100 

 BIRMINGHAM SOCIETY OF ARTS. 



MODERN EXHIBITION. 



In passing our opinion on the various works here assembled, we 

 shall "extenuate nothing — nor set down aught in malice ;" yet, 

 being " nothing, if not critical," we must occasionally say things, 

 perchance, unpalatable to some of the parties concerned ; whose 

 good sense, however, will pardon our well-meant remarks ; and feel 

 less disposed to wax wrath at the careless sallies of our light-armed 

 badinage, than they would do if subjected to the heavy fire of more 

 serious and strictly-disciplined " troops of the line." Had we been 

 inclined for severity, ample scope for animadversion might be found 

 among a certain class of pictures, c?2.9-gracing the walls of our Insti- 

 tution: but we have only alluded to a few of the most pretending 

 specimens among a collection of (so called) portraits, which we 

 should suppose were procured in the course of a pillage of ale-house 

 signs. How much better to exclude such perpetrations ; and by re- 

 ducing the quantity, enhance the quality of the exhibited works. 

 The rooms contain some gems of such peerless beauty, that we 

 would fain exclude all such abortive attempts as only create ideas of 

 the grotesque and absurd. The two noble pictures by Mac Clise 

 are alone an Exhibition ; and, even without the many other fine 

 works, of which we shall endeavour, though briefly, to express our 

 admiration, were enough to sustain the character of the present, as 

 a good and interesting collection of modern works of art. 



6. View of Clovelly, Devon. — W. Fonder. A very pretty little 

 l)icture, with spirited figures in the foreground, and a morning haze 

 over the distant landscape ; which is skilfully and effectively painted. 



9. The Painter's Model tired of sitting. — /. Ward, R. A. Repre- 

 sented by a little urchin, who may be supposed to have played either 

 Cupid or a cherub, according to the spectator's fancy for mythology 

 or theology. The young model has grown weary, and huddled 

 himself up into a most uncouth position ; we cannot understand the 

 aged, puckered appearance of the face, or the raddle hue of the 

 skin. 



15. Portrait of Miss L. A. Trvamley. — /. Hill. A simple, natu- 

 ral, and unpretending picture, bearing a strong resemblance to the 

 original, and giving evidence of great talent and good taste in the 

 young and highly-gifted artist. 



17. Landscape. — J. M. W. Turner, R. A. This picture is highly 

 interesting, as shewing the extraordinary change in the style of this 

 great painter, being, it would appear, one of his early productions. 

 Dark, sombre, and subdued in tone, heavily shadowed, and without 

 a tint of brilliant colouring throughout. How different to his re- 

 cent paintings ! — where the brightest and most dazzling sunlight, 

 making each colour like a rainbow-hue — ajid the' dark, livid, storm- 



