CONTENTS
| PAGE | |
|---|---|
| On Haydon’s Solomon | [309] |
| The Catalogue Raisonné of the British Institution | [311] |
| West’s Picture of Death on the Pale Horse | [318] |
| On Williams’s Views in Greece | [324] |
| On the Elgin Marbles | [326] |
| Fonthill Abbey | [348] |
| Judging of Pictures | [356] |
| The Vatican | [359] |
| English Students at Rome | [367] |
| Fine Arts | [377] |
| James Barry | [413] |
| Originality | [423] |
| The Ideal | [429] |
| Royal Academy | [434] |
ESSAYS ON THE FINE ARTS
ON HAYDON’S SOLOMON
The Tenth Exhibition of the Society of Painters in Oil and Water Colours opened on Monday last. The productions of Glover, Cristall, De Wint, &c. principally fill and adorn the Water Colour Department.—Among the oil pictures in the room, the principal are, The Judgment of Solomon, by Mr. Haydon, and Don Quixote receiving Mambrino’s Helmet from Sancho, by Mr. Richter. The former is a work that evidently claims a place in the higher department of art; and we are little disposed to reject that claim. It certainly shews a bold and aspiring mind; in many parts (that which we hold above all other things to be essential to the painter) an eye for the picturesque both in form and colour; considerable variety of expression, attitude and character, and great vigour and rapidity of execution throughout. It would, at the same time, be in vain to deny, that the success is not always in proportion to the effort made; that the conception of character is sometimes erroneous; that the desire to avoid insipidity and monotony has occasionally led to extravagance and distortion; that there are great inequalities in the style, and some inconsistencies in the composition; and that, however striking and admirable many of the parts are, there is a want of union and complete harmony between them. What was said of the disjecta membra poetæ is not inapplicable to this picture. It exhibits fine studies and original fragments of a great work—it has many powerful starts of genius—without conveying that impression of uniform consistency and combined effect, which is sometimes attained by the systematic mechanism of well-disciplined dullness, and at others is the immediate emanation of genius.
That which strikes the eye most on entering the room, and on which it dwells with the greatest admiration afterwards, are the figures of the two Jewish Doctors on the left of Solomon. We do not recollect any figures in modern pictures which have a more striking effect. We say this, not only with respect to the solid mass of colour which they project on the eye, the dark draperies contrasting finely with the paleness of the countenances, but also with respect to the force, truth, and dramatic opposition of character displayed in them. The face of the one is turned in anxious expectation towards the principal actors in the scene: the other, looking downwards, appears lost in inward meditation upon it. The one is eagerly watching for the catastrophe,—the other seems endeavouring to anticipate it. Too much praise cannot be given to the conception of the figure of Solomon, which is raised above the rest of the picture, and placed in the centre—the face fronting, and looking down, the action balanced and suspended, and the face intended to combine the different characters of youth, beauty, and wisdom. Such is evidently the conception of the painter, which we think equally striking and just; but we are by no means satisfied that he has succeeded in embodying this idea, except as far as relates to the design. The expression of the countenance of the youthful judge, which ought to convey the feeling of calm penetration, we think, degenerates into supercilious indifference; the action given to the muscles is such as to destroy the beauty of the features, without giving force to the character, and instead of the majesty of conscious power and intellect, there is an appearance of languid indecision, which seems to shrink with repugnance from the difficulties which it has to encounter. The colouring of the head is unexceptionable. In the face of the good mother, the artist has, in our opinion, succeeded in overcoming that which has been always considered as the greatest difficulty of the art—the union of beauty with strong expression. The whole face exhibits the internal workings of maternal love and fear; but its death-like paleness and agony do not destroy the original character of feminine beauty and delicacy. The attitude of this figure is decidedly bad, and out of nature as well as decorum. It is one of those sprawling, extravagant, theatrical French figures, in which a common action is strained to the extremity of caricature. The action and expression of the executioner are liable to the same objection. He is turbulent and fierce, instead of being cold and obdurate. He should not bluster in the part heroically like an actor—it is his office.—On the whole, we think this picture decidedly superior to any of this Artist’s former productions, and a proof not only of genius, but of improved taste and judgment. In speaking of it with freedom, we trust we shall best serve both him and the art.