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The 41 Fair a Findleverland, by Adolphe Dillens, a gold medallist at the Universal Exhibition, is a finely painted group of both sexes clad in nationaljcostume, but with little in the characters or their local adjuncts to indicate the 44 fair,” if the word implies anything which an Englishman is in the habit of associating with its utterance. To Frayer’s “Market Day in Brittany” the same remark applies. We have a group of peasants, with nothing marketable about them.One of the larger pictures is the “ Italian Shepherd,” by T. Couture, the recipient of various medals for excellence in genrehixlorii/ue and kistoire, from 1844 to 1855. The figure, the very type of the organ grinder of Belgravia, is represented gazing at a roadside cruciform erection, the face and attitude indicating most strikingly the state of mind to which the habit of thinking by deputy is likely to lead. Sebron’s “ Niagara in Winter ” represents the falls as ever, the adjoining scenery is a garb of snow. William Wyld has a large and beautiful painting of “'The Grand Canal at Venice and Felix Ziem “ Evening Prayer at Constantinople,” a rich but somewhat misty sunset effect. Rosa Rosa Bonheur contributes a couple of pictures, the “ Plough,” and “ Barbaro,” a favourite sporting dog. Like all Mwlernoiselle’s paintings, the dog is a living representation of his class. A single animal, however, does not seem to have rational claims to so large an extent of canvas as is here devoted to canine delineation. The remark applies also to the “ Shetland Pony” of C. F. Kirboe* It is an admirable portraiture ; but fifty square feet of canvas, even for an equestrian pet, partakes somewhat of the excessive.There are several small small sea pieces of considerable merit. Among them maybe specially noticed the “Port of Dieppe,” by Bentabole ; Eugene Isabey’s “ Drawing a Boat on the Beachseveral “ Coast Scenes,” of Jules Noel and F. Weiss. Englehardt’s quiet little bit of mountain, lake, foliage, and general Alpine scenery pleases hugely. 'Approaching the end of our notice of this delightful gallery, we had almost omitted mention of “A Welcome,” by Verheyden. A face and figure admirably drawn and painted, are running from a cottage door, with arms outstretched, to embrace an evidently unexpected arrival, located just where the observer gazes on the picture, and, if a male, wishes the woman a reality and himself the object of her empremment.As the most successful exhibitor, however, we regard Henry Schlesinger, a medallist of 1840. “ The Toilet,” and “ The Parlour Maid,” are delightful pictures. “ The First-born” represents a young mother lying on a sofa, and playing with her babe—a subject familiar, and as interest ing as familiar, in most families. “ The Footpath” is another exquisite painting. But the crowning work, and the masterpiece of the gallery, is “ Masters are Out.” A nigger footman, having enveloped his carcase in his master’s clothes,irrav^lv t.rvincr t.Vm pfFpnt. nnnn
Newspaper Details
Evening Star
London, Middlesex, GB
Mon, May 03, 1858
Page 3
Full Page
Clipped by
Los A.
CA, USA 06 Sep 2017
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