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+Project Gutenberg's Masters of Water-Colour Painting, by H. M. Cundall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Masters of Water-Colour Painting
+
+Author: H. M. Cundall
+
+Editor: Geoffrey Holme
+
+Release Date: August 23, 2007 [EBook #22379]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS OF WATER-COLOUR PAINTING ***
+
+
+
+
+Produced by Louise Hope, Michael Ciesielski and the Online
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+    [Illustration: Cover]
+
+
+
+
+  MASTERS OF WATER-COLOUR PAINTING
+  With Introduction by H. M. Cundall, I.S.O., F.S.A.
+
+
+
+
+  Edited By Geoffrey Holme
+  London: The Studio, Ltd., 44 Leicester Square, W.C.2
+  1922-1923
+
+
+
+
+  CONTENTS
+                                                            Page
+
+  Introduction by H. M. Cundall, I.S.O., F.S.A.                1
+
+
+  ILLUSTRATIONS IN COLOURS
+                                                           Plate
+
+  Bonington, Richard Parkes
+      _Near Jumièges_                                       xxiv
+
+  Cotman, John Sell
+      _Classical Scene_                                     xiii
+
+  Cox, David
+      _Boys Fishing_                                       xviii
+
+  Cozens, John Robert
+      _Lake Nemi_                                              x
+
+  Dayes, Edward
+      _Furness Abbey, Lancashire_                            vii
+
+  De Wint, Peter
+      _St. Albans_                                           xvi
+
+  Farington, R.A., Joseph
+      _Scotch Landscape_                                       v
+
+  Fielding, A. V. Copley
+      _Lake Scene_                                          xvii
+
+  Girtin, Thomas
+      _Landscape_                                             xi
+
+  Glover, John
+      _View in North Wales_                                   xv
+
+  Harding, James Duffield
+      _Vico, Bay of Naples_                                   xx
+
+  Hearne, Thomas
+      _View of Gloucester_                                    iv
+
+  Holland, James
+      _A Shrine in Venice_                                  xxii
+
+  Hunt, William Henry
+      _Plucking the Fowl_                                    xxi
+
+  Malton, Thomas, Jun.
+      _Old Palace Yard, Westminster_                          vi
+
+  Prout, Samuel
+      _Palazzo Contarini Fasan
+        on the Grand Canal, Venice_                          xix
+
+  Pyne, James Baker
+      _View in Italy_                                      xxiii
+
+  Rooker, A.R.A., Michael (Angelo)
+      _Village Scene_                                        iii
+
+  Rowlandson, Thomas
+      _Entrance to Vauxhall Gardens_                          ix
+
+  Sandby, R.A., Paul
+      _Windsor Castle: View of the Round
+      and Devil’s Towers from the Black Rock_                  i
+
+  Towne, Francis
+      _On the Dart_                                           ii
+
+  Turner, R.A., J. M. W.
+      _Lucerne: Moonlight_                                   xii
+
+  Varley, John
+      _Hackney Church_                                       xiv
+
+  Wheatley, R.A., Francis
+      _Preparing for Market_                                viii
+
+
+
+
+  The Editor desires to acknowledge
+  his indebtedness to Mr. A. E.
+  Hutton, Mr. R. W. Lloyd, Mr.
+  Victor Rienaecker, Mr. G. Bellingham
+  Smith and Messrs. Thos.
+  Agnew & Sons who have kindly
+  lent their drawings for reproduction
+  in this volume.
+
+
+
+
+INTRODUCTION
+
+
+The earliest form of painting was with colours ground in water. Egyptian
+artists three thousand years B.C. used this method, and various mediums,
+such as wax and mastic, were added as a fixative. It was what is now
+known as tempera painting. The Greeks acquired their knowledge of the
+art from the Egyptians, and later the Romans dispersed it throughout
+Europe. They probably introduced tempera painting into this country for
+decoration of the walls of their houses. The English monks visited the
+Continent and learnt the art of miniature painting for illuminating
+their manuscripts by the same process. Owing to opaque white being mixed
+with the colours the term of painting in body-colour came in use.
+Painting in this manner was employed by artists throughout Europe in
+making sketches for their oil paintings.
+
+Two such drawings by Albrecht Dürer, produced with great freedom in
+the early part of the sixteenth century, are in the British Museum.
+The Dutch masters also employed the same means. Holbein introduced the
+painting of miniature portraits into this country, for although the
+monks inserted figures in their illuminations, little attempt was made
+in producing likenesses. As early as the middle of the seventeenth
+century the term “water colours” came into use. In an inventory, in
+manuscript, of the personal estate of Charles I, which was sold by an
+Act of Parliament, numerous pictures are thus described.
+
+Wenceslaus Hollar, a native of Prague, came to England in 1637, and
+became drawing-master to the Prince of Wales and the Duke of York. The
+painting of landscapes was first introduced by him into this country. He
+made topographical drawings with a reed pen, and afterwards added slight
+local colours. The earliest Englishman known to follow this style was
+Francis Barlow. He is principally noted for his drawings with a pen,
+slightly tinted, of animals and birds, with landscapes in the
+background. Later, Peter Monamy, a marine painter who was born in
+Jersey, produced drawings in a similar manner. Early in the eighteenth
+century Pieter Tillemans came to England, and painted hunting scenes,
+race-horses and country-seats. He worked in a free style in washes of
+colour without any outlines with a pen or underlying grey tints. To a
+“Natural History of Birds,” by George Edwards, library keeper to the
+Royal College of Physicians, published in 1751, is added an appendix,
+entitled, “A Brief and General Idea of Drawing and Painting in Water
+Colours: Intended for the amusement of the curious rather than the
+instruction of artists.” In it he states, “There are two ways of
+painting in water colours: one by mixing white with your colours and
+laying on a thick body; the other is only washing your paper or vellum
+with a thin water tinctured with colour.” After giving details of the
+methods to be employed he adds, “the former method of using water
+colours is called painting and the other washing or staining.” During
+the latter half of the century it became a fashion for landed gentry to
+have engravings made of their country seats, and antiquarian
+publications with illustrations were produced. These created a demand
+for topographical draughtsmen to assist the engravers. In the catalogues
+of the Exhibitions of the Society of Artists, the first of which was
+held in 1760, the drawings by these men are styled as being “stained,”
+“tinted,” or “washed.”
+
+The English School of Water-Colour Painting was now firmly established,
+and several artists have been claimed to be the “father” of it. Amongst
+them were William Tavener, an amateur painter, whose drawings were never
+topographically correct, as he exaggerated buildings to give them a
+classic appearance; Samuel Scott, a marine painter and styled the
+English Canaletto, he was called by Horace Walpole “the first painter of
+the age--one whose works will charm any age,” and was also a friend of
+Hogarth; also Alexander Cozens, born in Russia and the reputed son of
+Peter the Great, but lately it has been suggested that Richard Cozens,
+a ship-builder, who went to Russia in 1700, may have been his father.
+He was sent to Italy to study art, and afterwards came to England. He
+professed to teach amateurs how to produce pictures without study.
+Edwards, in his “Anecdotes of Painting,” describes his process as
+dashing out a number of accidental large blots and loose flourishes from
+which he selected forms and sometimes produced very grand ideas. Dayes
+called him “Blotmaster-general to the town.”
+
+The painter, however, who is most generally regarded as being the father
+of water-colour painting was Paul Sandby, R.A. He first obtained
+employment in the Military Drawing Office of the Tower of London.
+Afterwards he resided with his elder brother, Thomas Sandby, at Windsor.
+At first he painted in the usual tinted manner of the period, but later
+he worked with body-colour, by which manner he added considerable
+richness to his drawings. _Windsor Castle: View of the Round and Devil’s
+Towers from the Black Rock_ (Plate I) is an admirable example of his
+latter method. The drawing has been acquired through the Felton Bequest
+Fund, and now hangs in the National Gallery of Victoria. Paul Sandby was
+for many years the chief drawing-master at the Royal Military Academy at
+Woolwich. He was also appointed by George III to give instruction in
+drawing to his sons.
+
+The work of Francis Towne has only of recent years come to be
+appreciated. He belonged to a Devonshire family, but the exact place of
+his birth is not known. He became a friend of William Pars, A.R.A., from
+whom he received some instruction in drawing, and also went with him to
+Rome in 1780. Although he spent considerable time on the Continent,
+numerous drawings by him exist of scenes in his native country. _On the
+Dart_ (Plate II) is a good example of his delicate method of painting.
+His special skill lay “in the management of even pen-line and in a
+subtle modulation of colour upon a flat surface.”
+
+Amongst the early topographical men was Michael (Angelo) Rooker, A.R.A.
+The additional Christian name is said to have been given to him by Paul
+Sandby, under whom he studied for some time. He made pedestrian tours
+through England, and executed a large number of drawings, which are
+remarkable for their accuracy and delicate treatment, such as the
+_Village Scene_ (Plate III).
+
+Thomas Hearne was a contemporary with Rooker. It was a custom at this
+period for topographical artists to travel abroad with British Embassies
+to foreign countries and with Governors to Colonial possessions.
+Photography had not yet been invented, and the drawings by these artists
+were the only means by which the majority of inhabitants of this island
+were able to obtain some idea of places beyond the sea. Hearne went to
+the Leeward Isles, as draughtsman to the Governor, and produced records
+of the scenery there. Afterwards he executed a number of drawings in
+this country, some of which were engraved in “Antiquities of Great
+Britain.” _View of Gloucester_ (Plate IV) is an example of his accurate
+drawing, though somewhat weak in colouring. Joseph Farington, R.A.,
+received instruction in drawing from Wilson, and his paintings show
+slight evidence of it, as may be seen from the _Scotch Landscape_ (Plate
+V), but he simply copied Nature without enduing his work with any of his
+master’s poetic reeling. Thomas Malton, Junr., was noted for the
+accuracy with which he drew architectural views, many of them being
+street scenes in London, and they are of considerable value as records.
+_Old Palace Yard, Westminster_ (Plate VI) is interesting as showing
+buildings on the north side of Henry VII’s Chapel of the Abbey, which
+have long since been demolished. He published works aquatinted by
+himself, including _Westminster_, which appeared in 1792. He held
+classes at which Girtin and Turner attended. The latter used to say, “My
+early master was Tom Malton.” Edward Dayes was a versatile artist; he
+painted architectural subjects, into which he frequently introduced
+figures, such as _Furness Abbey_ (Plate VII), executed miniatures and
+engraved in mezzotint. He also wrote several works on art. _Buckingham
+House, St. James’s Park_, in which a number of the _beau monde_ are seen
+promenading in the park, is one of his best paintings. An engraving of
+it by F. D. Soiron, produced in 1793, under the title of _Promenade in
+St. James’s Park_, was very popular.
+
+Francis Wheatley, R.A., was a topographical artist, but is better known
+as a painter of _genre_ subjects, especially by the engravings after
+“The Cries of London.” _Preparing for Market_ (Plate VIII) is a good
+example of his latter work, which was somewhat insipid.
+
+The reputation of Thomas Rowlandson, who could paint landscapes with
+great ability, rests upon his caricatures, which were usually drawn in
+outline and tinted. He lived a somewhat dissipated life, and possessed
+an abundant sense of humour, as displayed in the _Entrance to Vauxhall
+Gardens_ (Plate IX), the noted place of amusement and rendezvous of the
+fashionable set in the early part of the last century.
+
+John Robert Cozens, the son of Alexander Cozens, was the first artist
+at this period “to break away from the trammels of topography, and to
+raise landscape painting in water colours to a branch of fine art.” He
+travelled abroad and studied principally in Italy and Switzerland. The
+lake of Nemi, situated in the Campagna, some sixteen miles west of Rome,
+and reached by the famous Via Appia, has always been a favourite subject
+with both poets and artists. Near the north rim of the worn-out crater,
+in which the lake is situated, is the village of Nemi, surmounted by a
+fine old castle, which passed through the hands of many noble families.
+Pope, Byron, and others have sung the praises of the lake. Turner has
+left at least five drawings of it, one of which is engraved in
+Hakewell’s “Italy.” William Pars, Richard Wilson and other artists of
+the early landscape school also painted the scene. Cozens made many
+drawings of Nemi and the vicinity. Two are in the Victoria and Albert
+Museum and another is in the Whitworth Institute, Manchester. The
+painting (Plate X), belonging to Mr. R. W. Lloyd, shows the lake with
+Palazzo Cesarini on a height by its side, and the Campagna in the
+distance. It is a fine example of Cozens’ work treated in his poetic
+manner, and into which more colour than usual has been introduced.
+Cozens’ last visit to Italy was made in 1782 in company with the noted
+William Beckford, the author of “Vathek.” On his return he gradually
+lost his reason. It is pathetic to think such was the sad end of a man
+inspired with such artistic talents. As it has already been stated, he
+was the pioneer in exalting water-colour painting to a fine art. His
+footsteps were quickly followed by Girtin and Turner. The history of
+these two artists, how during their early struggles they were befriended
+by that art patron, Dr. Thomas Monro, a capable water-colour painter
+himself, and well qualified to give advice, is too well known to need
+repetition.
