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+The Project Gutenberg EBook of George Morland, by Edward D. Cuming
+
+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: George Morland
+       Sixteen examples in colour of the artist's work
+
+Author: Edward D. Cuming
+
+Illustrator: George Morland
+
+Release Date: August 13, 2011 [EBook #37063]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE MORLAND ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive)
+
+
+
+
+
+
+
+
+  BRITISH
+  ARTISTS
+
+  GEORGE MORLAND
+
+
+
+  [Illustration: The Dipping-Well (Cover Page)]
+
+
+
+  IN THE SAME SERIES
+
+    BIRKET FOSTER, R.W.S.
+    JOHN PETTIE, R.A., H.R.S.A.
+    KATE GREENAWAY
+
+  A. AND C. BLACK  .  SOHO SQUARE  .  LONDON, W.
+
+
+  AGENTS
+
+    AMERICA          THE MACMILLAN COMPANY
+                     64 & 66 FIFTH AVENUE, NEW YORK
+
+    AUSTRALASIA      OXFORD UNIVERSITY PRESS
+                     205 FLINDERS LANE, MELBOURNE
+
+    CANADA           THE MACMILLAN COMPANY OF CANADA, LTD.
+                     ST. MARTIN'S HOUSE, 70 BOND STREET, TORONTO
+
+    INDIA            MACMILLAN & COMPANY, LTD.
+                     MACMILLAN BUILDING, BOMBAY
+                     309 BOW BAZAAR STREET, CALCUTTA
+
+
+
+  [Illustration: Confidences]
+
+
+
+  GEORGE MORLAND
+
+  SIXTEEN EXAMPLES IN COLOUR
+  OF THE ARTIST'S WORK
+
+  WITH
+  AN INTRODUCTION
+  BY
+  E. D. CUMING
+
+  [Illustration]
+
+  PUBLISHED BY A. & C. BLACK
+  4, 5 & 6 SOHO SQUARE, LONDON
+  MCMX
+
+
+
+
+LIST OF PLATES
+
+
+                                                       OWNER OF ORIGINAL
+
+  1. Confidences                                       _Mrs. Carl Meyer_
+
+  2. Idleness                                _Sir Edward Tennant, Bart._
+
+  3. Diligence                                             "
+
+  4. Belinda, Billet-Doux                          _T. J. Barratt, Esq._
+
+  5. The Effects of Youthful Extravagance
+  and Idleness                                _Sir Walter Gilbey, Bart._
+
+  [A]6. The Dipping-Well                                   "
+
+  7. The Deserter's Farewell                               "
+
+  8. The Deserter Pardoned                          _Barnet Lewis, Esq._
+
+  9. The Fox Inn                              _Sir Walter Gilbey, Bart._
+
+  10. Gathering Sticks                                     "
+
+  11. Morning; or, The Benevolent Sportsman           _J. Beecham, Esq._
+
+  12. Farmyard                                     _T. J. Barratt, Esq._
+
+  13. Gipsies in a Wood                       _Sir Walter Gilbey, Bart._
+
+  14. Evening; or, The Post-Boy's Return               _Lord Swaythling_
+
+  15. Winter: Skating                         _Sir Walter Gilbey, Bart._
+
+  16. Justice; or, The Merciless Bailiff                   "
+
+       [A] On the cover
+
+
+
+
+GEORGE MORLAND
+
+(Born June 26, 1763; died October 29, 1804)
+
+
+The son of Henry Robert, who combined with the exercise of the painter's
+art the work of cleaning and restoring old pictures, it may fairly be
+said of George Morland that he was reared in the studio. His genius
+betrayed itself at a very early age, some chalk drawings tinged with
+crayon which he produced when ten years old being exhibited in the Royal
+Academy. Such education as he received was given him at home; but it
+would seem that his father kept him too closely at work with pencil and
+brush to leave the boy opportunity of gleaning knowledge from books.
