C. L. Elliott has five portraits in the exhibition. His ‘Full-length of Gov. Seward’ is a prominent one, although not his most agreeable picture. No. 61 is we think the best, and is a well-managed portrait, both in drawing and color.
G. W. Flagg, H.—No. 63, ‘Half-length of a Lady,’ has considerable merit. It is rich and mellow in color, and better we think than many of Mr. Flagg’s recent works. No. 208, ‘The Widow,’ is a popular picture; pleasing in expression, and possessing more refinement of character than is observable in many of his other portraits. No. 102, ‘Bianca Visconti,’ we do not admire.
G. Freeman.—Miniature portraits, generally large, and highly finished. This gentleman has lately arrived from Europe, and is we believe a popular artist; yet we do not like his productions.
J. Frothingham, N. A.—Nos. 32 and 35: portraits exhibiting Mr. Frothingham’s usual bold and free style in this department of art; remarkably fine likenesses; true in color, and of pleasing general effect.
H. P. Gray, N. A.—Mr. Gray exhibits a number of his works this season. He seems to us to sacrifice every thing to color; and his color is not such as is generally seen in nature, but rather what he has seen in pictures. This we think a mistake, and one which we must be permitted to hope he will rectify. In the pictures which he formerly painted, a much closer attention to nature is observable. Mr. Gray has all the feeling of an artist, with no ordinary talent; and we regret to find that he wanders from the direct path. We were among the first, if not the very first, to call public attention to his merits, and it is with reluctance that we perform the duty involved in these animadversions. ‘Comparisons,’ Dogberry tells us, ‘are odorous;’ we cannot help remarking, however, that Mr. Gray’s old fellow-student, Huntington, is (longa intervallo) in the advance. We prefer, of our artist’s present efforts, the picture of ‘His Wife.’ It has a pleasing effect, and is more finished than usual, and more natural in tone than his ‘Magdalen.’
J. T. Harris, A., has two pictures, and both portraits. No. 19 is the best. It exhibits a broad, free touch, and correct drawing, and is withal an excellent likeness. But we never look at Mr. Harris’ works without being impressed with the idea that they are not finished. They seem to us, to borrow an artistical expression, as if they were in a capital state for ‘glazing and toning up.’ Otherwise, they are above the ordinary run of portraits.
G. P. A. Healy, H.—Mr. Healy is a resident of Paris, but an American. He is a favorite at the French court, and has by this means a reputation to which his works generally do not entitle him. We are bound in justice to say of his present effort, however, that it is an exceedingly fine picture. It is boldly and masterly executed; forcibly drawn, honestly colored, and well expressed. There is too about it a freedom from all the usual tricks of the profession, such as a red chair, velvet collar, and fantastic back-ground, which we particularly recommend to the attention of young artists.
Thomas Hicks, A., has eight pictures in the collection, but none, excepting his portraits, which equal his former productions. No. 264, ‘The Mother’s Grave,’ is an oft-repeated subject, and should not be attempted unless the artist is able to treat it with entire originality. There are good points about it, but none sufficiently attractive to warrant particular notice.
Ingham, N. A., as usual has a fine collection of female portraits, all excellent for their careful drawing, lady-like expression, and high finish. The drapery and accessories of Mr. Ingham’s portraits are always wonderfully exact to nature; and this greatly enhances the value of portraits of this description; for aside from their merit as likenesses, they will always be valuable as pictures. His male portrait, No. 113, of T. S. Cummings, Esq., is a most admirable likeness, as well as a highly-wrought and masterly-painted picture. No. 239, ‘Portrait of a Lady,’ with a fan in her hand, is our favorite among his female heads. There is a sweetness and modesty in the expression, not only in the countenance but in the whole figure, which makes it peculiarly attractive.
H. Inman, N. A.—No. 62, ‘Portrait of the late Bishop Moore, of Virginia,’ is the admiration of all who behold it. In color it surpasses any thing of Mr. Inman’s we have seen in many a day. Clear and luminous, with great breadth of light, and a mild, pleasing expression. We of course mean this to apply to the head. The hand and part of the drapery are not, in our judgment, so well done. No. 104, ‘Lady with a Mask,’ we do not altogether like; yet it is remarkable for being foreshortened in every part, and possesses that singular charm of light and shadow, and accidental effect, which are the characteristics of our artist’s pencil. No. 314, a Landscape, although small, is delicately handled, and ‘touched in’ with great neatness and accuracy. In effect it is attractive, and in color pleasing. The figure in the fore-ground equals in care and minuteness of finish the manner of Wouvermans.