+
+Girtin, during his short career, had no selfish ideas of keeping his
+knowledge of painting to himself. It was mainly due to his initiation
+that a club was started amongst a small body of young artists for the
+study of landscape painting. They met at each other’s houses in
+rotation. One of its prominent members was Sir Robert Ker Porter,
+a painter, traveller and author, who afterwards married a Russian
+princess. He was living, at the time, at 16, Great Newport Street, which
+had formerly been a residence of Sir Joshua Reynolds, and subsequently
+that of Dr. Samuel Johnson. It was in this house that the first meeting
+of the club was held “for the purpose of establishing by practice a
+School of Historic Landscape, the subjects being designs from poetick
+passages.” Writing in _The Somerset House Gazette_, in 1823, W. H. Pyne,
+under the pseudonym of Ephraim Hardcastle, states “this artist (Girtin)
+prepared his drawings on the same principle which had hitherto been
+confined to painting in oil, namely, with local colour, and shadowing
+the same with the individual tint of its own shadow. Previous to the
+practice of Turner and Girtin, drawings were shadowed first entirely
+throughout, whatever their component parts--houses, castles, trees,
+mountains, fore-grounds, middle-grounds, and distances, all with black
+or grey, and these objects were afterwards stained or tinted, enriched
+and finished, as is now the custom to colour prints. It was this new
+practice, introduced by these distinguished artists, that acquired for
+designs in water colour upon paper the title of paintings: a designation
+which many works of the existing school decidedly merit, as we lately
+beheld in the Exhibition of the Painters in Water Colours, where
+pictures of this class were displayed in gorgeous frames, bearing out in
+effect against the mass of glittering gold as powerfully as pictures in
+oil.” Girtin had a partiality for painting in a low tone of colour and
+frequently on rough cartridge paper, which assisted in giving a
+largeness of manner to his work. The _Landscape_ (Plate XI) is, however,
+rendered in a brighter key than his usual practice.
+
+As limitation of space will not admit of giving any account of the life
+of Turner, already well known, it may be sufficient to say that
+_Lucerne: Moonlight_ (Plate XII) was painted in 1843, and was originally
+in the collection of Mr. H. A. J. Munro of Novar. Ruskin, who calls it a
+noble drawing in his “Notes on his Drawings by the late J. M. W.
+Turner,” makes a mistake in the title and describes it as _Zurich by
+Moonlight_. John Sell Cotman, a member of the Norwich School, was
+another pioneer who did much for the advancement of water-colour
+painting. Unfortunately, his work was not appreciated during his career.
+If he had lived in the twentieth century he would have had no cause for
+the fits of depression to which he was subject during the greater part
+of life. It can be well recognised that in the first half of last
+century the public, who were mainly accustomed to carefully drawn
+topographical scenes, failed to appreciate such paintings as the
+_Classical Scene_ (Plate XIII), executed with such freedom and vigour.
+It was recently exhibited at the Special Exhibition of Cotman’s
+Paintings at the Tate Gallery, when five other classical landscape
+compositions were also shown. Cotman’s work was not understood. His
+paintings, both in oil and water colour, often only realised less than a
+pound apiece. He was compelled to resort to teaching in order to support
+his family. Eventually, through the influence of his friend, Lady
+Palgrave, and the strong support of Turner, he obtained the post of
+drawing-master at King’s College School, London. His position then
+became more secure. Still, teaching boys in the underground rooms of
+Somerset House could not have been inspiriting to one who yearned to
+seek Nature in the open air. He could not exclaim, like “Old” Crome,
+when he with his pupils was once met on the banks of the Yare, “This is
+our academy.” He died of a broken heart. At the beginning of the
+nineteenth century there was a feeling amongst the artists who worked
+solely in water colours that they were not being fairly treated by the
+Royal Academy. They were ineligible to be elected members of that body,
+and they were of opinion that their works were never placed in a
+prominent position on the walls of the galleries. William Frederick
+Wells, a friend of Turner and said to have suggested to him the idea of
+producing his “Liber Studiorum,” proposed to his fellow artists that
+they should form a separate society for the promotion of water-colour
+painting. After considerable negotiations, ten artists met together in
+November, 1804, and founded the Society of Painters in Water Colours.
+The first exhibition was held in the Spring of the following year at
+rooms in Lower Brook Street. After various vicissitudes and many changes
+of abode this society, known in later years as the “Old” Society,
+eventually obtained a lease of the premises in Pall Mall East. Thus,
+after much roving for seventeen years, a permanent home was secured, and
+the centenary of the occupation of these galleries has just been
+completed. Varley and Glover were two of the original members. De Wint,
+Copley Fielding, David Cox and Samuel Prout were subsequently elected
+Associates, and afterwards became full members.
+
+Amongst the founders the name of John Varley stands out beyond the
+others. He was born at Hackney (see Plate XIV) in 1778. Receiving but
+little instruction in art besides the assistance given to him by Dr.
+Monro, he became a teacher of considerable reputation. Amongst his
+pupils were many who afterwards became famous. To mention only a few,
+there were William Mulready, who married his sister, Copley Fielding,
+who espoused his wife’s sister, W. Turner (of Oxford), David Cox,
+William H. Hunt, Oliver Finch and John Linnell. Varley was a prolific
+worker, and contributed more than seven hundred drawings to the “Old”
+Society, averaging about forty works annually. His style was broad and
+simple, with tints beautifully laid, without resort to stippling. He
+wrote some works on drawing and perspective. He also was an enthusiast
+in astrology, and compiled a “Treatise on Zodiacal Physiognomy.” John
+Glover was a landscape painter and produced works, both in oil and in
+water colours, into which he frequently introduced cattle. His father
+having been a small farmer may account for this partiality for animals.
+In water-colour painting he followed the methods of William Payne, the
+inventor of a grey tint known as Payne’s grey, in producing foliage by
+splitting the hairs of his brush in order to give a feeling of
+lightness, and he was partial to sunlight effects (see Plate XV). He was
+President of the “Old” Society on two occasions, but he resigned his
+membership, so as to become eligible for election to the Royal Academy.
+He failed in his object and joined the Society of British Artists.
+Glover suddenly left England in 1831, and went to the Swan River
+Settlement in Australia. Afterwards he removed to Tasmania, where he
+died.
+
+Peter De Wint, a descendant of an old merchant family of Amsterdam, like
+Glover, painted in oils and water colours, but his work was far
+superior. He selected broad and open country for his scenes, which were
+executed in a rich tone with a tendency to heavy uniform green. The
+neighbourhood of Lincoln, where his wife, a sister of W. Hilton, R.A.,
+was born, had special attractions to him. _St. Albans_ (Plate XVI) shows
+the abbey in the ruinous state it had become from the time of the
+Reformation. Its restoration was not commenced until 1856, under the
+direction of Sir Gilbert Scott, and completed later by Lord Grimthorpe.
+Anthony Vandyke Copley Fielding belonged to an artistic family. His
+father was a painter and three of his brothers all practised art with
+success. He was one of the most fashionable drawing-masters of his day,
+and a strong supporter of the “Old” Society. After being treasurer and
+next secretary, he was appointed president in 1831, which post he
+retained during his life. He was a most prolific worker and contributed
+about seventeen hundred drawings to the Society’s exhibitions, besides
+showing at the Royal Academy and Royal Institution. At first his
+favourite subjects were lake and mountain scenery (see Plate XVII).
+After he took up his residence at Brighton he turned his attention to
+marine painting and depicted many storms at sea. It has been
+exaggeratedly said that Copley Fielding was “perhaps the greatest artist
+after Turner for representations of breadth and atmosphere.” Ruskin also
+praised his work. Owing, however, to his very rapid method of execution
+there was a considerable sameness in his work.
+
+The drawings by David Cox, although executed in an apparently careless
+manner, give a greater rendering of atmospheric qualities and of
+irradiation of light with a feeling of more movement than can be found
+in the works of Fielding. Cox’s early drawings were executed in a
+somewhat stiff and restrained manner, with a delicate finish, but
+afterwards his style became broad and he produced those breezy effects
+which are almost unrivalled. _Boys Fishing_ (Plate XVIII) is an
+excellent example of his later work. When Cox returned to his native
+town, Birmingham, he devoted his attention to working in oils, and the
+City Art Gallery possesses a superb collection of his paintings in this
+medium. He was for the greater part of his life a teacher of drawing,
+and he published a “Treatise on Landscape Painting and Effect in Water
+Colours,” in which his views are clearly stated.*
+
+  [Footnote *: The “Treatise” has recently been republished as the
+  Special Autumn Number of _The Studio_.]
+
+Samuel Prout, one of the numerous Devonshire painters, also derived a
+great part of his income by giving instruction in drawing and painting.
+Numerous drawing copies for students were produced by him by means of
+soft-ground etching. He was at first employed by John Britton, the
+author of “The Beauties of England and Wales,” in making topographical
+drawings for this work. In 1819 he went to Normandy for the benefit of
+his health. There he turned his attention to producing those paintings
+of cathedrals and picturesque buildings for which he is noted. Later he
+travelled through Germany and Switzerland to Italy, and visited Rome and
+Venice (see Plate XIX). Afterwards he published facsimiles of many of
+the drawings executed during these tours on the Continent. They were
+produced in lithography by himself on the stone, an art in which he
+greatly excelled. The architectural drawings by Prout are remarkable for
+their picturesque treatment, rather than for correctness of
+construction. Details are sparsely indicated by the use of a reed pen.
+Bright effects of light and shade are, however, given, and the
+introduction of groups of figures add brilliancy to these paintings.
+
+James Duffield Harding, like Prout, from whom he received some lessons,
+also excelled in lithography. Many of his paintings were reproduced by
+him in a publication entitled “Sketches at Home and Abroad.” He visited
+Italy on two occasions. _Vico, in the Bay of Naples_, between
+Castellamare and Sorrento (Plate XX), is an example of his free manner
+of painting. An engraving of it appeared in the “Landscape Annual” in
+1832. He was a member of the “Old” Society, and also painted in oils.
+William Henry Hunt, familiarly called “Old” or “Billy” Hunt in his
+latter years by his fellow artists, to distinguish him from William
+Holman Hunt, was an artist with a style peculiar to himself. He painted
+figures, especially young rustics, with a sense of humour, but he is
+chiefly noted for his exquisite fruit and flower pieces, which were
+executed with great delicacy and with a remarkable power of rendering
+the effects of light and shade on the surface of the objects. To obtain
+these he would roughly pencil out, say, a group of plums, and thickly
+coat each one with Chinese white, which would be left to harden. On this
+ground he afterwards painted his colours with a sure hand. By this means
+he would obtain a brilliant effect. Further, to enhance it, he would
+make free use of the knife on the various surroundings to give a
+contrast, and at the same time to produce a feeling of texture on the
+various surfaces, so as not to have a monotonous and flat appearance.
+This method of scraping up portions of the surface of the paper is
+clearly shown in _Plucking the Fowl_ (Plate XXI).
+
+James Holland commenced his artistic career by painting flowers on
+pottery at the factory of James Davenport at Burslem. He came to London
+and continued to paint flowers. After a visit to Paris he devoted
+himself to landscapes. Subsequently he visited Venice, and produced, in
+both oils and water colours, some excellent paintings remarkable for
+their brilliant colouring (see Plate XXII).
+
+James Baker Pyne, born at Bristol, was a self-taught artist. He also is
+noted for his brilliant colouring, but there is a want of solidity in
+his painting. He visited the Continent and travelled as far as Italy
+(see Plate XXIII). His landscapes were chiefly river and lake subjects.
+He published “The English Lake District” and “The Lake Scenery of
+England,” illustrated with lithographs of his works. He was a member of
+the Society of British Artists, and became a vice-president. Like
+Girtin, the illustrious young painter Richard Parkes Bonington was cut
+off in life at the early age of twenty-seven. He was born at Arnold,
+near Nottingham. Whilst still a boy he was taken by his parents to
+Calais, where he received some instruction in water colours from
+Francia. Later the family settled in Paris. Here Bonington resided the
+greater part of his life. He made a few visits to England, and on the
+last occasion he was taken ill and died of consumption. He practised at
+the Louvre and the _Institut_, and also received instruction from Baron
+Gros. His paintings, in oil and water colours, were almost entirely
+executed in France; he, however, made one visit to Italy. In Paris his
+works were chiefly architectural with street scenes, admirably executed,
+whilst his landscapes with fine atmospheric effects (see Plate XXIV)
+display great freedom in execution. It is somewhat remarkable that after
+Cotman and Bonington had, in the first part of the nineteenth century,
+developed a style so greatly appreciated at the present time, so many of
+the landscape painters in water colours in the early Victorian era
+should still have adhered to the old restricted methods. Constable
+exercised considerable influence on the French landscape painting in
+oil, whilst Bonington showed the French artists the capabilities of
+water colours, which they did not fail to appreciate.
+
+    H. M. Cundall.
+
+
+
+
+  Plate I
+  “WINDSOR CASTLE: VIEW OF THE ROUND AND
+  DEVIL’S TOWERS FROM THE BLACK ROCK”
+  by Paul Sandby, R.A.
+  (Size, 11¾ x 17¼ in.)
+  (_Acquired by the National Art Gallery of Victoria, Melbourne_)
+
+
+  Plate II
+  “ON THE DART”
+  by Francis Towne
+  (Size, 7 x 9¾ in.)
+  (_In the possession of A. E. Hutton, Esq._)
+
+
+  Plate III
+  “VILLAGE SCENE”
+  by Michael (Angelo) Rooker, A.R.A.
+  (Size, 14½ x 18¼ in.)
+  (_In the possession of Victor Rienaecker, Esq_.)
+
+
+  Plate IV
+  “VIEW OF GLOUCESTER”
+  by Thomas Hearne
+  (Size, 7½ X 10½ in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate V
+  “SCOTCH LANDSCAPE”
+  by Joseph Farington, R.A.
