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looks mpre like a knee . The right shoulder and arm of the gi * J ' . opfehtag the door Is badly managed , and as rirrhdyhigm thg tye > W' -possible . It has exactly the clntosy and ^ mnfid appearance of an elongated h ^ uip coming from her . back . /<] 5 HBfe afitf hifiiy have been correctly drawn before the drapery ^ wag pUt oh ; but we doubt it . She has little expression jfr-JOT
btpad ; pofatoe-shaped face . The other woman , seated cm thfi Refund , is far better . She has a very fine face ; forcible in ' outlirtfc , and conveying an impression of earnest chafactfct aifd bttfpose ; but it has not the impassioned depth of eipreOTidil "which the subject requires , and which seems to h $ V $ been intended by the painter . Here it is not like the bid masters . We have heard it objected , that the face is not that of an lriAi woman . It may be more Italian ; yet this is hardly a
fault , for there are all kinds of faces in Ireland . We have seen it before , however ; and think it will be found in the " Chelsea Pensioners . " The face and character of the sleeping figure is a fine portraiture of savage nature and beauty . In gazing upon it , we seem to know the tenor of his dreams . This is like what we find in the old masters . The ferocious vjgijaupe , q $ the crouching dog on the left of the spectator , aft ^ tW , position and expression of the neck and fore lW *—? that , of sensational activity and bodily quiescence , is as ffnity
conceiyecj and executed as could be required of a man of genius l ^ e . Wulf ^ e . XU ^ T ^ ie picture of " Napoleon and the Pope , " by the s ^ Q artist * if Qife of the most perfect compositions in colpn ^ ipjg ^ $ && w ^ ^ v ^ r seen . It is on tne same principle as that aclpptea ^ y
4 ^ r ^ pr , ; -r-i 3 aaking a few dark spots upon a light grpund ^ rj ^ A probably had its origin with Paul Veronese and Ae Vei ^ e&Ul spfyppl ^ Pictures in this style , generally make the most , 1 kriJl jj ^ t engravings . The p resen t production is made up of l ^ ck , red , ^ u < 3 whi te , aud is a beautiful study for its grape ^ Wild
harmony of effect . The head of the Pope is prorabfy ta& ^ p from the print of Sir Thomas ' s portrait ; that of IVapote ^ jD we know not whence . It will please neither frienop \ j 9 Qp enemiejf ; beinc too refined and delicate for the preiudipe ^ of the . latter , and not sufficiently powerful for the admirers ^ 91 the self-created Emperor .
IV . It is with great satisfaction that we find several young arista rising in the higher walks of their art ; not only c&oosfng imagii ^ aiiVe subj ects , but executing them with an abifiN ni p iost ^ 9 , U ^ 1 to tne fineness of their conception . One of ffi ^ lwt 16 * tfie picture in th J ree compartments , b y J . P- Knight ^ e ^ mlra t ^ e ^^^ ckeT 9 } % ^ o ^ l 44 \ It is good in design , very gcMtiFDl cofou ring ^ and t ^ ie e xpression true to his subj ec t andl iti t ^ 6 mi t ) froutf ){ out . If we may offer an nnpreauming hint of tftJWir * , it vpoijfd l > e to cautioii hkii against extravagance . > s '
Ko . 115 .
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Critique on Six Picture * 441
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Citation
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Monthly Repository (1806-1838) and Unitarian Chronicle (1832-1833), July 2, 1836, page 441, in the Nineteenth-Century Serials Edition (2008; 2018) ncse.ac.uk/periodicals/mruc/issues/vm2-ncseproduct2659/page/49/
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