+
+When fourteen years old, his father bound him apprentice to himself,
+having ere then fully recognized the artistic genius which promised him
+material advantages. Others than his father recognized George Morland's
+genius: Sir Joshua Reynolds, who gave the boy the run of his studio,
+urged that he be brought up in "the grand line" of art; and when his
+indentures expired, Romney offered to take him as pupil at a salary of
+£300 a year. Sir Joshua's recommendation was declined by the father; to
+Romney's offer George would have nothing to say.
+
+George was slow to discover a spirit of independence, even when he came
+of age, remaining at home for at least six months after he had reached
+man's estate. His independent career began in 1785, when he was
+twenty-two years old. Having escaped from the hands of an Irish
+picture-dealer who worked him for his own advantage, he spent a few
+months at Margate, devoting himself with success to the painting of
+portraits he had been invited to do by a Mrs. Hill. He seems to have
+been tolerably industrious, for he was able to live in comfort and to
+share the amusements offered by a then fashionable watering-place. On
+his own showing he began to acquire at this period a taste for drink;
+but he was young, of robust constitution and fond of exercise, and his
+indulgence was not excessive.
+
+After his return to London in 1786, he lived sometimes with his parents,
+and sometimes elsewhere. Among his acquaintances he numbered William
+Ward, the famous engraver, who had, ere this time, reproduced at least
+one of Morland's pictures. He became a frequent visitor at Ward's house
+at Kensal Green, and before long took up his quarters with the family,
+consisting of the engraver, his mother, and two sisters. Anne Ward, a
+very beautiful girl, soon captivated Morland, and they were married at
+St. Paul's, Hammersmith, on September 22, 1786.
+
+He appears to have been steady and industrious during his residence at
+Kensal Green, and he continued to work hard for the first few months
+after his marriage, which was followed a month later by the wedding of
+William Ward to Maria Morland.
+
+A joint establishment set up by the two young couples in High Street,
+Marylebone, endured for about three months; a quarrel ended in
+separation, and the Morlands found new quarters in Great Portland
+Street. It was during his early married life that the artist painted,
+among others, the six famous pictures known as the "Lætitia Series," for
+which his wife sat as model. The move to Great Portland Street was the
+first of the numerous changes of residence made by Morland during his
+married life. During the first two years these changes were dictated by
+the success which enabled him to house himself more comfortably; but the
+period of steadiness and hard work was so brief that it may be dismissed
+in a few lines. The advent of a still-born child, and the knowledge that
+he might not hope to be a father, appear to have been the means of
+unsettling him in his domestic capacity; and the indifference of his
+wife to the music he loved may have contributed to the same end; but the
+fact remains that within a year of marriage Morland began to neglect
+her. He acquired the habit of making trips into the country during the
+day and resorting to musical gatherings at night, leaving Mrs. Morland
+much to her own devices.
+
+He was not idle in the ordinary sense of the word. Gifted with
+extraordinary facility, he painted numerous pictures which, if sold in
+business-like fashion, would have produced enough to raise him to
+affluence; but he had inherited from his father, in intensified form, a
+singular lack of common sense. He sold his pictures for any sum that
+might be offered, regardless of the fact that the purchasers took them
+direct to dealers in the certainty of disposing of them for double the
+money. Even while working on these lines his prolific brush and steadily
+increasing reputation enabled him to make a good income; but success, if
+the expression may be used, "went to his head." He launched out into the
+wildest extravagance, regulating his expenditure by the ease with which
+he could borrow rather than by the ease with which he could earn, and
+while he had cash in his pocket he would not work. As his reputation
+grew, largely through the medium of the engravings made from his
+pictures, the anxiety of dealers and others to secure works from his
+easel grew in ratio with it; his natural readiness to borrow was
+encouraged on every side by those who intended, or hoped, to obtain in
+pictures more than the equivalent of the money they advanced, and
+Morland gave promissory notes with joyful recklessness, absolutely
+indifferent to the load of debt he was rolling up.