+  (Size, 20¾ x 33¾ in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate VI
+  “OLD PALACE YARD, WESTMINSTER,”
+  by Thomas Malton, Jun.
+  (Size, 13 x 19 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate VII
+  “FURNESS ABBEY, LANCASHIRE”
+  by Edward Dayes
+  (Size, 27½ X 20¾ in.)
+  (_In the possession of Victor Rienaecker, Esq_.)
+
+
+  Plate VIII
+  “PREPARING FOR MARKET”
+  by Francis Wheatley, R.A.,
+  (Size, 14 x 10 in.)
+  (_In the possession of Messrs. Thos. Agnew & Sons_)
+
+
+  Plate IX
+  “ENTRANCE TO VAUXHALL GARDENS”
+  by Thomas Rowlandson
+  (Size, 9 X 12⅞ in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate X
+  “LAKE NEMI”
+  by John Robert Cozens
+  (Size, 14½ X 21 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XI
+  LANDSCAPE
+  by Thomas Girtin
+  (Size, 12¼ X 20½ in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XII
+  “LUCERNE: MOONLIGHT”
+  by J. M. W. Turner, R.A.
+  (Size, 11½ x 18¾ in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XIII
+  “CLASSICAL SCENE”
+  by John Sell Cotman
+  (Size, 11½ x 8¼ in.)
+  (_In the possession of G. Bellingham Smith, Esq._)
+
+
+  Plate XIV
+  “HACKNEY CHURCH”
+  by John Varley
+  (Size, 11 X 15 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XV
+  “VIEW IN NORTH WALES”
+  by John Glover
+  (Size, 16⅛ x 23 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XVI
+  “ST. ALBANS”
+  by Peter De Wint
+  (Size, 9¾ X 14½ in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XVII
+  “LAKE SCENE”
+  by A. V. Copley Fielding
+  (Size, 12¼ x 16⅛ in.)
+  (_In the Possession of Victor Rienaecker, Esq._)
+
+
+  Plate XVIII
+  “BOYS FISHING”
+  by David Cox
+  (Size, 10½ x 14½ in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XIX
+  “PALAZZO CONTARINI FASAN ON THE GRAND CANAL, VENICE”
+  by Samuel Prout
+  (Size, 16⅞ x 11½ in.)
+  (_In the Victoria and Albert Museum_)
+
+
+  Plate XX
+  “VICO, BAY OF NAPLES”
+  by James Duffield Harding
+  (Size, 8½ x 11¾ in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XXI
+  “PLUCKING THE FOWL”
+  by William Henry Hunt
+  (Size, 13¾ x 14½ in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XXII
+  “A SHRINE IN VENICE”
+  by James Holland
+  (Size, 9¾ x 6½ in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XXIII
+  “VIEW IN ITALY”
+  by James Baker Pyne
+  (Size, 10¾ x 17 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XXIV
+  “NEAR JUMIEGES”
+  by Richard Parkes Bonington
+  (Size 8¾ x 12¼ in.)
+  (_In the possession of Messrs. Thos. Agnew & Sons_)
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Erratum (noted by transcriber)
+
+  Ephraim Hardcastle  [Ephriam]
+
+
+
+
+
+
+End of Project Gutenberg's Masters of Water-Colour Painting, by H. M. Cundall
+
+*** END OF THIS PROJECT GUTENBERG EBOOK MASTERS OF WATER-COLOUR PAINTING ***
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+/* intro */
+
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+a.tag {text-decoration: none; vertical-align: .3em; font-size: 80%;
+line-height: 0em;}
+
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+/* my additions */
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+font-weight: normal; font-style: normal; text-align: right;
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+
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+<body>
+
+
+<pre>
+
+Project Gutenberg's Masters of Water-Colour Painting, by H. M. Cundall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Masters of Water-Colour Painting
+
+Author: H. M. Cundall
+
+Editor: Geoffrey Holme
+
+Release Date: August 23, 2007 [EBook #22379]
+
+Language: English
+
+Character set encoding: UTF-8
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS OF WATER-COLOUR PAINTING ***
+
+
+
+
+Produced by Louise Hope, Michael Ciesielski and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+</pre>
+
+
+<div class = "mynote">
+
+<p>Each painting is shown as a thumbnail linked to a larger view.</p>
+
+<p>Painting sizes containing fractions may not display correctly on all
+browsers. If they appear as garbage, make sure the browser’s “file
+encoding” or “character set” is set to Unicode (UTF-8); if they don’t
+display at all, you may not have the right fonts. <ins class = "number"
+title = "11-3/4 x 17-1/4">Mouse-hover popups, as in this sentence, show
+the numbers in an alternative format.</ins></p>
+</div>
+
+
+<a name = "cover" id = "cover">&nbsp;</a>
+<p class = "illustration">
+<img src = "images/cover.jpg" width = "267" height = "380"
+alt = "see caption"></p>
+
+
+<h1>MASTERS OF WATER-<br>
+COLOUR PAINTING</h1>
+
+<h6>WITH INTRODUCTION BY H. M. CUNDALL, I.S.O., F.S.A.</h6>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<p>&nbsp;<br>&nbsp;</p>
+
+<h5>EDITED BY GEOFFREY HOLME</h5>
+
+<h6>LONDON: THE STUDIO, LTD., 44 LEICESTER SQUARE, W.C.2</h6>
+
+<h6>1922-1923</h6>
+
+
+<div class = "contents">
+
+<span class = "pagenum">v</span>
+<h4><a name = "contents" id = "contents">CONTENTS</a></h4>
+
+<table class = "toc" summary = "contents">
+<tr>
+<td></td>
+<td class = "number smaller">PAGE</td>
+</tr>
+<tr>
+<td>
+<p>Introduction by H. M. Cundall, I.S.O., F.S.A.</p>
+</td>
+<td class = "number"><a href = "#intro">1</a></td>
+</tr>
+<tr>
+<td><h5>ILLUSTRATIONS IN COLOURS</h5></td>
+<td></td>
+</tr>
+<tr>
+<td></td>
+<td class = "number smaller">PLATE</td>
+</tr>
+<tr>
+<td>
+<p>Bonington, Richard Parkes</p>
+<p class = "inset"><i>Near Jumièges</i></p>
+</td>
+<td class = "number"><a href = "#plateXXIV">xxiv</a></td>
+</tr>
+<tr>
+<td>
+<p>Cotman, John Sell</p>
+<p class = "inset"><i>Classical Scene</i></p>
+</td>
+<td class = "number"><a href = "#plateXIII">xiii</a></td>
+</tr>
+<tr>
+<td>
+<p>Cox, David</p>
+<p class = "inset"><i>Boys Fishing</i></p>
+</td>
+<td class = "number"><a href = "#plateXVIII">xviii</a></td>
+</tr>
+<tr>
+<td>
+<p>Cozens, John Robert</p>
+<p class = "inset"><i>Lake Nemi</i></p>
+</td>
+<td class = "number"><a href = "#plateX">x</a></td>
+</tr>
+<tr>
+<td>
+<p>Dayes, Edward</p>
+<p class = "inset"><i>Furness Abbey, Lancashire</i></p>
+</td>
+<td class = "number"><a href = "#plateVII">vii</a></td>
+</tr>
+<tr>
+<td>
+<p>De Wint, Peter</p>
+<p class = "inset"><i>St. Albans</i></p>
+</td>
+<td class = "number"><a href = "#plateXVI">xvi</a></td>
+</tr>
+<tr>
+<td>
+<p>Farington, R.A., Joseph</p>
+<p class = "inset"><i>Scotch Landscape</i></p>
+</td>
+<td class = "number"><a href = "#plateV">v</a></td>
+</tr>
+<tr>
+<td>
+<p>Fielding, A. V. Copley</p>
+<p class = "inset"><i>Lake Scene</i></p>
+</td>
+<td class = "number"><a href = "#plateXVII">xvii</a></td>
+</tr>
+<tr>
+<td>
+<p>Girtin, Thomas</p>
+<p class = "inset"><i>Landscape</i></p>
+</td>
+<td class = "number"><a href = "#plateXI">xi</a></td>
+</tr>
+<tr>
+<td>
+<p>Glover, John</p>
+<p class = "inset"><i>View in North Wales</i></p>
+</td>
+<td class = "number"><a href = "#plateXV">xv</a></td>
+</tr>
+<tr>
+<td>
+<p>Harding, James Duffield</p>
+<p class = "inset"><i>Vico, Bay of Naples</i></p>
+</td>
+<td class = "number"><a href = "#plateXX">xx</a></td>
+</tr>
+<tr>
+<td>
+<p>Hearne, Thomas</p>
+<p class = "inset"><i>View of Gloucester</i></p>
+</td>
+<td class = "number"><a href = "#plateIV">iv</a></td>
+</tr>
+<tr>
+<td>
+<p>Holland, James</p>
+<p class = "inset"><i>A Shrine in Venice</i></p>
+</td>
+<td class = "number"><a href = "#plateXXII">xxii</a></td>
+</tr>
+<tr>
+<td>
+<p>Hunt, William Henry</p>
+<p class = "inset"><i>Plucking the Fowl</i></p>
+</td>
+<td class = "number"><a href = "#plateXXI">xxi</a></td>
+</tr>
+<tr>
+<td>
+<p>Malton, Thomas, Jun.</p>
+<p class = "inset"><i>Old Palace Yard, Westminster</i></p>
+</td>
+<td class = "number"><a href = "#plateVI">vi</a></td>
+</tr>
+<tr>
+<td>
+<p>Prout, Samuel</p>
+<p class = "inset"><i>Palazzo Contarini Fasan on the Grand Canal,
+Venice</i></p>
+</td>
+<td class = "number"><a href = "#plateXIX">xix</a></td>
+</tr>
+<tr>
+<td>
+<p>Pyne, James Baker</p>
+<p class = "inset"><i>View in Italy</i></p>
+</td>
+<td class = "number"><a href = "#plateXXIII">xxiii</a></td>
+</tr>
+<tr>
+<td>
+<span class = "pagenum">vi</span>
+<p>Rooker, A.R.A., Michael (Angelo)</p>
+<p class = "inset"><i>Village Scene</i></p>
+</td>
+<td class = "number"><a href = "#plateIII">iii</a></td>
+</tr>
+<tr>
+<td>
+<p>Rowlandson, Thomas</p>
+<p class = "inset"><i>Entrance to Vauxhall Gardens</i></p>
+</td>
+<td class = "number"><a href = "#plateIX">ix</a></td>
+</tr>
+<tr>
+<td>
+<p>Sandby, R.A., Paul</p>
+<p class = "inset"><i>Windsor Castle: View of the Round and Devil’s
+Towers from the Black Rock</i></p>
+</td>
+<td class = "number"><a href = "#plateI">i</a></td>
+</tr>
+<tr>
+<td>
+<p>Towne, Francis</p>
+<p class = "inset"><i>On the Dart</i></p>
+</td>
+<td class = "number"><a href = "#plateII">ii</a></td>
+</tr>
+<tr>
+<td>
+<p>Turner, R.A., J. M. W.</p>
+<p class = "inset"><i>Lucerne: Moonlight</i></p>
+</td>
+<td class = "number"><a href = "#plateXII">xii</a></td>
+</tr>
+<tr>
+<td>
+<p>Varley, John</p>
+<p class = "inset"><i>Hackney Church</i></p>
+</td>
+<td class = "number"><a href = "#plateXIV">xiv</a></td>
+</tr>
+<tr>
+<td>
+<p>Wheatley, R.A., Francis</p>
+<p class = "inset"><i>Preparing for Market</i></p>
+</td>
+<td class = "number"><a href = "#plateVIII">viii</a></td>
+</tr>
+</table>
+
+</div>
+
+<p class = "righthalf">
+THE EDITOR DESIRES TO ACKNOWLEDGE
+HIS INDEBTEDNESS TO MR. A.&nbsp;E.
+HUTTON, MR. R.&nbsp;W. LLOYD, MR.
+VICTOR RIENAECKER, MR. G.&nbsp;BELLINGHAM
+SMITH AND MESSRS. THOS.
+AGNEW &amp; SONS WHO HAVE KINDLY
+LENT THEIR DRAWINGS FOR REPRODUCTION
+IN THIS VOLUME.</p>
+
+
+<div class = "intro">
+
+<span class = "pagenum">1</span>
+<h4><a name = "intro" id = "intro">INTRODUCTION</a></h4>
+
+<p>The earliest form of painting was with colours ground in water.
+Egyptian artists three thousand years B.C. used this method, and various
+mediums, such as wax and mastic, were added as a fixative. It was what
+is now known as tempera painting. The Greeks acquired their knowledge of
+the art from the Egyptians, and later the Romans dispersed it throughout
+Europe. They probably introduced tempera painting into this country for
+decoration of the walls of their houses. The English monks visited the
+Continent and learnt the art of miniature painting for illuminating
+their manuscripts by the same process. Owing to opaque white being mixed
+with the colours the term of painting in body-colour came in use.
