The Sun.
London, England, 1841-05-05 00:00:00

FINE A RTS.

The Annual Exhibition (the Seventy-third) of
the Royal Academy was yesterday opened to the
public for the season. It is, on the whole, an
average one—neither better nor worse than those

which- have preceded it for the last four or five
years, comprising several clever pictures, but
scarcely one—if we except Sir William Newton's
exquisite miniature painting entitled the " Ho-
mage"—of first-rate merit, whether in design or
execution. We miss Landseer among the contri-
butors, and regret to learn that the cause of his
absence is ill health; Sir David Wilkie, however,
has contributed a few pictures; and so also have
Stanfield, Roberts, Maclise, Lee, Chalon, and
Turner ; but not one of these able artists—not
even Wilkie himself—can reconcile us to the loss
of Landseer, who has been the great magnet of
the more recent exhibitions. The paintings are
upwards of twelve hundred in number ; and of
course many mediocre ones are to be found
among them, some of which we are sorry to see
occupying far too conspicuous a station on the
walls, while others of superior merit are hung at
such a height that it is scarcely possible to exa-
mine them with attention. We had hoped that
this system of favouritism was at an end,
but we find that it is nearly as active as ever.
But to our notice. No. 9 is by Stanfield.
It is entitled " Castello D'lschia from the Mole,"
and exhibits much of this fine sea-painter's usual
force and truth of effect. The water is disturbed
by a half-spent gale, and dashes wildly against
the eminence on which the castle is built, while
its towering front and solid battlements wear an
aspect of calm, majestic strength. The fore-
ground is vividly and beautifully coloured, and
affords a fine relief to the other portions of the
picture. No. 10, "Portrait of William Harrison
Ainsworth," is a flattering likeness of the author
of "Jack Sheppard." It is not in Pickersgill's
happiest manner. No. 38, "Going to the Fair,"
is one of Chalon's lively, animated sketches.
The scene is full of bustle, and exhibits some
dextrous foreshortening. No. 45, " Midsummer
Nights' Dream," by Howard, is not without
merit, but, as a whole, the effect is stiff. The
attitude of the sea-maid, in particular, wants
ease and freedom. No. 33, " The Irish
Girl," shows more skill of composition and
colouring than appears in some of the artist's
(Maclise) more ambitious productions. No. 116,
" Portrait of Sir Peter Laurie." The original of
this likeness has great reason to be pleased with
Wilkie for the vigour and expression that he has
thrown into it. No. 68 is a spirited portrait of
his Grace the Archbishop of Canterbury, by Sir
Martin Archer Shee, who has not often acquitted
himself with more success. No. 223, " Portico
of the Temple of Dendera, in Upper Egypt," is
one of those carefully-painted oriental scenes for
which Roberts is so deservedly celebrated. No-
thing can surpass the subdued vigour and harmo-
nious beauty of the colouring. There are no
gaudy, meretricious effects of light and shade
the whole is toned down with exquisite good
taste. It is one of those few stirring pictures,
which, the longer it is beheld, the more it will
be admired. Indeed, it strikes the spectator
more on a second, than on a first survey. No.
242, " Poor-law Guardians—Board day—appli-
cation for Bread," is a taking theme, nearly, if
not quite, spoilt, from a want of earnest and de-
cided character. No. 249, "An Equestrian Por-
trait of Miss Hoare," by Cooper, is chiefly re-
markable for the vigour and truthful manner
in which the horse is painted. The co-
louring here is almost worthy of Landseer.
No. 253, " Coast of Dover," is a promising pro-
duction, from the pencil of an artist named Tan-
neur. The water has that perfectly liquid and
elastic character which Vandevelde knew so well
how to throw into his sea-pieces. No. 277, "De-
positing of John Bellini s three Pictures in La
Chiesa Redentore, Venice," is one of Turner's
freakish productions. It consists of but three
colours, blue, yellow, and green, which are com-
pounded—or rather, are contrasted—in the oddest
and most fantastic manner possible. No. 287,
" Sir Roger De Coverley's Courtship," is by
Redgrave, who has missed Addison's notion of
the old country Baronet, who certainly never
intended him to look like a ninny, while making
love. The arch, half-averted countenance of his
mistress is skilfully painted. No. 300, " High-
land Scenery," convinces us that Lee (the artist)
is not so much at home in pourtraying the wild,
misty, mountain scenes of the North, as the
tamer and more sylvan landscapes of England.
There is a want of truth in the colouring of the
picture. No. 312, " Hunt the Slipper atNeimh-
hour Flambo-rough's" is deficient in chaste-
ness and simplicity. The lights are all
too staring, as if the artist's chief object was
to surprise and startle the spectator. Mr. Maclise
deals too much in exaggeration in the majority
of his pictures, and is far too fbnd of glaring
contrasts in his colouring. No. 428, " Celestial
City and River of Bliss," partakes in a high de-
gree of Martin's usual mannerisms. No. 429,
"Mary Queen of Scots, and her Retinue re-
turning from the Chase to the Castle of Stirling,"
contains one admirably drawn figure, namely,
that of the famous Regent Murray, who is riding
beside his Royal sister, and fully realizes our
notion of the man, as we find him drawn by
Robertson. No. 466, "The Sculptor's Triumph,"
is a showy, fanciful picture by Danby. No.
492, "Party at Ranton Abbey," is one of Grant's
clever sporting sketches. The portrait of Lord
Melbourne is capital. No. 539, "The Trial of
Effie Deans," contains some striking effects of
light and shade. In the Sculpture Room—a
mere cup-board, by the bye—the best statue is
that of " Eve listening to the Voice," which is
replete with grace and beauty of expression, and
harmonious symmetry of figure. Bailey is the
sculptor of this fine work of art.

RAISING OF RENTS---..We regret to find that
the present Duke of Marlborough, immediately upon suc-
ceeding to the Dukedom, gave notice to the tenants of his
extensive cstates to quit, and this for the purpose of raising
their rente. These rents have a;nce been put at a most
extravagant sum, and they have no other alternative than
quietly to submit to them, or to sacrifice a considerable _
portion of their property by " going out" and " selling I FROM A riORRESI'ONDENT.—The budget, &c,
off.., One of the most respectable farmers that astend:our has created a sensation in this neighbourhood ( Ashton
...
market has received the intelligence that he must in future and Dukinfield), the like to which has not been since the
Fay 1,700/. a year for the farm, for which he has hitherto
firstmi
Ministers
i s Reformters
str
enßill.g
t h
Gazette
Dukinfield, &c., will begin on
tAollcalrieryre
their Slrhipgiansasnd Tories, wish
paid 1,300. only, or quit, a rise of 400L—Devizes
out.
You will
see from the Manchester Guardian of this day, that the
TRADE.—Trade in Birmingham is very bad,
with no present prospect of amendment. To the stagna- Monday to work only four days in the week. Mr. A.
mills at Hyde, Ashton,
Lion is the American market is now added a stagnation tells me that the arrangements adopted in these places
in the markets of the Continent. The weather has during are likely to extend to Preston, Burnley, Blackburn, and
the week been remarkably fine, and the more than ordi- Rochdale; in fact, that the limitation system has 'never
narily warm. We have thus the comfort of. net being at been. so general as it now is likely to be in the manufac•
.onet starvid with cold and hunger. ---:Dirminghanqo'n nal• turing district.z.—.Evening paper.