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diff --git a/22379-0.txt b/22379-0.txt new file mode 100644 index 0000000..e23a3c9 --- /dev/null +++ b/22379-0.txt @@ -0,0 +1,1118 @@ +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 + + + + + + + [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 uses utf-8 (unicode) file encoding. If the apostrophes and + quotation marks in this paragraph, or the fractions in the Plate + descriptions, appear as garbage, make sure your text reader’s + “character set” or “file encoding” is set to Unicode (UTF-8). You may + also need to change the default font. As a last resort, use the + plain-ASCII version of the file instead.] + + + + + [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 *** + +***** This file should be named 22379-0.txt or 22379-0.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/2/3/7/22379/ + +Produced by Louise Hope, Michael Ciesielski and the Online +Distributed Proofreading Team at http://www.pgdp.net + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) can copy and distribute it in the United States without +permission and without paying copyright royalties. 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