+Painting in this manner was employed by artists throughout Europe in
+making sketches for their oil paintings.</p>
+
+<p>Two such drawings by Albrecht Dürer, produced with great freedom in
+the early part of the sixteenth century, are in the British Museum. The
+Dutch masters also employed the same means. Holbein introduced the
+painting of miniature portraits into this country, for although the
+monks inserted figures in their illuminations, little attempt was made
+in producing likenesses. As early as the middle of the seventeenth
+century the term “water colours” came into use. In an inventory, in
+manuscript, of the personal estate of Charles&nbsp;I, which was sold by
+an Act of Parliament, numerous pictures are thus described.</p>
+
+<p>Wenceslaus Hollar, a native of Prague, came to England in 1637, and
+became drawing-master to the Prince of Wales and the Duke of York. The
+painting of landscapes was first introduced by him into this country. He
+made topographical drawings with a reed pen, and afterwards added slight
+local colours. The earliest Englishman known to follow this style was
+Francis Barlow. He is principally noted for his drawings with a pen,
+slightly tinted, of animals and birds, with landscapes in the
+background. Later, Peter Monamy, a marine painter who was born in
+Jersey, produced drawings in a similar manner. Early in the eighteenth
+century Pieter Tillemans came to England, and painted hunting scenes,
+race-horses and country-seats. He worked in a free style in washes of
+colour without any outlines with a pen or underlying grey tints. To a
+“Natural History of Birds,” by George Edwards, library keeper to the
+Royal College of Physicians, published in 1751, is added an appendix,
+entitled, “A Brief and General Idea of Drawing and Painting in Water
+Colours: Intended for the amusement of the curious rather than the
+instruction of artists.” In it he states, “There are two ways of
+painting in water colours: one by mixing white with your colours and
+laying on a thick body; the other is only washing your paper or vellum
+with a thin water tinctured with colour.” After giving details of the
+methods to be employed he adds, “the former method of using water
+colours is called painting and the other washing or staining.” During
+the latter half of the century it became a fashion for landed gentry to
+have engravings made of their country seats, and antiquarian
+publications with illustrations were produced. These created a demand
+for
+<span class = "pagenum">2</span>
+topographical draughtsmen to assist the engravers. In the catalogues of
+the Exhibitions of the Society of Artists, the first of which was held
+in 1760, the drawings by these men are styled as being “stained,”
+“tinted,” or “washed.”</p>
+
+<p>The English School of Water-Colour Painting was now firmly
+established, and several artists have been claimed to be the “father” of
+it. Amongst them were William Tavener, an amateur painter, whose
+drawings were never topographically correct, as he exaggerated buildings
+to give them a classic appearance; Samuel Scott, a marine painter and
+styled the English Canaletto, he was called by Horace Walpole “the first
+painter of the age&mdash;one whose works will charm any age,” and was
+also a friend of Hogarth; also Alexander Cozens, born in Russia and the
+reputed son of Peter the Great, but lately it has been suggested that
+Richard Cozens, a ship-builder, who went to Russia in 1700, may have
+been his father. He was sent to Italy to study art, and afterwards came
+to England. He professed to teach amateurs how to produce pictures
+without study. Edwards, in his “Anecdotes of Painting,” describes his
+process as dashing out a number of accidental large blots and loose
+flourishes from which he selected forms and sometimes produced very
+grand ideas. Dayes called him “Blotmaster-general to the town.”</p>
+
+<p>The painter, however, who is most generally regarded as being the
+father of water-colour painting was Paul Sandby, R.A. He first obtained
+employment in the Military Drawing Office of the Tower of London.
+Afterwards he resided with his elder brother, Thomas Sandby, at Windsor.
+At first he painted in the usual tinted manner of the period, but later
+he worked with body-colour, by which manner he added considerable
+richness to his drawings. <i>Windsor Castle: View of the Round and
+Devil’s Towers from the Black Rock</i> (<a href =
+"#plateI">Plate&nbsp;I</a>) is an admirable example of his latter
+method. The drawing has been acquired through the Felton Bequest Fund,
+and now hangs in the National Gallery of Victoria. Paul Sandby was for
+many years the chief drawing-master at the Royal Military Academy at
+Woolwich. He was also appointed by George III to give instruction in
+drawing to his sons.</p>
+
+<p>The work of Francis Towne has only of recent years come to be
+appreciated. He belonged to a Devonshire family, but the exact place of
+his birth is not known. He became a friend of William Pars, A.R.A., from
+whom he received some instruction in drawing, and also went with him to
+Rome in 1780. Although he spent considerable time on the Continent,
+numerous drawings by him exist of scenes in his native country. <i>On
+the Dart</i> (<a href = "#plateII">Plate II</a>) is a good example of
+his delicate method of painting. His special skill lay “in the
+management of even pen-line and in a subtle modulation of colour upon a
+flat surface.”</p>
+
+<p>Amongst the early topographical men was Michael (Angelo) Rooker,
+A.R.A. The additional Christian name is said to have been given to him
+by Paul Sandby, under whom he studied for some time. He made pedestrian
+tours through England, and executed a large number of drawings, which
+are remarkable for their accuracy and delicate treatment, such as the
+<i>Village Scene</i> (<a href = "#plateIII">Plate III</a>).</p>
+
+<span class = "pagenum">3</span>
+<p>Thomas Hearne was a contemporary with Rooker. It was a custom at this
+period for topographical artists to travel abroad with British Embassies
+to foreign countries and with Governors to Colonial possessions.
+Photography had not yet been invented, and the drawings by these artists
+were the only means by which the majority of inhabitants of this island
+were able to obtain some idea of places beyond the sea. Hearne went to
+the Leeward Isles, as draughtsman to the Governor, and produced records
+of the scenery there. Afterwards he executed a number of drawings in
+this country, some of which were engraved in “Antiquities of Great
+Britain.” <i>View of Gloucester</i> (<a href = "#plateIV">Plate IV</a>)
+is an example of his accurate drawing, though somewhat weak in
+colouring. Joseph Farington, R.A., received instruction in drawing from
+Wilson, and his paintings show slight evidence of it, as may be seen
+from the <i>Scotch Landscape</i> (<a href = "#plateV">Plate&nbsp;V</a>),
+but he simply copied Nature without enduing his work with any of his
+master’s poetic reeling. Thomas Malton, Junr., was noted for the
+accuracy with which he drew architectural views, many of them being
+street scenes in London, and they are of considerable value as records.
+<i>Old Palace Yard, Westminster</i> (<a href = "#plateVI">Plate VI</a>)
+is interesting as showing buildings on the north side of Henry VII’s
+Chapel of the Abbey, which have long since been demolished. He published
+works aquatinted by himself, including <i>Westminster</i>, which
+appeared in 1792. He held classes at which Girtin and Turner attended.
+The latter used to say, “My early master was Tom Malton.” Edward Dayes
+was a versatile artist; he painted architectural subjects, into which he
+frequently introduced figures, such as <i>Furness Abbey</i> (<a href =
+"#plateVII">Plate VII</a>), executed miniatures and engraved in
+mezzotint. He also wrote several works on art. <i>Buckingham House, St.
+James’s Park</i>, in which a number of the <i>beau monde</i> are seen
+promenading in the park, is one of his best paintings. An engraving of
+it by F.&nbsp;D. Soiron, produced in 1793, under the title of
+<i>Promenade in St. James’s Park</i>, was very popular.</p>
+
+<p>Francis Wheatley, R.A., was a topographical artist, but is better
+known as a painter of <i>genre</i> subjects, especially by the
+engravings after “The Cries of London.” <i>Preparing for Market</i> (<a
+href = "#plateVIII">Plate VIII</a>) is a good example of his latter
+work, which was somewhat insipid.</p>
+
+<p>The reputation of Thomas Rowlandson, who could paint landscapes with
+great ability, rests upon his caricatures, which were usually drawn in
+outline and tinted. He lived a somewhat dissipated life, and possessed
+an abundant sense of humour, as displayed in the <i>Entrance to Vauxhall
+Gardens</i> (<a href = "#plateIX">Plate IX</a>), the noted place of
+amusement and rendezvous of the fashionable set in the early part of the
+last century.</p>
+
+<p>John Robert Cozens, the son of Alexander Cozens, was the first artist
+at this period “to break away from the trammels of topography, and to
+raise landscape painting in water colours to a branch of fine art.” He
+travelled abroad and studied principally in Italy and Switzerland. The
+lake of Nemi, situated in the Campagna, some sixteen miles west of Rome,
+and reached by the famous Via Appia, has always been a favourite subject
+with both poets and artists. Near the north rim of the
+<span class = "pagenum">4</span>
+worn-out crater, in which the lake is situated, is the village of Nemi,
+surmounted by a fine old castle, which passed through the hands of many
+noble families. Pope, Byron, and others have sung the praises of the
+lake. Turner has left at least five drawings of it, one of which is
+engraved in Hakewell’s “Italy.” William Pars, Richard Wilson and other
+artists of the early landscape school also painted the scene. Cozens
+made many drawings of Nemi and the vicinity. Two are in the Victoria and
+Albert Museum and another is in the Whitworth Institute, Manchester. The
+painting (<a href = "#plateX">Plate&nbsp;X</a>), belonging to Mr.
+R.&nbsp;W. Lloyd, shows the lake with Palazzo Cesarini on a height by
+its side, and the Campagna in the distance. It is a fine example of
+Cozens’ work treated in his poetic manner, and into which more colour
+than usual has been introduced. Cozens’ last visit to Italy was made in
+1782 in company with the noted William Beckford, the author of “Vathek.”
+On his return he gradually lost his reason. It is pathetic to think such
+was the sad end of a man inspired with such artistic talents. As it has
+already been stated, he was the pioneer in exalting water-colour
+painting to a fine art. His footsteps were quickly followed by Girtin
+and Turner. The history of these two artists, how during their early
+struggles they were befriended by that art patron, Dr. Thomas Monro, a
+capable water-colour painter himself, and well qualified to give advice,
+is too well known to need repetition.</p>
+
+<p>Girtin, during his short career, had no selfish ideas of keeping his
+knowledge of painting to himself. It was mainly due to his initiation
+that a club was started amongst a small body of young artists for the
+study of landscape painting. They met at each other’s houses in
+rotation. One of its prominent members was Sir Robert Ker Porter, a
+painter, traveller and author, who afterwards married a Russian
+princess. He was living, at the time, at 16, Great Newport Street, which
+had formerly been a residence of Sir Joshua Reynolds, and subsequently
+that of Dr. Samuel Johnson. It was in this house that the first meeting
+of the club was held “for the purpose of establishing by practice a
+School of Historic Landscape, the subjects being designs from poetick
+passages.” Writing in <i>The Somerset House Gazette</i>, in 1823,
+W.&nbsp;H. Pyne, under the pseudonym of <ins class = "correction" title
+= "text reads ‘Ephriam’">Ephraim</ins> Hardcastle, states “this artist
+(Girtin) prepared his drawings on the same principle which had hitherto
+been confined to painting in oil, namely, with local colour, and
+shadowing the same with the individual tint of its own shadow. Previous
+to the practice of Turner and Girtin, drawings were shadowed first
+entirely throughout, whatever their component parts&mdash;houses,
+castles, trees, mountains, fore-grounds, middle-grounds, and distances,
+all with black or grey, and these objects were afterwards stained or
+tinted, enriched and finished, as is now the custom to colour prints. It
+was this new practice, introduced by these distinguished artists, that
+acquired for designs in water colour upon paper the title of paintings:
+a designation which many works of the existing school decidedly merit,
+as we lately beheld in the Exhibition of the Painters in Water Colours,
+where pictures of this class were displayed in gorgeous frames, bearing
+out in effect against the mass of glittering gold as powerfully as
+pictures in oil.” Girtin had a partiality for
+<span class = "pagenum">5</span>
+painting in a low tone of colour and frequently on rough cartridge
+paper, which assisted in giving a largeness of manner to his work. The
+<i>Landscape</i> (<a href = "#plateXI">Plate XI</a>) is, however,
+rendered in a brighter key than his usual practice.</p>
+
+<p>As limitation of space will not admit of giving any account of the
+life of Turner, already well known, it may be sufficient to say that
+<i>Lucerne: Moonlight</i> (<a href = "#plateXII">Plate XII</a>) was
+painted in 1843, and was originally in the collection of Mr.
+H.&nbsp;A.&nbsp;J. Munro of Novar. Ruskin, who calls it a noble drawing
+in his “Notes on his Drawings by the late J.&nbsp;M.&nbsp;W. Turner,”
+makes a mistake in the title and describes it as <i>Zurich by
+Moonlight</i>. John Sell Cotman, a member of the Norwich School, was
+another pioneer who did much for the advancement of water-colour
+painting. Unfortunately, his work was not appreciated during his career.
+If he had lived in the twentieth century he would have had no cause for
+the fits of depression to which he was subject during the greater part
+of life. It can be well recognised that in the first half of last
+century the public, who were mainly accustomed to carefully drawn
+topographical scenes, failed to appreciate such paintings as the
+<i>Classical Scene</i> (<a href = "#plateXIII">Plate XIII</a>), executed
+with such freedom and vigour. It was recently exhibited at the Special
+Exhibition of Cotman’s Paintings at the Tate Gallery, when five other
+classical landscape compositions were also shown. Cotman’s work was not
+understood. His paintings, both in oil and water colour, often only
+realised less than a pound apiece. He was compelled to resort to
+teaching in order to support his family. Eventually, through the
+influence of his friend, Lady Palgrave, and the strong support of
+Turner, he obtained the post of drawing-master at King’s College School,
+London. His position then became more secure. Still, teaching boys in
+the underground rooms of Somerset House could not have been inspiriting
+to one who yearned to seek Nature in the open air. He could not exclaim,
+like “Old” Crome, when he with his pupils was once met on the banks of
+the Yare, “This is our academy.” He died of a broken heart. At the
+beginning of the nineteenth century there was a feeling amongst the
+artists who worked solely in water colours that they were not being
+fairly treated by the Royal Academy. They were ineligible to be elected
+members of that body, and they were of opinion that their works were
+never placed in a prominent position on the walls of the galleries.
