All men are critics, in a greater or less degree. They can generalize
upon the merits and defects of a picture, although they cannot point out
the details of the defects, or in what the beauty of a picture consists;
and to prove this, only let the reader visit the Exhibition at Somerset
House, and watch the little critical _coteries_ that collect round the
most attractive paintings. Could all these criticisms be embodied, but
in "terms of art," what a fine lecture would they make for the Royal
Academy.
Our discursive notice would, probably, contribute but little to this
joint-stock production; but as even comparing notes is not always
unprofitable, we venture to give our own.
The present Exhibition is much superior to that of last year. There are
more works of imagination, and consequently greater attractions for the
lover of painting; for life-breathing as have been many of the portraits
in recent exhibitions, the interest which they created was of quite a
different nature to that which we take in not a few of the pictures of
the present collection. Portraits still superabound, and finely painted
portraits too; but, strange to say, there are fewer female portraits in
the present than in any recent exhibition.
But the _elite_ are seven pictures by Mr. Wilkie, who has reappeared, as
it were, in British art, after an absence from England; during which he
appears to have studied manners and costume with beautiful effect; and
the paintings to which we allude, are triumphant proofs of his success.
They are embodiments or realizations of character, manners, and scenery,
with which the painter has been wont to mix, and thus to transfer them
to his canvass with vividness and fidelity--merits of the highest order
in all successes of art. We shall touch upon these pictures in our
ramble through the rooms--