The Sun.
London, England, 1850-05-07 00:00:00

THE ROYAL ACADEMY.

Actuated by a conciliatory spirit towards that
" Fourth Estate," which has recently betrayed a dis-
position to prevent all further mismanagement of
affairs at the National Gallery, the Council of the
Royal Academy decided this year, for the first time
in the annals of their institution, to admit the repre-
sentatives of the principal London newspapers to the
private view of their exhibition of paintings. As
journalists participating in the benefit of this proceed-
ing, we cannot of course do otherwise than commend
a concession to the requirements of the public, which
we are fain to regard as an augury of yet larger inno-
vations and of yet more comprehensive improvements.
The mere circumstance here particularised has, it is
true,: revived to our recollection subjects already dis-
cussed by ourselves in common with many of our
contemporaries, subjects intimately affecting the con-
venience of the metropolis, and the popularity of the
Royal Academy ; yet it must be at once obvious to_
the general apprehension that any direct reference to
the matters hinted at would at this particular moment
evince the worst taste imaginable. .We shall, there-
fore, content ourselves with the present cursory al-
lusion, reiterating our belief, or rather our sanguine
expectation, that the advantage just accorded to the
press with a graceful and spontaneous promptitude,
may prove the guarantee in regard to the conduct of
the affairs of, the Academy of a rapid and general re-
organization.