+
+The inevitable crash came in 1789, when for the first time he found it
+expedient to fly from his creditors. There is evidence in the shape of
+pictures to show that he sought refuge in the Isle of Wight; but he did
+not long remain there. His legal adviser, Mr. Wedd, took his affairs in
+hand, and he returned to London to go into temporary hiding while
+matters were adjusted by means of a "Letter of Licence," a document
+which secured him from arrest by making terms with his creditors. Under
+this bond he pledged himself to pay off his liabilities at the rate of
+£120 a month. How his credit declined in subsequent years is proved by
+the series of "Letters of Licence" procured for him. These respectively
+pledged him to pay £100, £50, and the last only £10, per month.
+
+Perhaps the most pathetic feature of Morland's career is the
+circumstance that the period which saw his greatest exertions to escape
+from creditors coincided with that during which he produced his finest
+work. "Inside of a Stable" (now in the National Gallery, and known as
+"The Farmer's Stable") attracted universal attention when exhibited at
+the Royal Academy of 1791, and raised the painter's fame to its zenith.
+Commissions for pictures, with advances of money, were pressed upon him
+on all sides; Morland accepted the cash, promised the pictures, and
+launched out into wilder extravagance. He kept eight horses, or more,
+for the country excursions on which his friends joined him; he
+entertained lavishly; he drew round him a disreputable crew of
+prize-fighters and similar characters, who lived upon him; and he
+scattered money with a reckless hand. He could always find those who
+were eager to lend, and, revelling in the ease with which he could raise
+money, would not paint until he felt the pinch of need. When out of
+funds he would work, and did so with the amazing speed and deftness that
+stamp him a genius. There is no doubt that he drank at this time, but
+his love of riding and outdoor life enabled him to throw off the effects
+of over-indulgence.
+
+His career from 1791 to 1799 was one long series of flights from one
+place to another to avoid the creditors who pressed for money. From time
+to time Mr. Wedd arranged his affairs in such wise that he could show
+his face in London; and at other times men who wanted pictures relieved
+him from his difficulties to the same end; but viewing these nine years
+as a whole, the general impression left on the mind is one of a hunted
+animal--now in hiding in the Isle of Wight, now in Leicestershire, now
+in mean lodgings in a poor part of London, now out of sight. It is only
+occasionally that we can trace his place of abode. He would go into
+hiding, with friend or servant sworn to secrecy, and while in hiding
+would work, and his companion would bring his paintings up to London and
+dispose of them.
+
+In 1798 he spent six months at Hackney, comparatively free from the
+attentions of creditors, and during this brief period he executed some
+pictures which compare favourably with those painted in his best years
+(1790-1793).
+
+The improvement was not maintained. Morland, whose nerves were now
+suffering from the periodical debauches in which he indulged, and also,
+no doubt, from the ceaseless pressure of creditors, left Hackney and
+found refuge first in London and then in the Isle of Wight; and from the
+Island he came, in December, 1799, to seek escape by procuring his own
+arrest at the hands of friends. Nominally a prisoner in King's Bench, he
+was "granted the rules," and took a house in St. George's Fields, where
+he lived for a couple of years with his wife and his brother Henry.
+When granted his release under 41 Geo. III., he remained in St. George's
+Fields for a few months, and then, for the sake of change, went to
+Highgate. From this time, during the few remaining years of his life,
+Morland was an irreclaimable drunkard. His constitution was undermined,
+he could no longer take horse exercise, and his excesses told upon him
+rapidly. To the fact that he was now unable to work until he had taken
+stimulant is due the common report that he "painted best when drunk."
+Nevertheless, his reputation remained, and he was overwhelmed by
+attentions from those who wanted pictures. The great aim of these
+patrons now was to induce him to live with them that they might exercise
+some control over his propensity for liquor, and keep him at work. His
+brother Henry was most successful in this regard; for some considerable
+time George lived with him, and, during his frequently broken stay,
+painted a very large number of pictures, Henry paying him a specified
+sum per day. This has been stated as £2 2s. and £4 4s., but in either
+case Henry's profits must have been great.
+
+Collins, one of Morland's biographers, has given us a melancholy
+word-picture of the artist in these, his later days--besodden with
+drink, his face showing every sign of excess; nerves gone, sight
+failing, one hand palsied; yet able to produce works for which everyone
+clamoured.