+William Frederick Wells, a friend of Turner and said to have suggested
+to him the idea of producing his “Liber Studiorum,” proposed to his
+fellow artists that they should form a separate society for the
+promotion of water-colour painting. After considerable negotiations, ten
+artists met together in November, 1804, and founded the Society of
+Painters in Water Colours. The first exhibition was held in the Spring
+of the following year at rooms in Lower Brook Street. After various
+vicissitudes and many changes of abode this society, known in later
+years as the “Old” Society, eventually obtained a lease of the premises
+in Pall Mall East. Thus, after much roving for seventeen years, a
+permanent home was secured, and the centenary of the occupation of these
+galleries has just been completed. Varley and Glover were two of the
+original members.
+<span class = "pagenum">6</span>
+De Wint, Copley Fielding, David Cox and Samuel Prout were subsequently
+elected Associates, and afterwards became full members.</p>
+
+<p>Amongst the founders the name of John Varley stands out beyond the
+others. He was born at Hackney (see <a href = "#plateXIV">Plate XIV</a>)
+in 1778. Receiving but little instruction in art besides the assistance
+given to him by Dr. Monro, he became a teacher of considerable
+reputation. Amongst his pupils were many who afterwards became famous.
+To mention only a few, there were William Mulready, who married his
+sister, Copley Fielding, who espoused his wife’s sister, W.&nbsp;Turner
+(of Oxford), David Cox, William H. Hunt, Oliver Finch and John Linnell.
+Varley was a prolific worker, and contributed more than seven hundred
+drawings to the “Old” Society, averaging about forty works annually. His
+style was broad and simple, with tints beautifully laid, without resort
+to stippling. He wrote some works on drawing and perspective. He also
+was an enthusiast in astrology, and compiled a “Treatise on Zodiacal
+Physiognomy.” John Glover was a landscape painter and produced works,
+both in oil and in water colours, into which he frequently introduced
+cattle. His father having been a small farmer may account for this
+partiality for animals. In water-colour painting he followed the methods
+of William Payne, the inventor of a grey tint known as Payne’s grey, in
+producing foliage by splitting the hairs of his brush in order to give a
+feeling of lightness, and he was partial to sunlight effects (see
+<a href = "#plateXV">Plate XV</a>). He was President of the “Old” Society
+on two occasions, but he resigned his membership, so as to become
+eligible for election to the Royal Academy. He failed in his object and
+joined the Society of British Artists. Glover suddenly left England in
+1831, and went to the Swan River Settlement in Australia. Afterwards he
+removed to Tasmania, where he died.</p>
+
+<p>Peter De Wint, a descendant of an old merchant family of Amsterdam,
+like Glover, painted in oils and water colours, but his work was far
+superior. He selected broad and open country for his scenes, which were
+executed in a rich tone with a tendency to heavy uniform green. The
+neighbourhood of Lincoln, where his wife, a sister of W.&nbsp;Hilton,
+R.A., was born, had special attractions to him. <i>St. Albans</i> (<a
+href = "#plateXVI">Plate XVI</a>) shows the abbey in the ruinous state
+it had become from the time of the Reformation. Its restoration was not
+commenced until 1856, under the direction of Sir Gilbert Scott, and
+completed later by Lord Grimthorpe. Anthony Vandyke Copley Fielding
+belonged to an artistic family. His father was a painter and three of
+his brothers all practised art with success. He was one of the most
+fashionable drawing-masters of his day, and a strong supporter of the
+“Old” Society. After being treasurer and next secretary, he was
+appointed president in 1831, which post he retained during his life. He
+was a most prolific worker and contributed about seventeen hundred
+drawings to the Society’s exhibitions, besides showing at the Royal
+Academy and Royal Institution. At first his favourite subjects were lake
+and mountain scenery (see <a href = "#plateXVII">Plate XVII</a>). After
+he took up his residence at Brighton he turned his attention to marine
+painting and depicted many storms at sea. It has been exaggeratedly said
+that Copley Fielding was "perhaps the greatest artist after Turner for
+representations
+<span class = "pagenum">7</span>
+of breadth and atmosphere." Ruskin also praised his work. Owing,
+however, to his very rapid method of execution there was a considerable
+sameness in his work.</p>
+
+<p>The drawings by David Cox, although executed in an apparently
+careless manner, give a greater rendering of atmospheric qualities and
+of irradiation of light with a feeling of more movement than can be
+found in the works of Fielding. Cox’s early drawings were executed in a
+somewhat stiff and restrained manner, with a delicate finish, but
+afterwards his style became broad and he produced those breezy effects
+which are almost unrivalled. <i>Boys Fishing</i> (<a href =
+"#plateXVIII">Plate XVIII</a>) is an excellent example of his later
+work. When Cox returned to his native town, Birmingham, he devoted his
+attention to working in oils, and the City Art Gallery possesses a
+superb collection of his paintings in this medium. He was for the
+greater part of his life a teacher of drawing, and he published a
+“Treatise on Landscape Painting and Effect in Water Colours,” in which
+his views are clearly stated.<a class = "tag" name = "tag1" id = "tag1"
+href = "#note1">*</a></p>
+
+<p>Samuel Prout, one of the numerous Devonshire painters, also derived a
+great part of his income by giving instruction in drawing and painting.
+Numerous drawing copies for students were produced by him by means of
+soft-ground etching. He was at first employed by John Britton, the
+author of “The Beauties of England and Wales,” in making topographical
+drawings for this work. In 1819 he went to Normandy for the benefit of
+his health. There he turned his attention to producing those paintings
+of cathedrals and picturesque buildings for which he is noted. Later he
+travelled through Germany and Switzerland to Italy, and visited Rome and
+Venice (see <a href = "#plateXIX">Plate XIX</a>). Afterwards he
+published facsimiles of many of the drawings executed during these tours
+on the Continent. They were produced in lithography by himself on the
+stone, an art in which he greatly excelled. The architectural drawings
+by Prout are remarkable for their picturesque treatment, rather than for
+correctness of construction. Details are sparsely indicated by the use
+of a reed pen. Bright effects of light and shade are, however, given,
+and the introduction of groups of figures add brilliancy to these
+paintings.</p>
+
+<p>James Duffield Harding, like Prout, from whom he received some
+lessons, also excelled in lithography. Many of his paintings were
+reproduced by him in a publication entitled “Sketches at Home and
+Abroad.” He visited Italy on two occasions. <i>Vico, in the Bay of
+Naples</i>, between Castellamare and Sorrento (<a href =
+"#plateXX">Plate XX</a>), is an example of his free manner of painting.
+An engraving of it appeared in the “Landscape Annual” in 1832. He was a
+member of the “Old” Society, and also painted in oils. William Henry
+Hunt, familiarly called “Old” or “Billy” Hunt in his latter years by his
+fellow artists, to distinguish him from William Holman Hunt, was an
+artist with a style peculiar to himself. He painted figures, especially
+young rustics, with a sense of humour, but he is chiefly noted for his
+exquisite fruit and flower pieces, which were executed with great
+delicacy and with a remarkable power of rendering the effects of light
+and shade on the surface of the objects. To obtain these he would
+<span class = "pagenum">8</span>
+roughly pencil out, say, a group of plums, and thickly coat each one
+with Chinese white, which would be left to harden. On this ground he
+afterwards painted his colours with a sure hand. By this means he would
+obtain a brilliant effect. Further, to enhance it, he would make free
+use of the knife on the various surroundings to give a contrast, and at
+the same time to produce a feeling of texture on the various surfaces,
+so as not to have a monotonous and flat appearance. This method of
+scraping up portions of the surface of the paper is clearly shown in
+<i>Plucking the Fowl</i> (<a href = "#plateXXI">Plate XXI</a>).</p>
+
+<p>James Holland commenced his artistic career by painting flowers on
+pottery at the factory of James Davenport at Burslem. He came to London
+and continued to paint flowers. After a visit to Paris he devoted
+himself to landscapes. Subsequently he visited Venice, and produced, in
+both oils and water colours, some excellent paintings remarkable for
+their brilliant colouring (see <a href = "#plateXXII">Plate
+XXII</a>).</p>
+
+<p>James Baker Pyne, born at Bristol, was a self-taught artist. He also
+is noted for his brilliant colouring, but there is a want of solidity in
+his painting. He visited the Continent and travelled as far as Italy
+(see <a href = "#plateXXIII">Plate XXIII</a>). His landscapes were
+chiefly river and lake subjects. He published “The English Lake
+District” and “The Lake Scenery of England,” illustrated with
+lithographs of his works. He was a member of the Society of British
+Artists, and became a vice-president. Like Girtin, the illustrious young
+painter Richard Parkes Bonington was cut off in life at the early age of
+twenty-seven. He was born at Arnold, near Nottingham. Whilst still a boy
+he was taken by his parents to Calais, where he received some
+instruction in water colours from Francia. Later the family settled in
+Paris. Here Bonington resided the greater part of his life. He made a
+few visits to England, and on the last occasion he was taken ill and
+died of consumption. He practised at the Louvre and the <i>Institut</i>,
+and also received instruction from Baron Gros. His paintings, in oil and
+water colours, were almost entirely executed in France; he, however,
+made one visit to Italy. In Paris his works were chiefly architectural
+with street scenes, admirably executed, whilst his landscapes with fine
+atmospheric effects (see <a href = "#plateXXIV">Plate XXIV</a>) display
+great freedom in execution. It is somewhat remarkable that after Cotman
+and Bonington had, in the first part of the nineteenth century,
+developed a style so greatly appreciated at the present time, so many of
+the landscape painters in water colours in the early Victorian era
+should still have adhered to the old restricted methods. Constable
+exercised considerable influence on the French landscape painting in
+oil, whilst Bonington showed the French artists the capabilities of
+water colours, which they did not fail to appreciate.</p>
+
+<p class = "right smallcaps">H. M. Cundall.</p>
+
+<p class = "footnote">
+<a name = "note1" id = "note1" href = "#tag1">*</a>
+The “Treatise” has recently been republished as the Special Autumn
+Number of <i>The Studio</i>.</p>
+
+</div>
+
+
+<div class = "plates">
+
+<a name = "plateI" id = "plateI">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate1large.jpg" target = "_blank">
+<img src = "images/plate1.jpg" width = "362" height = "239"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate1large.jpg" target = "_blank">PLATE I</a></p>
+
+<p class = "title">“WINDSOR CASTLE: VIEW OF THE ROUND AND<br>
+DEVIL’S TOWERS FROM THE BLACK ROCK”</p>
+
+<p>BY PAUL SANDBY, R.A.</p>
+
+<p>(Size, <ins class = "number" title = "11-3/4 x 17-1/4">11¾ ×
+17¼</ins> IN.)</p>
+
+<p>(<i>Acquired by the National Art Gallery of Victoria,
+Melbourne</i>)</p>
+
+
+<a name = "plateII" id = "plateII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate2large.jpg" target = "_blank">
+<img src = "images/plate2.jpg" width = "337" height = "240"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate2large.jpg" target = "_blank">PLATE II</a></p>
+
+<p class = "title">“ON THE DART”</p>
+
+<p>BY FRANCIS TOWNE</p>
+
+<p>(Size, <ins class = "number" title = "7 x 9-3/4">7 × 9¾</ins>
+IN.)</p>
+
+<p>(<i>In the possession of A.&nbsp;E. Hutton, Esq.</i>)</p>
+
+
+<a name = "plateIII" id = "plateIII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate3large.jpg" target = "_blank">
+<img src = "images/plate3.jpg" width = "269" height = "211"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate3large.jpg" target = "_blank">PLATE
+III</a></p>
+
+<p class = "title">“VILLAGE SCENE”</p>
+
+<p>BY MICHAEL (ANGELO) ROOKER, A.R.A.</p>
+
+<p>(Size, <ins class = "number" title = "14-1/2 x 18-1/4">14½ ×
+18¼</ins> IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq</i>.)</p>
+
+
+<a name = "plateIV" id = "plateIV">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate4large.jpg" target = "_blank">
+<img src = "images/plate4.jpg" width = "338" height = "245"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate4large.jpg" target = "_blank">PLATE IV</a></p>
+
+<p class = "title">“VIEW OF GLOUCESTER”</p>
+
+<p>BY THOMAS HEARNE</p>
+
+<p>(Size, <ins class = "number" title = "7-1/2 x 10-1/2">7½ × 10½</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateV" id = "plateV">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate5large.jpg" target = "_blank">
+<img src = "images/plate5.jpg" width = "372" height = "226"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate5large.jpg" target = "_blank">PLATE V</a></p>
+
+<p class = "title">“SCOTCH LANDSCAPE”</p>
+
+<p>BY JOSEPH FARINGTON, R.A.</p>
+
