"National Institution." London Times 20,463 (15 Apr. 1850), 5.


Akin to the attempt to approximate painting to sculpture is the effort to go back into the most primitive style of Christian art. A hard Paganism and a flat Catholicism seem at best to meet like extremes. Mr. Rosetti [sic], a young artist evidently of talent and originality, carries his predilection for the mediæval so far that his "Salutation of the Virgin" might be a leaf torn out of a missal. The figures are tall and lank, the expression of the girlish Virgin is intense to the highest degree, but there is nothing human in its intensity. The association with the missal is kept up, as with the earliest masters, by the employment of real gold for the halo. Mr. Deverell, who gives a scene from "Twelfth Night," attempts to turn the flat mediæval style to more human account, but his faces are common, and, though he is a careful worker, his mannerism is more conspicuous than his genius. Mr. Rosetti’s [sic] picture, on the other hand, is the work of a poet, and the frozen character of the style is counterbalanced by the visible fervour of the artist.

This document was scanned/transcribed from the original source.

Copyright © 1999 Thomas J. Tobin.

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