+
+Leaving his brother's house, he went from one friend to another. For
+many months he occupied lodgings in a sponging-house in Rolls Buildings,
+kept by a sheriff's officer named Donatty; here he was free to come and
+go as he pleased, yet was secure from arrest, and Donatty became the
+owner of a number of fine pictures.
+
+It was soon after he left Rolls Buildings to reside with some other
+friend that he was arrested for the last time. The sum due was trifling,
+but Morland had no means of discharging it, and was conveyed to a
+sponging-house in Eyre Place, Eyre Street Hill, Hatton Garden. Refusing
+the offers of friends to pay the debt, he insisted on remaining in
+custody. He had frequently shown bitter resentment at the way his
+quondam friends worked him for their own advantage, and preferred to
+stay where he was. He strove to work; but the overtaxed brain and body
+refused, and while at his easel he fell from his chair in a fit. For
+eight days he lay almost insensible with brain fever, and then, without
+recovering consciousness, he died.
+
+George Morland's was a singular character. His love of flattery and
+dread of affront may account for his choice of companions; he shrank
+from association with his social superiors, finding congenial friends
+among pugilists, grooms, sweeps, and persons whom he suffered to profit
+by his recklessness in money matters. Endowed with a keen sense of
+humour, whose artistic expression found vent in caricature, he found his
+principal amusement in playing schoolboy practical jokes. George Dawe
+hits off his character in a sentence when he says that Morland "never
+became a man"; throughout his life his faults were the faults of a boy
+and his virtues the virtues of a boy.
+
+He and his wife were unhappy together and miserable apart. When he had a
+home she shared it, and if he had not, he sent her money--when he could.
+That he inspired her to the utmost with the affection he was able to
+engage from all who came in contact with him, is proved by the fact that
+news of his death killed her.
+
+Morland's art embraced great variety of subjects. His earlier popular
+successes were achieved by his figure paintings, and of these it is
+worth noticing that among the best were pictures which pointed morals he
+studiously ignored in his own career. The great popularity of W. R.
+Bigg's pictures of child-life led the dealers to persuade Morland to
+take up the same line of work, and in his pictures of child-life the
+artist shows himself what we know him to have been--a lover of children
+and one who had perfect understanding of them. The insight with which
+he portrayed children is only equalled by that which distinguishes his
+animal paintings. Morland's horses, ponies, asses, calves, and pigs, are
+entirely his own; they possess a character which stamps them as the work
+of one who had almost uncanny knowledge. He rarely painted a well-bred
+horse; the animal that appealed to him was the farmer's work-horse or
+the slave of the carter, and on these he expended his greatest skill.
+Only an artist who was also a horseman could paint the horse as he
+painted it. He has been described as a "pig painter," but this refers
+rather to the success with which he proved the artistic possibilities of
+subjects so unpromising than to the number of works in which pigs occur,
+though it is admitted that he was fond of painting such pictures. His
+asses and calves, in their kind, are equal to his horses; cows he seldom
+painted, and when he essayed to do sheep he was not conspicuously
+successful.
+
+The composition of his works is rarely otherwise than pleasing, a point
+the more worthy of notice when we remember that he never made studies,
+but developed the picture under his hand as he worked upon it. The
+straightforward simplicity, the absence of subtlety of his art, may
+perhaps be in some measure an outcome of his method. His schemes of
+colouring were subdued rather than brilliant; one of his few principles
+of painting was that a touch of pure red should appear in every picture,
+and we very generally find it.
+
+Once Morland left his father's roof, his artistic education in one sense
+ceased. He took not the slightest interest in the works of other
+painters of whatever period; on the contrary, he avoided study of art
+lest he should become an imitator; and went direct to Nature for all he
+required. To this practice we may attribute his originality.