+<p>(Size, <ins class = "number" title = "20-3/4 x 33-3/4">20¾ ×
+33¾</ins> IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateVI" id = "plateVI">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate6large.jpg" target = "_blank">
+<img src = "images/plate6.jpg" width = "368" height = "246"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate6large.jpg" target = "_blank">PLATE VI</a></p>
+
+<p>“OLD PALACE YARD, WESTMINSTER,”</p>
+
+<p>BY THOMAS MALTON, JUN.</p>
+
+<p>(Size, 13 × 19 IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateVII" id = "plateVII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate7large.jpg" target = "_blank">
+<img src = "images/plate7.jpg" width = "268" height = "359"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate7large.jpg" target = "_blank">PLATE
+VII</a></p>
+
+<p class = "title">“FURNESS ABBEY, LANCASHIRE”</p>
+
+<p>BY EDWARD DAYES</p>
+
+<p>(Size, <ins class = "number" title = "27-1/2 x 20-3/4">27½ ×
+20¾</ins> IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq</i>.)</p>
+
+
+<a name = "plateVIII" id = "plateVIII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate8large.jpg" target = "_blank">
+<img src = "images/plate8.jpg" width = "264" height = "367"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate8large.jpg" target = "_blank">PLATE
+VIII</a></p>
+
+<p class = "title">“PREPARING FOR MARKET”</p>
+
+<p>BY FRANCIS WHEATLEY, R.A.,</p>
+
+<p>(Size, 14 × 10 IN.)</p>
+
+<p>(<i>In the possession of Messrs. Thos. Agnew &amp; Sons</i>)</p>
+
+
+<a name = "plateIX" id = "plateIX">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate9large.jpg" target = "_blank">
+<img src = "images/plate9.jpg" width = "358" height = "244"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate9large.jpg" target = "_blank">PLATE IX</a></p>
+
+<p class = "title">“ENTRANCE TO VAUXHALL GARDENS”</p>
+
+<p>BY THOMAS ROWLANDSON</p>
+
+<p>(Size, <ins class = "number" title = "9 x 12-7/8">9 × 12?</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateX" id = "plateX">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate10large.jpg" target = "_blank">
+<img src = "images/plate10.jpg" width = "357" height = "247"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate10large.jpg" target = "_blank">PLATE X</a></p>
+
+<p class = "title">“LAKE NEMI”</p>
+
+<p>BY JOHN ROBERT COZENS</p>
+
+<p>(Size, <ins class = "number" title = "14-1/2 x 21">14½ × 21</ins>
+IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXI" id = "plateXI">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate11large.jpg" target = "_blank">
+<img src = "images/plate11.jpg" width = "366" height = "218"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate11large.jpg" target = "_blank">PLATE
+XI</a></p>
+
+<p class = "title">LANDSCAPE</p>
+
+<p>BY THOMAS GIRTIN</p>
+
+<p>(Size, <ins class = "number" title = "12-1/4 x 20-1/2">12¼ ×
+20½</ins> IN)</p>
+
+<p>(<i>In the possession of R. W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXII" id = "plateXII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate12large.jpg" target = "_blank">
+<img src = "images/plate12.jpg" width = "366" height = "220"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate12large.jpg" target = "_blank">PLATE
+XII</a></p>
+
+<p class = "title">“LUCERNE: MOONLIGHT”</p>
+
+<p>BY J.&nbsp;M.&nbsp;W. TURNER, R.A.</p>
+
+<p>(Size, <ins class = "number" title = "11-1/2 x 18-3/4">11½ ×
+18¾</ins> IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXIII" id = "plateXIII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate13large.jpg" target = "_blank">
+<img src = "images/plate13.jpg" width = "277" height = "400"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate13large.jpg" target = "_blank">PLATE
+XIII</a></p>
+
+<p class = "title">“CLASSICAL SCENE”</p>
+
+<p>BY JOHN SELL COTMAN</p>
+
+<p>(Size, <ins class = "number" title = "11-1/2 x 8-1/4">11½ × 8¼</ins>
+IN.)</p>
+
+<p>(<i>In the possession of G. Bellingham Smith, Esq.</i>)</p>
+
+
+<a name = "plateXIV" id = "plateXIV">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate14large.jpg" target = "_blank">
+<img src = "images/plate14.jpg" width = "348" height = "239"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate14large.jpg" target = "_blank">PLATE
+XIV</a></p>
+
+<p class = "title">“HACKNEY CHURCH”</p>
+
+<p>BY JOHN VARLEY</p>
+
+<p>(Size, 11 × 15 IN.)</p>
+
+<p>(<i>In the possession of R. W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXV" id = "plateXV">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate15large.jpg" target = "_blank">
+<img src = "images/plate15.jpg" width = "351" height = "243"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate15large.jpg" target = "_blank">PLATE
+XV</a></p>
+
+<p class = "title">“VIEW IN NORTH WALES”</p>
+
+<p>BY JOHN GLOVER</p>
+
+<p>(Size, <ins class = "number" title = "16-1/8 x 23">16? × 23</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateXVI" id = "plateXVI">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate16large.jpg" target = "_blank">
+<img src = "images/plate16.jpg" width = "359" height = "240"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate16large.jpg" target = "_blank">PLATE
+XVI</a></p>
+
+<p class = "title">“ST. ALBANS”</p>
+
+<p>BY PETER DE WINT</p>
+
+<p>(Size, <ins class = "number" title = "9-3/4 x 14-1/2">9¾ × 14½</ins>
+IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXVII" id = "plateXVII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate17large.jpg" target = "_blank">
+<img src = "images/plate17.jpg" width = "269" height = "203"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate17large.jpg" target = "_blank">PLATE
+XVII</a></p>
+
+<p class = "title">“LAKE SCENE”</p>
+
+<p>BY A.&nbsp;V. COPLEY FIELDING</p>
+
+<p>(Size, <ins class = "number" title = "12-1/4 x 16-1/8">12¼ ×
+16?</ins> IN.)</p>
+
+<p>(<i>In the Possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateXVIII" id = "plateXVIII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate18large.jpg" target = "_blank">
+<img src = "images/plate18.jpg" width = "335" height = "246"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate18large.jpg" target = "_blank">PLATE
+XVIII</a></p>
+
+<p class = "title">“BOYS FISHING”</p>
+
+<p>BY DAVID COX</p>
+
+<p>(Size, <ins class = "number" title = "10-1/2 x 14-1/2">10½ ×
+14½</ins> IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXIX" id = "plateXIX">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate19large.jpg" target = "_blank">
+<img src = "images/plate19.jpg" width = "241" height = "343"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate19large.jpg" target = "_blank">PLATE
+XIX</a></p>
+
+<p class = "title">“PALAZZO CONTARINI FASAN<br>
+ON THE GRAND CANAL, VENICE”</p>
+
+<p>BY SAMUEL PROUT</p>
+
+<p>(Size, <ins class = "number" title = "16-7/8 x 11-1/2">16? ×
+11½</ins> IN.)</p>
+
+<p>(<i>In the Victoria and Albert Museum</i>)</p>
+
+
+<a name = "plateXX" id = "plateXX">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate20large.jpg" target = "_blank">
+<img src = "images/plate20.jpg" width = "342" height = "248"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate20large.jpg" target = "_blank">PLATE
+XX</a></p>
+
+<p class = "title">“VICO, BAY OF NAPLES”</p>
+
+<p>BY JAMES DUFFIELD HARDING</p>
+
+<p>(Size, <ins class = "number" title = "8-1/2 x 11-3/4">8½ × 11¾</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateXXI" id = "plateXXI">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate21large.jpg" target = "_blank">
+<img src = "images/plate21.jpg" width = "271" height = "251"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate21large.jpg" target = "_blank">PLATE
+XXI</a></p>
+
+<p class = "title">“PLUCKING THE FOWL”</p>
+
+<p>BY WILLIAM HENRY HUNT</p>
+
+<p>(Size, <ins class = "number" title = "13-3/4 x 14-1/2">13¾ ×
+14½</ins> IN.)</p>
+
+<p>(<i>In the possession of R.&nbsp;W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXXII" id = "plateXXII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate22large.jpg" target = "_blank">
+<img src = "images/plate22.jpg" width = "239" height = "368"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate22large.jpg" target = "_blank">PLATE
+XXII</a></p>
+
+<p class = "title">“A SHRINE IN VENICE”</p>
+
+<p>BY JAMES HOLLAND</p>
+
+<p>(Size, <ins class = "number" title = "9-3/4 x 6-1/2">9¾ × 6½</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Victor Rienaecker, Esq.</i>)</p>
+
+
+<a name = "plateXXIII" id = "plateXXIII">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate23large.jpg" target = "_blank">
+<img src = "images/plate23.jpg" width = "365" height = "231"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate23large.jpg" target = "_blank">PLATE
+XXIII</a></p>
+
+<p class = "title">“VIEW IN ITALY”</p>
+
+<p>BY JAMES BAKER PYNE</p>
+
+<p>(Size, <ins class = "number" title = "10-3/4 x 17">10¾ × 17</ins>
+IN.)</p>
+
+<p>(<i>In the possession of R. W. Lloyd, Esq.</i>)</p>
+
+
+<a name = "plateXXIV" id = "plateXXIV">&nbsp;</a>
+<p class = "illustration">
+<a href = "images/plate24large.jpg" target = "_blank">
+<img src = "images/plate24.jpg" width = "348" height = "246"
+alt = "see caption"></a></p>
+
+<p><a href = "images/plate24large.jpg" target = "_blank">PLATE
+XXIV</a></p>
+
+<p class = "title">“NEAR JUMIEGES”</p>
+
+<p>BY RICHARD PARKES BONINGTON</p>
+
+<p>(Size, <ins class = "number" title = "8-3/4 x 12-1/4">8¾ × 12¼</ins>
+IN.)</p>
+
+<p>(<i>In the possession of Messrs. Thos. Agnew &amp; Sons</i>)</p>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of Project Gutenberg's Masters of Water-Colour Painting by H. M. Cundall
+
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+</pre>
+
+</body>
+</html>
+
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@@ -0,0 +1,1115 @@
+Project Gutenberg's Masters of Water-Colour Painting, by H. M. Cundall
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Masters of Water-Colour Painting
+
+Author: H. M. Cundall
+
+Editor: Geoffrey Holme
+
+Release Date: August 23, 2007 [EBook #22379]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK MASTERS OF WATER-COLOUR PAINTING ***
+
+
+
+
+Produced by Louise Hope, Michael Ciesielski and the Online
+Distributed Proofreading Team at http://www.pgdp.net
+
+
+
+
+
+
+  [Transcriber's Note:
+
+  Readers who cannot use the fully illustrated version of this file
+  may like to view some individual pictures in the "images" directory
+  associated with the HTML file. Each comes in two sizes.
+
+  This text file is for readers who cannot use the "real" (unicode,
+  utf-8) version of the file. All fractions in Plate descriptions
+  have been "unpacked" in the form _17-7/8_.]
+
+
+
+
+    [Illustration: Cover]
+
+
+
+
+  MASTERS OF WATER-COLOUR PAINTING
+  With Introduction by H. M. Cundall, I.S.O., F.S.A.
+
+
+
+
+  Edited By Geoffrey Holme
+  London: The Studio, Ltd., 44 Leicester Square, W.C.2
+  1922-1923
+
+
+
+
+  CONTENTS
+                                                            Page
+
+  Introduction by H. M. Cundall, I.S.O., F.S.A.                1
+
+
+  ILLUSTRATIONS IN COLOURS
+                                                           Plate
+
+  Bonington, Richard Parkes
+      _Near Jumieges_                                       xxiv
+
+  Cotman, John Sell
+      _Classical Scene_                                     xiii
+
+  Cox, David
+      _Boys Fishing_                                       xviii
+
+  Cozens, John Robert
+      _Lake Nemi_                                              x
+
+  Dayes, Edward
+      _Furness Abbey, Lancashire_                            vii
+
+  De Wint, Peter
+      _St. Albans_                                           xvi
+
+  Farington, R.A., Joseph
+      _Scotch Landscape_                                       v
+
+  Fielding, A. V. Copley
+      _Lake Scene_                                          xvii
+
+  Girtin, Thomas
+      _Landscape_                                             xi
+
+  Glover, John
+      _View in North Wales_                                   xv
+
+  Harding, James Duffield
+      _Vico, Bay of Naples_                                   xx
+
+  Hearne, Thomas
+      _View of Gloucester_                                    iv
+
+  Holland, James
+      _A Shrine in Venice_                                  xxii
+
+  Hunt, William Henry
+      _Plucking the Fowl_                                    xxi
+
+  Malton, Thomas, Jun.
+      _Old Palace Yard, Westminster_                          vi
+
+  Prout, Samuel
+      _Palazzo Contarini Fasan
+        on the Grand Canal, Venice_                          xix
+
+  Pyne, James Baker
+      _View in Italy_                                      xxiii
+
+  Rooker, A.R.A., Michael (Angelo)
+      _Village Scene_                                        iii
+
+  Rowlandson, Thomas
+      _Entrance to Vauxhall Gardens_                          ix
+
+  Sandby, R.A., Paul
+      _Windsor Castle: View of the Round
+      and Devil's Towers from the Black Rock_                  i
+
+  Towne, Francis
+      _On the Dart_                                           ii
+
+  Turner, R.A., J. M. W.
+      _Lucerne: Moonlight_                                   xii
+
+  Varley, John
+      _Hackney Church_                                       xiv
+
+  Wheatley, R.A., Francis
+      _Preparing for Market_                                viii
+
+
+
+
+  The Editor desires to acknowledge
+  his indebtedness to Mr. A. E.
+  Hutton, Mr. R. W. Lloyd, Mr.
+  Victor Rienaecker, Mr. G. Bellingham
+  Smith and Messrs. Thos.
+  Agnew & Sons who have kindly
+  lent their drawings for reproduction
+  in this volume.
