The Liverpool Standard and General Commercial Advertiser.
Liverpool, Merseyside, England, 1835-09-04 00:00:00

LIVERPOOL ACADEMY.

The eleventh exhibition of works of art, of paintings in oil
and water colours, and of sculpture, under the direction of the
members of the Liverpool Academy, commenced on Monday
last. This society had its origin in the most laudable motives.
It was instituted to encourage native talent, and attract to its
annual exhibitions the works of living and distinguished artists
from all parts of the country. How far it has succeeded we
are unable to tell, cot having had the opportunity of comparing
the collection of the present season with that of former years
We understand, however, from those who are competent judges,
that the works now exhibiting arc, in point of i:umber and ex-
cellence, vastly superior to any hitherto exhibited in the same
place. There are many pictures of great beauty, and some ex-
quisitely painted ; but there are others which do not deserve a
corner even in a schneider's attic. The portraits are in general
good, and no, wonder, for they are the works of men who have
obtained high eminence and lasting repute in the schools of
the metropolis.
It is impossible to do justice to a tenth part of them from a
hasty glance of only a couple of hours; but such as came under
our eye, or more than others, perhaps semetimes from accident,
attracted our attention, we shall speak without reserve, fear, or
affection. There are numerous daubs which are really beneath
crititism; but we shall speak as tenderly of al, and as honestly
of all, as if we were sworn appraisers between our sovereign
lord the king, his diste and dignity, and the honourable society
and much revered fraternity of picture fanciers.

On entering the large room the eye is naturally and instinc-
tively arrested by,a splendid portrait of the chief magistrate of
Liverpool, James Aspinall, Esq., which is one of the most
spirited and faithful likenesses we ever saw. It almost lives as
you gaze upon it. It is by J. Lansdale, and does him immortal
honour_
But let us take them in order:—

'No. 4 is a fancy sketch, entitled " Shakspeare reading one of
his plays to Queen Elizabeth." The artist is John Wood. To•
call it a. fine picture is not doing it justice. The Queen, loaded
With jewels, most richly attired, sits in her chair of state, her
feet resting upon a Turkish carpet, very like is Brussels, and is
itiiipbsed to be listening to the poet, who looks grave and rather
sheepish; but she is doing no such thing. It is plain she dues
not hear a word that is uttered; for she is casting a sly and
sinister look at one 'of her courtiers. The colouring is good,
and the drawing, as far as we can judge, correct.

No. 6.—"Doser," by J. Stark, is no great things taken as a
whole; the pier-head is tokrable, bat the steamer, if it be a
steamer, ought to be burnt.

No. 17.—" The dead Bird," by S. Eglington, is a poor thing.
A biggish lout of a boy; blubbering over a dead yellow-hauiruer
in a rusty cage, is in l,ad taste. It should have been a girl.

No. '25 is called "Portrait of a Gentleman," by Alexander
Mosses. If the likeness be true, then is the designation incor
sect—if he be a gentleman, Mosses is no artist.
No. 35.—" Evening Prayer," by Thomas Webster, is an ex.
tremely pleasing and attractive little picture.

No. 37.—" Portrait of Peter Whitfield Braneket, Esq.," by
J. C. Thompson, R.H.A., is a striking likeness, in the very
first style of art. The old gentleman is as much himself in his
arm-chair at the exhibition-room, as he is at his own fireside.
Mr. Thompson has another portrait in the room, viz., that of
the Rev. 1' Tattershall, M.A., of St. Augustine's, Liverpool.
It is a full length, and. taken by desire of his congregation.
The artist has done the rev. gentleman ample justice; it is one
of the finest portraits in the exhibition-room. Mr. Thompson,
we are told, has a portrait in Liverpool, nearly finished, of the
Recorder of Dublin, and one Of the representatives of Dublin
University, Frederick Shaw, Esq.,—an admirable likeness.
No. 65.—" The tired Labourer," by S. Eglington, is not so
bad in some points; but it is wretchedly finished. The old man
is well drawn, and the foreground is tolerably brought out; but
the fire behind is spoiled. Tao stnall bits of red. sealing-wax
are stuck between two black bars, and this is called a fire
The insurance offices run no risk whatever.

No. 75.-" Blacklow Gate, Huyton, near Liverpool," by C.
Barber. The catalogue has the following ;—" There is a hap-
pier smile on the face of an English landscape flin ! have ever
beheld in the landscapes of the south—a happier though less
voluptuous smile, as if nature were more at home."
This bit of trash is from one of Bulwer's novels, but let us
see what the artist has done with nature thus at home. •.A woman
stands at the door of a cottage, who looks the vixen,and who
is evidently scolding a boy who is mounted oh the back of a
goat, donkey, Shetland pony, or some such thing; and both the
bby and the beast are in the stiffest position possible. The
trees, however, are admirably finished, the grouping is fire, the
cottage looks comfortable, but the vista terminates in a blue
slate quarry.
• No. 81.—" An Irish Wake," by T. 13ridgford, is a very
spirited picture, full of fun, as all yrave subjects are in Ireland.
No. 83.—" Morning Ablution," by A. Chisholm. This small
picture represents a farmers's wife washing her infant, and it
would be a gem but for what we c:onsider to be either a fault or
a mistake. We did not know that mothers are in the habit of
duAing their children in buttermilk. Are weWrong ?
No. 99.—" Derwentwater—looking towards Skiddaw," by A.
Hunt, is one of the most delightful pieces of scenery iu the
exhibition.

No. 100.—" Portrait of the Rev. T. Pairelough," by A.
Mosses, is, we are sorry to say, not fit for a sign-post.

No. 149.—" The Fisherman's Home," by I'. Clatet, is an
exquisite picture, and reflects great credit on the artist.
No. 152.—" View of Water-street, Liverpool," by James T.
Eglington. This street should be taken down immediately.
We beg the attention of the town surveyor to the matter.
No. 16.5.—"5t0ck," by T. S. Cooper. With some faults this
is by far the best picture in the exhibition. The principal figure
is a bull, rather of a savage breed, a noble fellow, who looks
you full iu the face, and is all but alive. Landseer never
painted any animal equal to it.
N 0.168.—" Smugglers sinking their kegs." by H. P. Parker,
is a spirited and exceedingly clever sea piece.
No. 177.—" The Lady and the Astrologer." This picture is
by S. G. Tovey, a young and native artist, of the first promise,
and deserves the best encouragement. The story is not a
pleocing one—a death's head is an ugly thing—but, as a work
of alt, it is of a very superior order, and we hope will do some-
thing to establish the fame of Mr.grovy.

,No, 195.—"8hirking the Plate," by IL W. Buss, is shock-
ing.
No, 197.—" The Ship Tory, the properly of Duncan Oibh,
Esq., beating up to Liverpool orthe Great • Ormslifmil," by
Samuel Walters. The artist hasAaken great pafus with this
picture, and of its class, for correctness of naval drawing, it is
the best in the collection. It is, in short, a very spiitted pie.
lure. Success to the Tury!

Having gone through our notes on the large room, We must
draw breath until another opportunity. There is an immense
deal of work yet to do, and we have a severe and painful duty
to pe:form ; but fiat justitia, mat ccelum