+
+Since I had the pleasure of collaborating with Sir Walter Gilbey in
+writing the biography of the painter, it has been pointed out that the
+artist with whom George Morland has more in common than any is Jean
+Baptiste Siméon Chardin (1699-1779). The resemblance between the figure
+subjects in which each excelled is certainly striking; and this
+resemblance, regarded in conjunction with the French nationality of
+Morland's mother, has evoked the suggestion that the English painter may
+have derived hereditary talent from the maternal side. Search through
+the registers of the churches of the parish in which Henry Robert
+Morland lived fails to reveal entry relating to his marriage. It may be
+recalled, however, that Chardin's two daughters died in infancy.
+
+                                                       E. D. CUMING.
+
+
+[Illustration: Idleness]
+
+
+[Illustration: Diligence]
+
+
+[Illustration: Belinda, Billet-Doux]
+
+
+[Illustration: The Effects of Youthful Extravagance and Idleness]
+
+
+[Illustration: The Deserter's Farewell]
+
+
+[Illustration: The Deserter Pardoned]
+
+
+[Illustration: The Fox Inn]
+
+
+[Illustration: Gathering Sticks]
+
+
+[Illustration: Morning; or, The Benevolent Sportsman]
+
+
+[Illustration: Farmyard]
+
+
+[Illustration: Gipsies in a Wood]
+
+
+[Illustration: Evening; or, The Post-Boy's Return]
+
+
+[Illustration: Winter: Skating]
+
+
+[Illustration: Justice; or, The Merciless Bailiff]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of George Morland, by Edward D. Cuming
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE MORLAND ***
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+    <meta http-equiv="Content-Type" content="text/html;charset=iso-8859-1" />
+    <title>
+      The Project Gutenberg eBook of George Morland, by E. D. Cuming.
+    </title>
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+<body>
+
+
+<pre>
+
+The Project Gutenberg EBook of George Morland, by Edward D. Cuming
+
+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: George Morland
+       Sixteen examples in colour of the artist's work
+
+Author: Edward D. Cuming
+
+Illustrator: George Morland
+
+Release Date: August 13, 2011 [EBook #37063]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE MORLAND ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive)
+
+
+
+<p class="center">Transcriber's note: The book cover was badly defaced, but has been cleaned
+as well as possible, and included for reader's enjoyment.</p>
+
+
+</pre>
+
+
+
+<div class="figcenter" style="width: 40%;">
+<a name="Cover" id="Cover"></a>
+<img src="images/icover.jpg" width="100%" alt="" title="Cover" />
+</div>
+
+
+<div class="blockquot">
+<h4 style='text-align: left'>BRITISH<br />
+ARTISTS</h4>
+
+<p>&nbsp;</p>
+
+<h2>GEORGE MORLAND</h2>
+</div>
+
+
+<h5>IN THE SAME SERIES</h5>
+
+<div class="bbox"><p><br />
+BIRKET FOSTER, <small>R.W.S.</small><br /><br />
+JOHN PETTIE, <small>R.A.</small>, <small>H.R.S.A.</small><br /><br />
+KATE GREENAWAY<br /><br />
+</p></div>
+
+<h6>A. AND C. BLACK &nbsp; . &nbsp; SOHO SQUARE &nbsp; . &nbsp; LONDON, W.</h6>
+
+
+<div class="sblockquot">
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><th colspan='2'>AGENTS</th></tr>
+<tr><td align='left' valign='top'>AMERICA</td><td align='left'>THE MACMILLAN COMPANY<br />
+ &nbsp; &nbsp; <span class="smcap">64 &amp; 66 Fifth Avenue</span>, NEW YORK</td></tr>
+<tr><td align='left' valign='top'>AUSTRALASIA</td><td align='left'>OXFORD UNIVERSITY PRESS<br />
+ &nbsp; &nbsp; <span class="smcap">205 Flinders Lane</span>, MELBOURNE</td></tr>
+<tr><td align='left' valign='top'>CANADA</td><td align='left'>THE MACMILLAN COMPANY OF CANADA, LTD.<br />
+ &nbsp; &nbsp; <span class="smcap">St. Martin's House, 70 Bond Street</span>, TORONTO</td></tr>
+<tr><td align='left' valign='top'>INDIA</td><td align='left'>MACMILLAN &amp; COMPANY, LTD.<br />
+ &nbsp; &nbsp; <span class="smcap">Macmillan Building</span>, BOMBAY<br />
+ &nbsp; &nbsp; <span class="smcap">309 Bow Bazaar Street</span>, CALCUTTA</td></tr>
+</table></div>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl1" id="Pl1"></a>
+<img src="images/i004.jpg" width="100%" alt="" title="" />
+<span class="caption">Confidences</span>
+</div>
+
+
+<p>&nbsp;</p>
+<p>&nbsp;</p>
+<h1>GEORGE MORLAND</h1>
+