+
+
+
+
+INTRODUCTION
+
+
+The earliest form of painting was with colours ground in water. Egyptian
+artists three thousand years B.C. used this method, and various mediums,
+such as wax and mastic, were added as a fixative. It was what is now
+known as tempera painting. The Greeks acquired their knowledge of the
+art from the Egyptians, and later the Romans dispersed it throughout
+Europe. They probably introduced tempera painting into this country for
+decoration of the walls of their houses. The English monks visited the
+Continent and learnt the art of miniature painting for illuminating
+their manuscripts by the same process. Owing to opaque white being mixed
+with the colours the term of painting in body-colour came in use.
+Painting in this manner was employed by artists throughout Europe in
+making sketches for their oil paintings.
+
+Two such drawings by Albrecht Durer, produced with great freedom in
+the early part of the sixteenth century, are in the British Museum.
+The Dutch masters also employed the same means. Holbein introduced the
+painting of miniature portraits into this country, for although the
+monks inserted figures in their illuminations, little attempt was made
+in producing likenesses. As early as the middle of the seventeenth
+century the term "water colours" came into use. In an inventory, in
+manuscript, of the personal estate of Charles I, which was sold by an
+Act of Parliament, numerous pictures are thus described.
+
+Wenceslaus Hollar, a native of Prague, came to England in 1637, and
+became drawing-master to the Prince of Wales and the Duke of York. The
+painting of landscapes was first introduced by him into this country. He
+made topographical drawings with a reed pen, and afterwards added slight
+local colours. The earliest Englishman known to follow this style was
+Francis Barlow. He is principally noted for his drawings with a pen,
+slightly tinted, of animals and birds, with landscapes in the
+background. Later, Peter Monamy, a marine painter who was born in
+Jersey, produced drawings in a similar manner. Early in the eighteenth
+century Pieter Tillemans came to England, and painted hunting scenes,
+race-horses and country-seats. He worked in a free style in washes of
+colour without any outlines with a pen or underlying grey tints. To a
+"Natural History of Birds," by George Edwards, library keeper to the
+Royal College of Physicians, published in 1751, is added an appendix,
+entitled, "A Brief and General Idea of Drawing and Painting in Water
+Colours: Intended for the amusement of the curious rather than the
+instruction of artists." In it he states, "There are two ways of
+painting in water colours: one by mixing white with your colours and
+laying on a thick body; the other is only washing your paper or vellum
+with a thin water tinctured with colour." After giving details of the
+methods to be employed he adds, "the former method of using water
+colours is called painting and the other washing or staining." During
+the latter half of the century it became a fashion for landed gentry to
+have engravings made of their country seats, and antiquarian
+publications with illustrations were produced. These created a demand
+for topographical draughtsmen to assist the engravers. In the catalogues
+of the Exhibitions of the Society of Artists, the first of which was
+held in 1760, the drawings by these men are styled as being "stained,"
+"tinted," or "washed."
+
+The English School of Water-Colour Painting was now firmly established,
+and several artists have been claimed to be the "father" of it. Amongst
+them were William Tavener, an amateur painter, whose drawings were never
+topographically correct, as he exaggerated buildings to give them a
+classic appearance; Samuel Scott, a marine painter and styled the
+English Canaletto, he was called by Horace Walpole "the first painter of
+the age--one whose works will charm any age," and was also a friend of
+Hogarth; also Alexander Cozens, born in Russia and the reputed son of
+Peter the Great, but lately it has been suggested that Richard Cozens,
+a ship-builder, who went to Russia in 1700, may have been his father.
+He was sent to Italy to study art, and afterwards came to England. He
+professed to teach amateurs how to produce pictures without study.
+Edwards, in his "Anecdotes of Painting," describes his process as
+dashing out a number of accidental large blots and loose flourishes from
+which he selected forms and sometimes produced very grand ideas. Dayes
+called him "Blotmaster-general to the town."
+
+The painter, however, who is most generally regarded as being the father
+of water-colour painting was Paul Sandby, R.A. He first obtained
+employment in the Military Drawing Office of the Tower of London.
+Afterwards he resided with his elder brother, Thomas Sandby, at Windsor.
+At first he painted in the usual tinted manner of the period, but later
+he worked with body-colour, by which manner he added considerable
+richness to his drawings. _Windsor Castle: View of the Round and Devil's
+Towers from the Black Rock_ (Plate I) is an admirable example of his
+latter method. The drawing has been acquired through the Felton Bequest
+Fund, and now hangs in the National Gallery of Victoria. Paul Sandby was
+for many years the chief drawing-master at the Royal Military Academy at
+Woolwich. He was also appointed by George III to give instruction in
+drawing to his sons.
+
+The work of Francis Towne has only of recent years come to be
+appreciated. He belonged to a Devonshire family, but the exact place of
+his birth is not known. He became a friend of William Pars, A.R.A., from
+whom he received some instruction in drawing, and also went with him to
+Rome in 1780. Although he spent considerable time on the Continent,
+numerous drawings by him exist of scenes in his native country. _On the
+Dart_ (Plate II) is a good example of his delicate method of painting.
+His special skill lay "in the management of even pen-line and in a
+subtle modulation of colour upon a flat surface."
+
+Amongst the early topographical men was Michael (Angelo) Rooker, A.R.A.
+The additional Christian name is said to have been given to him by Paul
+Sandby, under whom he studied for some time. He made pedestrian tours
+through England, and executed a large number of drawings, which are
+remarkable for their accuracy and delicate treatment, such as the
+_Village Scene_ (Plate III).
+
+Thomas Hearne was a contemporary with Rooker. It was a custom at this
+period for topographical artists to travel abroad with British Embassies
+to foreign countries and with Governors to Colonial possessions.
+Photography had not yet been invented, and the drawings by these artists
+were the only means by which the majority of inhabitants of this island
+were able to obtain some idea of places beyond the sea. Hearne went to
+the Leeward Isles, as draughtsman to the Governor, and produced records
+of the scenery there. Afterwards he executed a number of drawings in
+this country, some of which were engraved in "Antiquities of Great
+Britain." _View of Gloucester_ (Plate IV) is an example of his accurate
+drawing, though somewhat weak in colouring. Joseph Farington, R.A.,
+received instruction in drawing from Wilson, and his paintings show
+slight evidence of it, as may be seen from the _Scotch Landscape_ (Plate
+V), but he simply copied Nature without enduing his work with any of his
+master's poetic reeling. Thomas Malton, Junr., was noted for the
+accuracy with which he drew architectural views, many of them being
+street scenes in London, and they are of considerable value as records.
+_Old Palace Yard, Westminster_ (Plate VI) is interesting as showing
+buildings on the north side of Henry VII's Chapel of the Abbey, which
+have long since been demolished. He published works aquatinted by
+himself, including _Westminster_, which appeared in 1792. He held
+classes at which Girtin and Turner attended. The latter used to say, "My
+early master was Tom Malton." Edward Dayes was a versatile artist; he
+painted architectural subjects, into which he frequently introduced
+figures, such as _Furness Abbey_ (Plate VII), executed miniatures and
+engraved in mezzotint. He also wrote several works on art. _Buckingham
+House, St. James's Park_, in which a number of the _beau monde_ are seen
+promenading in the park, is one of his best paintings. An engraving of
+it by F. D. Soiron, produced in 1793, under the title of _Promenade in
+St. James's Park_, was very popular.
+
+Francis Wheatley, R.A., was a topographical artist, but is better known
+as a painter of _genre_ subjects, especially by the engravings after
+"The Cries of London." _Preparing for Market_ (Plate VIII) is a good
+example of his latter work, which was somewhat insipid.
+
+The reputation of Thomas Rowlandson, who could paint landscapes with
+great ability, rests upon his caricatures, which were usually drawn in
+outline and tinted. He lived a somewhat dissipated life, and possessed
+an abundant sense of humour, as displayed in the _Entrance to Vauxhall
+Gardens_ (Plate IX), the noted place of amusement and rendezvous of the
+fashionable set in the early part of the last century.
+
+John Robert Cozens, the son of Alexander Cozens, was the first artist
+at this period "to break away from the trammels of topography, and to
+raise landscape painting in water colours to a branch of fine art." He
+travelled abroad and studied principally in Italy and Switzerland. The
+lake of Nemi, situated in the Campagna, some sixteen miles west of Rome,
+and reached by the famous Via Appia, has always been a favourite subject
+with both poets and artists. Near the north rim of the worn-out crater,
+in which the lake is situated, is the village of Nemi, surmounted by a
+fine old castle, which passed through the hands of many noble families.
+Pope, Byron, and others have sung the praises of the lake. Turner has
+left at least five drawings of it, one of which is engraved in
+Hakewell's "Italy." William Pars, Richard Wilson and other artists of
+the early landscape school also painted the scene. Cozens made many
+drawings of Nemi and the vicinity. Two are in the Victoria and Albert
+Museum and another is in the Whitworth Institute, Manchester. The
+painting (Plate X), belonging to Mr. R. W. Lloyd, shows the lake with
+Palazzo Cesarini on a height by its side, and the Campagna in the
+distance. It is a fine example of Cozens' work treated in his poetic
+manner, and into which more colour than usual has been introduced.
+Cozens' last visit to Italy was made in 1782 in company with the noted
+William Beckford, the author of "Vathek." On his return he gradually
+lost his reason. It is pathetic to think such was the sad end of a man
+inspired with such artistic talents. As it has already been stated, he
+was the pioneer in exalting water-colour painting to a fine art. His
+footsteps were quickly followed by Girtin and Turner. The history of
+these two artists, how during their early struggles they were befriended
+by that art patron, Dr. Thomas Monro, a capable water-colour painter
+himself, and well qualified to give advice, is too well known to need
+repetition.
+
+Girtin, during his short career, had no selfish ideas of keeping his
+knowledge of painting to himself. It was mainly due to his initiation
+that a club was started amongst a small body of young artists for the
+study of landscape painting. They met at each other's houses in
+rotation. One of its prominent members was Sir Robert Ker Porter,
+a painter, traveller and author, who afterwards married a Russian
+princess. He was living, at the time, at 16, Great Newport Street, which
+had formerly been a residence of Sir Joshua Reynolds, and subsequently
+that of Dr. Samuel Johnson. It was in this house that the first meeting
+of the club was held "for the purpose of establishing by practice a
+School of Historic Landscape, the subjects being designs from poetick
+passages." Writing in _The Somerset House Gazette_, in 1823, W. H. Pyne,
+under the pseudonym of Ephraim Hardcastle, states "this artist (Girtin)
+prepared his drawings on the same principle which had hitherto been
+confined to painting in oil, namely, with local colour, and shadowing
+the same with the individual tint of its own shadow. Previous to the
+practice of Turner and Girtin, drawings were shadowed first entirely
+throughout, whatever their component parts--houses, castles, trees,
+mountains, fore-grounds, middle-grounds, and distances, all with black
+or grey, and these objects were afterwards stained or tinted, enriched
+and finished, as is now the custom to colour prints. It was this new
+practice, introduced by these distinguished artists, that acquired for
+designs in water colour upon paper the title of paintings: a designation
+which many works of the existing school decidedly merit, as we lately
+beheld in the Exhibition of the Painters in Water Colours, where
+pictures of this class were displayed in gorgeous frames, bearing out in
+effect against the mass of glittering gold as powerfully as pictures in
+oil." Girtin had a partiality for painting in a low tone of colour and
+frequently on rough cartridge paper, which assisted in giving a
+largeness of manner to his work. The _Landscape_ (Plate XI) is, however,
+rendered in a brighter key than his usual practice.
+
+As limitation of space will not admit of giving any account of the life
+of Turner, already well known, it may be sufficient to say that
+_Lucerne: Moonlight_ (Plate XII) was painted in 1843, and was originally
+in the collection of Mr. H. A. J. Munro of Novar. Ruskin, who calls it a
+noble drawing in his "Notes on his Drawings by the late J. M. W.
+Turner," makes a mistake in the title and describes it as _Zurich by
+Moonlight_. John Sell Cotman, a member of the Norwich School, was
+another pioneer who did much for the advancement of water-colour
+painting. Unfortunately, his work was not appreciated during his career.
+If he had lived in the twentieth century he would have had no cause for
+the fits of depression to which he was subject during the greater part
+of life. It can be well recognised that in the first half of last
+century the public, who were mainly accustomed to carefully drawn
+topographical scenes, failed to appreciate such paintings as the
+_Classical Scene_ (Plate XIII), executed with such freedom and vigour.
+It was recently exhibited at the Special Exhibition of Cotman's
+Paintings at the Tate Gallery, when five other classical landscape
+compositions were also shown. Cotman's work was not understood. His
+paintings, both in oil and water colour, often only realised less than a
+pound apiece. He was compelled to resort to teaching in order to support
+his family. Eventually, through the influence of his friend, Lady
+Palgrave, and the strong support of Turner, he obtained the post of
+drawing-master at King's College School, London. His position then
+became more secure. Still, teaching boys in the underground rooms of
+Somerset House could not have been inspiriting to one who yearned to
+seek Nature in the open air. He could not exclaim, like "Old" Crome,
+when he with his pupils was once met on the banks of the Yare, "This is
+our academy." He died of a broken heart. At the beginning of the
+nineteenth century there was a feeling amongst the artists who worked
+solely in water colours that they were not being fairly treated by the
+Royal Academy. They were ineligible to be elected members of that body,
+and they were of opinion that their works were never placed in a
+prominent position on the walls of the galleries. William Frederick
+Wells, a friend of Turner and said to have suggested to him the idea of
+producing his "Liber Studiorum," proposed to his fellow artists that
+they should form a separate society for the promotion of water-colour
+painting. After considerable negotiations, ten artists met together in
+November, 1804, and founded the Society of Painters in Water Colours.
