other three rooms, which are, also, rich in fine landscape specimens.

Among the fancy subjects in the great room, I can mention only the following, being a few of those, which claim particular notice :-" 12The Travelling Tinman," by C. R. Leslie, R.A. Two girls are surprised

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by finding the itinerant asleep in his cart, on the road, of a lovely moonlight night. The effect is magical, and the whole, in the artist's best style. 34-Sleeping Children," by C. Landseer; correct drawing, delicate execution, a gentle character of nature, and mellow colouring, set a stamp of peculiar value on this pleasing cabinet ornament. "41Returning from the haunts of the Sea-fowl," by W. Collins, R.A. One of his most vigorous pictures. The fearless climbers afford a variety of action and attitude, which adds to the interest excited by the novelty of the subject. The colouring of the flesh tints is glowing, and the entire painted with a strong rich effect. "92-The Falconer" and "122The Gentle Reader" (a lovely young lady lulled asleep in her chamber, by the imaginary sorrows of a romance), are two pictures of high excellence, by H. Wyatt. They combine truth, good taste, splendid colouring, and a noble freedom of execution. The fame acquired at the British Institution, by his superb "Chapeau Noir," is fully sustained by these two capital productions. 159-Francis the First and Francois de Foix," by D. Mac Clise. The chivalrous gallantry of the amorous monarch, the grace and beauty of the lady, and the congenial taste and gaiety of the page and young female attendant, are finely contrasted by the sleepy old Duenna, and the fiend-like scowl of jealousy on the distorted features of the dwarf. This painting stands high in this class of art. It is a triumphant specimen from the pencil of one of the most extraordinary geniuses of the age. Here, I am concerned to remind the reader, I am writing post, against time, and I must pass, without mention, many fine works of fancy, to glance at a few of a different order.

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Among the distinguished portraits are " 22-The Children of J. Clifton Jukes, Esq." 45-Of Mrs. Throckmorton and Children; and 51-Of John, the fourth son of Sir Robert Peel, Bart.,” all by J. Partridge; the latter is exquisitely painted, but the shoulders appear rather small for the size of the head; "105-Of Edwin Guest, Esq. Barrister of the Midland Circuit," by E. Coleman; a capital head in all the best qualities of a manly, vigorous portrait; "114-Of Lieutenant-Colonel Sir Robert Gill, K. C. B." by the same artist. The gallant officer is mustachioed and "bearded like a pard," but is firmly drawn, handled with spirit, and warmly coloured. "108-Sir Edward Thomason, K.F.M., H. R. E., &c. &c." a clever head, is also by Coleman, but the ostentatious display of his honorary distinctions, which would be well enough at a public ceremonial, is not in the best taste on canvass ; and by no means adds to the good effect of the picture.

"18-A Young Lady," by J. Hollins, and "115-The Young Amateur," by the same painter, shew, at first glance, something like the good time of the Bolognian school. In these two fine pictures, the simple graces of the disposition and delicate sensibility of the characters and expression, evince a very refined taste and feeling. There is not a tinge of the ruddy or golden, glow in the flesh, nor of the rose on the fair cheeks; but the delicious breadth of demi-tints, the purity of the carnations and chastity of the tone, confer a vestal loveliness on these fascinating productions. This attraction is heightened by the richness, force, and beauty of the chiaro-scuro. To combine a correct and pleasing veri-similitude of individual nature with elegance of fancy and the charm of ideal colouring, is one of the highest qualities of a portrait painter. This was the magic of Reynolds; and this, with more correct drawing, is a prevailing excellence in these performances by Hollins. Independent of their present value as portraits, they will be ever prized as chaste works of art, should they escape the ravages of time for centuries.

There are two very striking portraits of public characters by Sir