+<h3>SIXTEEN EXAMPLES IN COLOUR<br />
+OF THE ARTIST'S WORK</h3>
+
+<h4>WITH<br />
+AN INTRODUCTION<br />
+BY</h4>
+<h3>E. D. CUMING</h3>
+
+<div class="figcenter" style="width: 10%;">
+<img src="images/logo.jpg" width="100%" alt="" title="" />
+</div>
+
+<p>&nbsp;</p>
+<h4>PUBLISHED BY A. &amp; C. BLACK<br />
+4, 5 &amp; 6 SOHO SQUARE, LONDON<br />
+MCMX<br />
+</h4>
+
+
+
+<hr style="width: 65%;" />
+<h2>LIST OF PLATES</h2>
+
+
+
+<div class='center'>
+<table border="0" cellpadding="4" cellspacing="0" summary="">
+<tr><td></td><td align='left'><small>OWNER OF ORIGINAL</small></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl1">1. Confidences</a></td><td align='left'><i>Mrs. Carl Meyer</i></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl2">2. Idleness</a></td><td align='left'><i>Sir Edward Tennant, Bart.</i></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl3">3. Diligence</a></td><td align='center'>"</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl4">4. Belinda, Billet-Doux</a></td><td align='left'><i>T. J. Barratt, Esq.</i></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl5">5. The Effects of Youthful Extravagance and Idleness</a></td><td align='left'><i>Sir Walter Gilbey, Bart.</i></td></tr>
+<tr><td align='left'><a name="FNanchor_A_1" id="FNanchor_A_1"></a><a href="#Footnote_A_1" class="fnanchor">*</a><a href="#Cover">6. The Dipping-Well</a></td><td align='center'>"</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl7">7. The Deserter's Farewell</a></td><td align='center'>"</td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl8">8. The Deserter Pardoned</a></td><td align='left'><i>Barnet Lewis, Esq.</i></td></tr>
+<tr><td align='left'>&nbsp;&nbsp;<a href="#Pl9">9. The Fox Inn</a></td><td align='left'><i>Sir Walter Gilbey, Bart.</i></td></tr>
+<tr><td align='left'><a href="#Pl10">10. Gathering Sticks</a></td><td align='center'>"</td></tr>
+<tr><td align='left'><a href="#Pl11">11. Morning; or, The Benevolent Sportsman</a></td><td align='left'><i>J. Beecham, Esq.</i></td></tr>
+<tr><td align='left'><a href="#Pl12">12. Farmyard</a></td><td align='left'><i>T. J. Barratt, Esq.</i></td></tr>
+<tr><td align='left'><a href="#Pl13">13. Gipsies in a Wood</a></td><td align='left'><i>Sir Walter Gilbey, Bart.</i></td></tr>
+<tr><td align='left'><a href="#Pl14">14. Evening; or, The Post-Boy's Return</a></td><td align='left'><i>Lord Swaythling</i></td></tr>
+<tr><td align='left'><a href="#Pl15">15. Winter: Skating</a></td><td align='left'><i>Sir Walter Gilbey, Bart.</i></td></tr>
+<tr><td align='left'><a href="#Pl16">16. Justice; or, The Merciless Bailiff</a></td><td align='center'>"</td></tr>
+</table></div>
+<div class="footnote"><p><a name="Footnote_A_1" id="Footnote_A_1"></a><a href="#FNanchor_A_1"><span class="label">*</span></a> On the cover</p></div>
+
+
+
+<hr style="width: 65%;" />
+<h2>GEORGE MORLAND</h2>
+
+<p class="center">(Born June 26, 1763; died October 29, 1804)</p>
+
+
+<p>The son of Henry Robert, who combined with
+the exercise of the painter's art the work of
+cleaning and restoring old pictures, it may fairly
+be said of George Morland that he was reared in
+the studio. His genius betrayed itself at a very
+early age, some chalk drawings tinged with
+crayon which he produced when ten years old
+being exhibited in the Royal Academy. Such
+education as he received was given him at home;
+but it would seem that his father kept him too
+closely at work with pencil and brush to leave
+the boy opportunity of gleaning knowledge from
+books.</p>
+
+<p>When fourteen years old, his father bound
+him apprentice to himself, having ere then fully
+recognized the artistic genius which promised
+him material advantages. Others than his father
+recognized George Morland's genius: Sir Joshua
+Reynolds, who gave the boy the run of his studio,
+urged that he be brought up in "the grand line"
+of art; and when his indentures expired, Romney
+offered to take him as pupil at a salary of &pound;300
+a year. Sir Joshua's recommendation was declined
+by the father; to Romney's offer George
+would have nothing to say.</p>
+
+<p>George was slow to discover a spirit of independence,
+even when he came of age, remaining
+at home for at least six months after he had
+reached man's estate. His independent career
+began in 1785, when he was twenty-two years