+The first exhibition was held in the Spring of the following year at
+rooms in Lower Brook Street. After various vicissitudes and many changes
+of abode this society, known in later years as the "Old" Society,
+eventually obtained a lease of the premises in Pall Mall East. Thus,
+after much roving for seventeen years, a permanent home was secured, and
+the centenary of the occupation of these galleries has just been
+completed. Varley and Glover were two of the original members. De Wint,
+Copley Fielding, David Cox and Samuel Prout were subsequently elected
+Associates, and afterwards became full members.
+
+Amongst the founders the name of John Varley stands out beyond the
+others. He was born at Hackney (see Plate XIV) in 1778. Receiving but
+little instruction in art besides the assistance given to him by Dr.
+Monro, he became a teacher of considerable reputation. Amongst his
+pupils were many who afterwards became famous. To mention only a few,
+there were William Mulready, who married his sister, Copley Fielding,
+who espoused his wife's sister, W. Turner (of Oxford), David Cox,
+William H. Hunt, Oliver Finch and John Linnell. Varley was a prolific
+worker, and contributed more than seven hundred drawings to the "Old"
+Society, averaging about forty works annually. His style was broad and
+simple, with tints beautifully laid, without resort to stippling. He
+wrote some works on drawing and perspective. He also was an enthusiast
+in astrology, and compiled a "Treatise on Zodiacal Physiognomy." John
+Glover was a landscape painter and produced works, both in oil and in
+water colours, into which he frequently introduced cattle. His father
+having been a small farmer may account for this partiality for animals.
+In water-colour painting he followed the methods of William Payne, the
+inventor of a grey tint known as Payne's grey, in producing foliage by
+splitting the hairs of his brush in order to give a feeling of
+lightness, and he was partial to sunlight effects (see Plate XV). He was
+President of the "Old" Society on two occasions, but he resigned his
+membership, so as to become eligible for election to the Royal Academy.
+He failed in his object and joined the Society of British Artists.
+Glover suddenly left England in 1831, and went to the Swan River
+Settlement in Australia. Afterwards he removed to Tasmania, where he
+died.
+
+Peter De Wint, a descendant of an old merchant family of Amsterdam, like
+Glover, painted in oils and water colours, but his work was far
+superior. He selected broad and open country for his scenes, which were
+executed in a rich tone with a tendency to heavy uniform green. The
+neighbourhood of Lincoln, where his wife, a sister of W. Hilton, R.A.,
+was born, had special attractions to him. _St. Albans_ (Plate XVI) shows
+the abbey in the ruinous state it had become from the time of the
+Reformation. Its restoration was not commenced until 1856, under the
+direction of Sir Gilbert Scott, and completed later by Lord Grimthorpe.
+Anthony Vandyke Copley Fielding belonged to an artistic family. His
+father was a painter and three of his brothers all practised art with
+success. He was one of the most fashionable drawing-masters of his day,
+and a strong supporter of the "Old" Society. After being treasurer and
+next secretary, he was appointed president in 1831, which post he
+retained during his life. He was a most prolific worker and contributed
+about seventeen hundred drawings to the Society's exhibitions, besides
+showing at the Royal Academy and Royal Institution. At first his
+favourite subjects were lake and mountain scenery (see Plate XVII).
+After he took up his residence at Brighton he turned his attention to
+marine painting and depicted many storms at sea. It has been
+exaggeratedly said that Copley Fielding was "perhaps the greatest artist
+after Turner for representations of breadth and atmosphere." Ruskin also
+praised his work. Owing, however, to his very rapid method of execution
+there was a considerable sameness in his work.
+
+The drawings by David Cox, although executed in an apparently careless
+manner, give a greater rendering of atmospheric qualities and of
+irradiation of light with a feeling of more movement than can be found
+in the works of Fielding. Cox's early drawings were executed in a
+somewhat stiff and restrained manner, with a delicate finish, but
+afterwards his style became broad and he produced those breezy effects
+which are almost unrivalled. _Boys Fishing_ (Plate XVIII) is an
+excellent example of his later work. When Cox returned to his native
+town, Birmingham, he devoted his attention to working in oils, and the
+City Art Gallery possesses a superb collection of his paintings in this
+medium. He was for the greater part of his life a teacher of drawing,
+and he published a "Treatise on Landscape Painting and Effect in Water
+Colours," in which his views are clearly stated.*
+
+  [Footnote *: The "Treatise" has recently been republished as the
+  Special Autumn Number of _The Studio_.]
+
+Samuel Prout, one of the numerous Devonshire painters, also derived a
+great part of his income by giving instruction in drawing and painting.
+Numerous drawing copies for students were produced by him by means of
+soft-ground etching. He was at first employed by John Britton, the
+author of "The Beauties of England and Wales," in making topographical
+drawings for this work. In 1819 he went to Normandy for the benefit of
+his health. There he turned his attention to producing those paintings
+of cathedrals and picturesque buildings for which he is noted. Later he
+travelled through Germany and Switzerland to Italy, and visited Rome and
+Venice (see Plate XIX). Afterwards he published facsimiles of many of
+the drawings executed during these tours on the Continent. They were
+produced in lithography by himself on the stone, an art in which he
+greatly excelled. The architectural drawings by Prout are remarkable for
+their picturesque treatment, rather than for correctness of
+construction. Details are sparsely indicated by the use of a reed pen.
+Bright effects of light and shade are, however, given, and the
+introduction of groups of figures add brilliancy to these paintings.
+
+James Duffield Harding, like Prout, from whom he received some lessons,
+also excelled in lithography. Many of his paintings were reproduced by
+him in a publication entitled "Sketches at Home and Abroad." He visited
+Italy on two occasions. _Vico, in the Bay of Naples_, between
+Castellamare and Sorrento (Plate XX), is an example of his free manner
+of painting. An engraving of it appeared in the "Landscape Annual" in
+1832. He was a member of the "Old" Society, and also painted in oils.
+William Henry Hunt, familiarly called "Old" or "Billy" Hunt in his
+latter years by his fellow artists, to distinguish him from William
+Holman Hunt, was an artist with a style peculiar to himself. He painted
+figures, especially young rustics, with a sense of humour, but he is
+chiefly noted for his exquisite fruit and flower pieces, which were
+executed with great delicacy and with a remarkable power of rendering
+the effects of light and shade on the surface of the objects. To obtain
+these he would roughly pencil out, say, a group of plums, and thickly
+coat each one with Chinese white, which would be left to harden. On this
+ground he afterwards painted his colours with a sure hand. By this means
+he would obtain a brilliant effect. Further, to enhance it, he would
+make free use of the knife on the various surroundings to give a
+contrast, and at the same time to produce a feeling of texture on the
+various surfaces, so as not to have a monotonous and flat appearance.
+This method of scraping up portions of the surface of the paper is
+clearly shown in _Plucking the Fowl_ (Plate XXI).
+
+James Holland commenced his artistic career by painting flowers on
+pottery at the factory of James Davenport at Burslem. He came to London
+and continued to paint flowers. After a visit to Paris he devoted
+himself to landscapes. Subsequently he visited Venice, and produced, in
+both oils and water colours, some excellent paintings remarkable for
+their brilliant colouring (see Plate XXII).
+
+James Baker Pyne, born at Bristol, was a self-taught artist. He also is
+noted for his brilliant colouring, but there is a want of solidity in
+his painting. He visited the Continent and travelled as far as Italy
+(see Plate XXIII). His landscapes were chiefly river and lake subjects.
+He published "The English Lake District" and "The Lake Scenery of
+England," illustrated with lithographs of his works. He was a member of
+the Society of British Artists, and became a vice-president. Like
+Girtin, the illustrious young painter Richard Parkes Bonington was cut
+off in life at the early age of twenty-seven. He was born at Arnold,
+near Nottingham. Whilst still a boy he was taken by his parents to
+Calais, where he received some instruction in water colours from
+Francia. Later the family settled in Paris. Here Bonington resided the
+greater part of his life. He made a few visits to England, and on the
+last occasion he was taken ill and died of consumption. He practised at
+the Louvre and the _Institut_, and also received instruction from Baron
+Gros. His paintings, in oil and water colours, were almost entirely
+executed in France; he, however, made one visit to Italy. In Paris his
+works were chiefly architectural with street scenes, admirably executed,
+whilst his landscapes with fine atmospheric effects (see Plate XXIV)
+display great freedom in execution. It is somewhat remarkable that after
+Cotman and Bonington had, in the first part of the nineteenth century,
+developed a style so greatly appreciated at the present time, so many of
+the landscape painters in water colours in the early Victorian era
+should still have adhered to the old restricted methods. Constable
+exercised considerable influence on the French landscape painting in
+oil, whilst Bonington showed the French artists the capabilities of
+water colours, which they did not fail to appreciate.
+
+    H. M. Cundall.
+
+
+
+
+  Plate I
+  "WINDSOR CASTLE: VIEW OF THE ROUND AND
+  DEVIL'S TOWERS FROM THE BLACK ROCK"
+  by Paul Sandby, R.A.
+  (Size, 11-3/4 x 17-1/4 in.)
+  (_Acquired by the National Art Gallery of Victoria, Melbourne_)
+
+
+  Plate II
+  "ON THE DART"
+  by Francis Towne
+  (Size, 7 x 9-3/4 in.)
+  (_In the possession of A. E. Hutton, Esq._)
+
+
+  Plate III
+  "VILLAGE SCENE"
+  by Michael (Angelo) Rooker, A.R.A.
+  (Size, 14-1/2 x 18-1/4 in.)
+  (_In the possession of Victor Rienaecker, Esq_.)
+
+
+  Plate IV
+  "VIEW OF GLOUCESTER"
+  by Thomas Hearne
+  (Size, 7-1/2 X 10-1/2 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate V
+  "SCOTCH LANDSCAPE"
+  by Joseph Farington, R.A.
+  (Size, 20-3/4 x 33-3/4 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate VI
+  "OLD PALACE YARD, WESTMINSTER,"
+  by Thomas Malton, Jun.
+  (Size, 13 x 19 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate VII
+  "FURNESS ABBEY, LANCASHIRE"
+  by Edward Dayes
+  (Size, 27-1/2 X 20-3/4 in.)
+  (_In the possession of Victor Rienaecker, Esq_.)
+
+
+  Plate VIII
+  "PREPARING FOR MARKET"
+  by Francis Wheatley, R.A.,
+  (Size, 14 x 10 in.)
+  (_In the possession of Messrs. Thos. Agnew & Sons_)
+
+
+  Plate IX
+  "ENTRANCE TO VAUXHALL GARDENS"
+  by Thomas Rowlandson
+  (Size, 9 X 12-7/8 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate X
+  "LAKE NEMI"
+  by John Robert Cozens
+  (Size, 14-1/2 X 21 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XI
+  LANDSCAPE
+  by Thomas Girtin
+  (Size, 12-1/4 X 20-1/2 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XII
+  "LUCERNE: MOONLIGHT"
+  by J. M. W. Turner, R.A.
+  (Size, 11-1/2 x 18-3/4 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XIII
+  "CLASSICAL SCENE"
+  by John Sell Cotman
+  (Size, 11-1/2 x 8-1/4 in.)
+  (_In the possession of G. Bellingham Smith, Esq._)
+
+
+  Plate XIV
+  "HACKNEY CHURCH"
+  by John Varley
+  (Size, 11 X 15 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XV
+  "VIEW IN NORTH WALES"
+  by John Glover
+  (Size, 16-1/8 x 23 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XVI
+  "ST. ALBANS"
+  by Peter De Wint
+  (Size, 9-3/4 X 14-1/2 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XVII
+  "LAKE SCENE"
+  by A. V. Copley Fielding
+  (Size, 12-1/4 x 16-1/8 in.)
+  (_In the Possession of Victor Rienaecker, Esq._)
+
+
+  Plate XVIII
+  "BOYS FISHING"
+  by David Cox
+  (Size, 10-1/2 x 14-1/2 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XIX
+  "PALAZZO CONTARINI FASAN ON THE GRAND CANAL, VENICE"
+  by Samuel Prout
+  (Size, 16-7/8 x 11-1/2 in.)
+  (_In the Victoria and Albert Museum_)
+
+
+  Plate XX
+  "VICO, BAY OF NAPLES"
+  by James Duffield Harding
+  (Size, 8-1/2 x 11-3/4 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XXI
+  "PLUCKING THE FOWL"
+  by William Henry Hunt
+  (Size, 13-3/4 x 14-1/2 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XXII
+  "A SHRINE IN VENICE"
+  by James Holland
+  (Size, 9-3/4 x 6-1/2 in.)
+  (_In the possession of Victor Rienaecker, Esq._)
+
+
+  Plate XXIII
+  "VIEW IN ITALY"
+  by James Baker Pyne
+  (Size, 10-3/4 x 17 in.)
+  (_In the possession of R. W. Lloyd, Esq._)
+
+
+  Plate XXIV
+  "NEAR JUMIEGES"
+  by Richard Parkes Bonington
+  (Size 8-3/4 x 12-1/4 in.)
+  (_In the possession of Messrs. Thos. Agnew & Sons_)
+
+
+       *       *       *       *       *
+           *       *       *       *
+       *       *       *       *       *
+
+Erratum (noted by transcriber)
+
+  Ephraim Hardcastle  [Ephriam]
+
+
+
+
+
+
+End of Project Gutenberg's Masters of Water-Colour Painting, by H. M. Cundall
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