The Sun. — 1849-04-25 (London, England)

EXHIBITION OF THE IVEW-4W.PIETY PAINTLR.S IN WATER COLOURS': Having attended on the eceasiue the private view of the collection of paintings now hanging in the gallery of this very rising society (.53, Pallmall), we may briefly endeavour to express the impression made upon us by the first inadequate inspection of the four hundred and two pictures produced by the different conteibUtors. Our recollection of last year's exhibition is so vivid,' and our admiration continues to be so sincere fur some of the works of art there submitted to public scrutiny, that we cannot but regard the present exhibition (the fifteenth in the career of the association) as affording us considerable cause for disappointment. When contrasted with its immediate predecessor, it appears to us of a decidedly inferior character; though when viewed simply in regard to its own merits, and altogether irrespective of our recollections, it is in several instances not by any means disentitled to commendation. Several of the most prominent contributors have either retired from competition this spring, or have shown themselves to have been remarkably indolent. Mr. H. 'Warren, the President, has in only one instance evinced anything like the ability which has already gained him his very eminent reputation. In this one instance, however, he has proved more than meritorious ; he has produced a daring and ambitious painting in that simple purity of style which Mr. Herbert, the Royal Academician; has borrowed from the early Italians. The work is No. 276, "Joseph's Coat brought to Jacob ;" and the statuesque figure of the patriarch with the kneeling forms of the brethren who have made away with the youngest and the best beloved, are singularly bold and beautiful. The story is told in one glance, with all its force, its sudenness, its pathos, and its solemnity. Mr. L. Haghe, the Vice-President, has in like manner one picture (No. 102), not unworthy of his pencil— ," Vespers in the Church of _St.__Anne, Bruges"— rich in architectural beauties, in depth and transparency of shadow, and even in such minor excellences as the vivid delineation of the marble masonry. Mr. Corbould is scarcely so felicitous in 1849 as he was in 1848. His " Happy as a Queen," though charming, is in no degree comparable to his exquisite " Water Lily" of last season. No. 160. "The Murderers of Thomas Chase, of Amersham, drawing up the Letter to the Clergy," is, we take it, more of an experiment than a labour of love on his part. As an experiment is is, nevertheless, marvellously clever and effective, the gleaming armour of the knights and the gorgeous episcopal robes of the bishop standing boldly out from the sombre darkness of the apartment. Mrs. Margetts has several agreeable fruit _pieces in the manner of Lance, such as No. 2211, " Quinces, Pomegranates, and Grapes." H. Maplestone contributes one inimitably ingenious sketch (No. 223) of " The Express Train— Twilight," with the distant lights of the town twinkling under the arches of the viaduct. C. H. Weigall's " Pere de Famille" (No. 243) is a scrap from Nature. So also is the picture of " Elizabeth et Fefine" (No. 360) by William Lee. " The Servant of all Work" by Harrison Weir (No. 281) is worthy of even Herring or Landseer--small and unpretending as it is. One of the most charming landscapes in the whole exhibition is that of the " Windings of the Wye," by George Campion. Admirable also is that of " Spearing Salmon in North Wales," by J. H. Mole. Among the works of W. Rehnert, the most conspicuous, and in all respects the most meritorious, is that of the "Precincts of a, Large City—Evening" (No. 36). A number of other clever productions are unavoidably overlooked from the brevity of the space which we have allotted ourselves for the present notice.