Few will leave the seven apartments decorated
with the works of the exhibitors, for the spring season
of 1850, with anything like feelings of disappoint-
ment. For, with less of those productions which
fail to rise above the level of mediocrity, the collec-
tion for this year is characterised by a larger number
of those remareable pictures which are manifestly
the effusions of artistic genius. Unfortunately we
have cause to mourn over the permanent disappear-
ance from the ranks of the principal competitors
of one whose labours have materially tended
to advance the cause of Art in Eng-
land, and whose reputation even before his
demise had already grown up into classic propor-
tions. IVith all his undoubted blemishes—blemishes
more especially visible to the painstaking hypercriti-
cism of this age of perverse and petulant depreciation
—William Etty had nevertheless capacities so ripened
by reflection and practice as to compensate, nay, even
more than compensate, for his conspicuous deficiencies
in idealized delicacy and refinement. Those who could
pass unmoved by any sentiments of pride or admira-
tion round the gallery not long since adorned by the
collected works of this great master, those who could
not experience some emotions of exultation in the
powers which had there tended to honour and to ele-
vate the school of British artists, and which, while
realising some of the dreams of our national ambition,
had the yet further merit of exciting much prospec-
tive emulation, will of course traverse, thiaseason, the
rooms of the toyal Academy without one regret for
the distinguished artist whose genius and industry
have so often enhanced the value of its annual exhi-
bitions. Others there are, we are gratified to know,
who will turn in grateful retrospect to the memory
of Etty, as to that of not one of the least of the de-
ceased academicians. Among such individuals,
we are satisfied that it will be a matter
rather of annoyance than of pleasure to find an in-
different trifle like "The Toilet" (276) paraded as a
specimen of the late Mr. Etty's abilities. Had none
of his productions displayed more beauty than this
coarse and uncomely female, he would scarcely have
elicited from us at his departure a panegyric which,
to our mind, is not more earnest than it is deserved.
Another of the great masters of the Royal
Academy demands from us some sorrowful
consideration ; fur, although his life is still
happily spared, his genius has long since
departed. We say this advisedly, with all deference
to the opinion of Mr. Ruskin, and with all respect for
the powers formerly displayed by the object of his
idolatry—Joseph Mellord William Turner. Our
homage for the capacities of this extraordinary
painter, as they were revealed in years now, alas !
bygone, can scarcely be surpassed by any less enthu-
siastic than the Oxford graduate. Nevertheless, or
possibly we should say, hence, while acknowledging
a certain charm iu the arrangements of
the colouring in his latest productions, we
do most energetically protest egainst works
so flagrantly defiant of all the rules, even the ele-
mentary rules of art—and of all the laws, the eternal
laws and diurnal appearances of nature. What can
possibly be meant, we should like exceedingly to
know, by the little black dog or diabolical grimalkin
looming in the middle of the picture (192), entitled
"Eneas relating his Story toDido ?" Or s%hat' again,
can be the earthly or unearthly meaning of (373) the
" Visit to the Tomb," where the sunset is indicated
by smears of yellow paint such as would be disgrace-
ful as the work of a journeyman glazier. Better than
these, as being somewhat less incomprehensible, is
(174) "Mercury sent to admonish eEneas," and (082)
the "Departure of the Fleet," the whole four being
additional illustrations to that manuscript poem of the
"Fallacies of Hope," which seems to have effected a
most moonlike and dementing influence over Mr. Tur-
ner's imagination. As nothing whatever can be said in
commendation of' these eccentric and ultra-capricious
vagaries of the brush, as far as the beautiful is con-
cerned, perhaps we may be permitted to
intimate the possibility of discerning in them
some degree of utility—their motley array of'
colours suggesting more brilliant patterns for the
calico printers than the most gorgeous kaleidoscope
ever manufactured. Among the more prominent de-
faulters in reference to the present exhibition we have
reason to regret the non-appearance, this May, as ex-
hibitors, of Mr. Herbert and Mr. Mulready, men
whose supremacy in their different departments en-
ables us but ill to afford their temporary withdrawal
from competition.
Fortunately, however, for the real admirers
of art, we can recognise still many eminent names
in the catalogue, and upon the walls of the different
apartments admire the exquisite products of their in-
dustry. Foremost among them, Mr. Eastlake rivets
our attention by his impressive portrayal of (72)
"The Good Samaritan"—a work which in the severe
simplicity of its treatment, the purity of its colouring,
and the forcefulness of its expression, immediately
arrests our observation. Although, of course from the
very subject of it, with less emotional energy and anima-
tion than the (169) "Escape of Francisco di Carrara,"
copied by Mr. Eastlake from his original production
so entitled, the " Good t'amaritan" is immeasurably
superior in point of attraction as well as in general
merit, being in short one of the most successful
effusions of his artistic ability. Edwin Landseer
contributes three pictures to the collection, the two
smaller and less pretentious ones being, to our think-
ing, infinitely preferable to the huge oblong painting
(189) of " A Dialogue at Waterloo;" and this,
notwithstanding the inimitable representation of
the horses in this historical picture, the felicitous
likeness of the Duke and his daughter-in-law, and
the capital group depicted in the left, where the young
Garde-Chasse has thrown his game on the turf, and
is leisurely enjoying his luncheon. Admirable, a;
examples of Mr. Landseer's genius as an antunaf
painter, are (.533) " Good Doggie, the_ property of
Lady Murchison," one of the finest dog portraits.
ever produced; and (281) "The Lost Sheep, where e
feel, in looking at it, almost as snow-bitten
as
the shepherd, almost as suffocated as the sh rep, and
almost as excited in the search after the missing un-
fortunate, as the dog who is yelping barks of distress.
Conspicuous among the works of our English artists
is the great painting by I de la Roche, the artist
par excellence among the present generation of
Frenchmen (369), " Cromwell looking at the Dead
Body of Charles I."—aproduction of such extraordinary
merit as to deserve this early and especial reference.
It would be well for many if our native painters were
to scan this noble effusion of the genius of M. Paul
de la Roche with that eclectic appreciation which
draws materials for improvement from all themes,
whether foreign or indigenous. Unlike most of his
recent pictures, which have soared into the loftier
regions of the art, Mr. Maclise this year reverts, and
with eminent success, to his earlier style, giving us
his version of that immortal incident in the "Vicar of
Wakefield " (56) " The Gross of Green Spectacles."
Nothing could be more truly or more purely in the
spirit of Goldsmith, more rich in humour or
more geneial in sentiment. Motes, all innocence at

his mishap, explaining with outstretched hands the
circumstances of his bargain, Olivia, looking round
lovingly, but reproachfully too, as if she said—" Oh
you dear silly fellow, how could you!" Mrs. Primrose,
in horror at the misfortune, the little ones breathless
with curiosty at sight of the boxful of spectacles in
their shagreen cases, and the Vicar scanning
his property with an air at once serious and
saddened. The painting is altogether, in its way,
a masterpiece. Another work by the same artist
(160) represents his " Spirit of Justice,"
now painted
in fresco, at the new palace at Westminster. Although
Mr. Webster has contributed no less than four pic-
tures, all of them excellent, and one (98) "A Cherry-
seller," produced with exceeding brillianey, we yet
missed that industry and consummate genius of
humour which last season developed themselves in his
large picture of the boys sliding. In the humorous,
nevertheless, the present collection is singularly
rich : instance this, Itlr. Leslie's (125) " Torn
Jones showing to Sophia Western herself, as her
best security for his Good Behaviour ;" his (95) I
" Beatrice,' in her garden concealment and Mr.