Amongst the scriptural and mythological paintings, those of Mr Patten and Mr F. R. Pickersgill attract at least as much notice as they deserve. Besides portraits, Mr Patten has contributed three pictures. His Susannah and the Elders is remarkable as being the most decidedly indecent picture exhibited this year. The subject is not a very pleasing one, and, to our thinking, has been painted quite often enough. But this is not the question. Mr Patten has put his version of it out of the pale of propriety by his mode of handling it. There is nothing classical in his treatment, nothing to redeem or elevate the nudity and associations of the subject. His Susannah is simply a naked English girl, with a pretty face, an immaculate cuticle, and something exceedingly voluptuous in the form and arrangement of her limbs. There is no novelty of conception in the picture, nor any particular merit except the colouring, which is good, but not equal to that in No. 446, Bacchus discovering the Use of the Grape. This is a pleasanter subject, cleverly treated, displaying more originality and much better taste. The flesh-tints are capital, and the picture altogether does credit to the painter. Venus and Cupid, by the same artist, is chiefly remarkable for a plaster-of-Paris dove of an extraordinarily brilliant and very unnatural effect. As to Mr F. R. Pickersgill, we should like his pictures better if he would not imitate poor Etty, whose memory, be it parenthetically observed, has been little regarded by those who have exhibited that most coarse and unpleasant picture, The Toilet, No. 276, a specimen of the deceased artist's worst manner. Mr Pickersgill's Samson Betrayed is, there is no denying it, a very unsatisfactory composition. His red-haired Dalilah is graceless and characterless. Samson, recumbent in an attitude in which no man ever slept soundly, seems prevented only by a miracle from slipping off her knees. Two girls, instead of getting to a safe distance, are hugging each other in terror within reach of the giant's arm. There is scarcely an attitude in the picture that is not strained. In the conception there is an utter want of novelty of circumstance. The whole picture is deficient in originality. The eye wanders over it, seeking some feature of special interest or striking beauty whereon to dwell, and finds none. Mr Pickersgill has good qualities, but the spark of fancy and genius which alone can complete the great painter, is, we fear, wanting in his composition.
We turn with pleasure to Leslie's pictures. Were we disposed to find fault with this very agreeable artist, our objections could only be technical. With want of imagination, and feeling for beauty, none can tax him. Two of his three pictures contain the sweetest female faces in this exhibition. How admirably has he interpreted Shakspeare's description of Beatrice stealing to the woodbine bower, to play the eavesdropper on Hero and Ursula.
"Look where Beatrice, like a lapwing, runs
Close by the ground."
The painter has exactly rendered the poet's graceful idea. As she glides along, we seem to detect the slight flutter and palpitation attendant on the clandestine movement. Expression and attitude are alike charming. Sophia Western deserves even higher praise. She is indeed a lovely creature. Tom Jones bids her behold herself in the mirror, and say whether such a face and form do not guarantee his fidelity. It is altogether a most agreeable composition; and if we have any fault to find, it is with the face of the enamoured foundling, which wants refinement, and has a sort of overgrown schoolboy's ruddy fulness. Katherine of Arragon beseeching Capucius to convey to Henry VIII. her last recommendation of her daughter and servants to his goodness, is the most important of Mr Leslie's pictures; and although by many it will not be deemed the most attractive, none can deny it great merit and interest. The suffering countenance of Katherine, and the tearful faces of her attendants, are full of expression. The ambassador is rather tame, and one scarcely recognises in his face or bearing the energy with which he vows to do the bidding of the unhappy queen.
Mr Eastlake has one scriptural and one historical picture in this year's exhibition. A passage from Sismondi, telling the escape of an Italian noble and his wife from the persecution of the Duke of Milan, has suggested the latter, which is painted for the Vernon Gallery. There is some good expression in the faces in this picture, which has more interest and novelty than its companion The Good Samaritan, and also greater vigour. Both show the hand of the experienced and skilful artist, although perhaps neither can be classed amongst the best things he has produced. We should gladly see a little more nerve in Mr Eastlake's style, and this we think might be advantageously combined with his beautiful transparency of colouring, and other excellent qualities as a painter. There is no diminution in the purity of style and thought which has always been one of his finest characteristics.