+old. Having escaped from the hands of an Irish
+picture-dealer who worked him for his own
+advantage, he spent a few months at Margate,
+devoting himself with success to the painting of
+portraits he had been invited to do by a Mrs.
+Hill. He seems to have been tolerably industrious,
+for he was able to live in comfort and to
+share the amusements offered by a then fashionable
+watering-place. On his own showing he
+began to acquire at this period a taste for drink;
+but he was young, of robust constitution and
+fond of exercise, and his indulgence was not
+excessive.</p>
+
+<p>After his return to London in 1786, he lived
+sometimes with his parents, and sometimes elsewhere.
+Among his acquaintances he numbered
+William Ward, the famous engraver, who had, ere
+this time, reproduced at least one of Morland's
+pictures. He became a frequent visitor at Ward's
+house at Kensal Green, and before long took up
+his quarters with the family, consisting of the
+engraver, his mother, and two sisters. Anne
+Ward, a very beautiful girl, soon captivated
+Morland, and they were married at St. Paul's,
+Hammersmith, on September 22, 1786.</p>
+
+<p>He appears to have been steady and industrious
+during his residence at Kensal Green, and he
+continued to work hard for the first few months
+after his marriage, which was followed a month
+later by the wedding of William Ward to Maria
+Morland.</p>
+
+<p>A joint establishment set up by the two young
+couples in High Street, Marylebone, endured for
+about three months; a quarrel ended in separation,
+and the Morlands found new quarters in
+Great Portland Street. It was during his early
+married life that the artist painted, among others,
+the six famous pictures known as the "L&aelig;titia
+Series," for which his wife sat as model. The
+move to Great Portland Street was the first of
+the numerous changes of residence made by
+Morland during his married life. During the
+first two years these changes were dictated by
+the success which enabled him to house himself
+more comfortably; but the period of steadiness
+and hard work was so brief that it may be dismissed
+in a few lines. The advent of a still-born
+child, and the knowledge that he might not hope
+to be a father, appear to have been the means of
+unsettling him in his domestic capacity; and the
+indifference of his wife to the music he loved may
+have contributed to the same end; but the fact
+remains that within a year of marriage Morland
+began to neglect her. He acquired the habit of
+making trips into the country during the day and
+resorting to musical gatherings at night, leaving
+Mrs. Morland much to her own devices.</p>
+
+<p>He was not idle in the ordinary sense of the
+word. Gifted with extraordinary facility, he
+painted numerous pictures which, if sold in
+business-like fashion, would have produced
+enough to raise him to affluence; but he had
+inherited from his father, in intensified form, a
+singular lack of common sense. He sold his
+pictures for any sum that might be offered,
+regardless of the fact that the purchasers took
+them direct to dealers in the certainty of disposing
+of them for double the money. Even
+while working on these lines his prolific brush
+and steadily increasing reputation enabled him
+to make a good income; but success, if the expression
+may be used, "went to his head." He
+launched out into the wildest extravagance,
+regulating his expenditure by the ease with
+which he could borrow rather than by the ease
+with which he could earn, and while he had cash
+in his pocket he would not work. As his reputation
+grew, largely through the medium of the
+engravings made from his pictures, the anxiety
+of dealers and others to secure works from his
+easel grew in ratio with it; his natural readiness
+to borrow was encouraged on every side by those
+who intended, or hoped, to obtain in pictures
+more than the equivalent of the money they
+advanced, and Morland gave promissory notes
+with joyful recklessness, absolutely indifferent
+to the load of debt he was rolling up.</p>
+
+<p>The inevitable crash came in 1789, when for
+the first time he found it expedient to fly from
+his creditors. There is evidence in the shape of
+pictures to show that he sought refuge in the
+Isle of Wight; but he did not long remain there.