Mr Frith is an improving artist. There is humour and progress in No. 543, a scene from Goldsmith's Good-natured Man. Mr Honeywood introduces the bailiffs to Miss Richland as his friends. He must beware, however, of running into caricature in subjects of this kind. The bailiffs are perhaps a little overdone. Miss Richland has a very pretty face, but she looks more like a soubrette or smart actress than a woman of fashion. Mr Frith's other picture, Sancho proving to the duchess that Don Quixote is at the bottom of the table, is well painted, and, in a technical point of view, it must be spoken of with respect. He has not been quite so successful as we should have expected in the expression of the faces,—that of the duke excepted, which is a good and thoroughly Spanish countenance, with its habitual gravity disturbed by Sancho's quaint humour and his master's manifest distress. But painting ladies is not Mr Frith's forte. His duchess is pretty, but there is a want of aristocratic distinction in her face and bearing; and as to the ladies grouped behind her chair, they are cookmaids in masquerade. Very few living artists, besides Leslie, should venture upon Sancho. We will not say that Mr Frith is not one of those few, but his delineation of the shrewd esquire, although very humorous, is rather coarse, and he has made him ragged and filthy to an unnecessary degree. The vexation and embarrassment of Don Quixote are ludicrously portrayed.
Four very small, very unpretending pictures by Thomas Webster, R.A., must be sought for, but, when found, cannot fail to be admired. They are a feature, and a very charming one, of this year's Exhibition. High finish and truth to nature are their chief characteristics. Mr Webster is getting quite into the Ostade manner. His colouring, too, is admirable. No. 54 is a boy in a chimney corner, supping pottage, with an old woman knitting opposite to him. Both faces are excellent, and full of character. A Cherry Seller is a perfect bijou—the woman weighing out the fruit; the boys, looking on with eager eyes and watering mouths; the fruit itself, with its Dutch nicety of finish:—altogether it is a most desirable picture, such as one can hardly pass, even for the twentieth time, without pausing for another view. A Peasant's Home is upon the whole too gray, and perhaps the least attractive of the four; but in the Farmhouse Kitchen are a couple of figures, a farmer and his dame, than which nothing can be better, either in colour or expression. Mr Webster shows great taste and judgment in adhering to a pleasing simplicity, without ever falling into quaintness or affectation. And it is a study for a young artist to observe the skill with which he throws his lights, and the transparency and absence of paintyness (to borrow a term from the studio) which characterise his pictures.
Mr Solomon Hart's Kitchen Interior at Mayfield will not do after Webster. This, however, is one of the least important of his six pictures, which comprise two other interiors, two heads, and a Jewish festival. This last is perhaps the best picture he has painted. The MSS. of the Pentateuch are being carried round the synagogue at Leghorn, amidst chanting of hymns. There is a strong devotional character in many of the faces; and, as a work of art, the picture is more than respectable. The interest of the subject is a question of taste. For us, we confess, it possesses very little attraction; and the Jewish physiognomy, so strongly marked as it is in all the occupants of the synagogue, is, to our thinking, incompatible with beauty. We do not much admire either A Virtuoso or Arnolfo di Lapo. The latter is the best of the two: the former, carefully painted, is merely an ordinary-looking Jew.
What can we say of Mr Turner? Perhaps we had better content ourselves with mentioning that he has four pictures in the Exhibition, all in his latest manner, all illustrative of that far-famed, but, unfortunately, unpublished poem, The Fallacies of Hope, and all proving the fallacy of the hope we annually cherish that he will abjure his eccentricities, and revert to the style which justly gained him his high reputation. It were absurd of us to attempt to criticise his present productions, for to us they are unintelligible; and, judging from the extremely puzzled looks we see fixed upon them, we suspect that not many of those who pause for their examination are more successful than ourselves in deciphering their meaning, and in appreciating the beauties which a few stanch adherents pretend to discover in those strange compounds of red, white, and yellow. What if Mr Turner were to seek his inspirations elsewhere than in the aforesaid MS.? Can it be that the poet's halting verse influences the painter's vagaries? From the specimens afforded us, we are not inclined to think highly of The Fallacies of Hope. Take the following, exempli gratiâ:—
"Beneath the morning mist
Mercury waited to tell him of his neglected fleet."