+His legal adviser, Mr. Wedd, took his affairs in
+hand, and he returned to London to go into
+temporary hiding while matters were adjusted
+by means of a "Letter of Licence," a document
+which secured him from arrest by making terms
+with his creditors. Under this bond he pledged
+himself to pay off his liabilities at the rate of
+&pound;120 a month. How his credit declined in subsequent
+years is proved by the series of "Letters
+of Licence" procured for him. These respectively
+pledged him to pay &pound;100, &pound;50, and the last
+only &pound;10, per month.</p>
+
+<p>Perhaps the most pathetic feature of Morland's
+career is the circumstance that the period which
+saw his greatest exertions to escape from creditors
+coincided with that during which he produced
+his finest work. "Inside of a Stable" (now
+in the National Gallery, and known as "The
+Farmer's Stable") attracted universal attention
+when exhibited at the Royal Academy of 1791,
+and raised the painter's fame to its zenith. Commissions
+for pictures, with advances of money,
+were pressed upon him on all sides; Morland
+accepted the cash, promised the pictures, and
+launched out into wilder extravagance. He
+kept eight horses, or more, for the country
+excursions on which his friends joined him; he
+entertained lavishly; he drew round him a
+disreputable crew of prize-fighters and similar
+characters, who lived upon him; and he scattered
+money with a reckless hand. He could always
+find those who were eager to lend, and, revelling
+in the ease with which he could raise money,
+would not paint until he felt the pinch of need.
+When out of funds he would work, and did so
+with the amazing speed and deftness that stamp
+him a genius. There is no doubt that he drank
+at this time, but his love of riding and outdoor
+life enabled him to throw off the effects of over-indulgence.</p>
+
+<p>His career from 1791 to 1799 was one long
+series of flights from one place to another to
+avoid the creditors who pressed for money.
+From time to time Mr. Wedd arranged his affairs
+in such wise that he could show his face in
+London; and at other times men who wanted
+pictures relieved him from his difficulties to the
+same end; but viewing these nine years as a
+whole, the general impression left on the mind
+is one of a hunted animal&mdash;now in hiding in the
+Isle of Wight, now in Leicestershire, now in
+mean lodgings in a poor part of London, now
+out of sight. It is only occasionally that we can
+trace his place of abode. He would go into
+hiding, with friend or servant sworn to secrecy,
+and while in hiding would work, and his companion
+would bring his paintings up to London
+and dispose of them.</p>
+
+<p>In 1798 he spent six months at Hackney,
+comparatively free from the attentions of creditors,
+and during this brief period he executed
+some pictures which compare favourably with
+those painted in his best years (1790-1793).</p>
+
+<p>The improvement was not maintained. Morland,
+whose nerves were now suffering from the
+periodical debauches in which he indulged, and
+also, no doubt, from the ceaseless pressure of
+creditors, left Hackney and found refuge first in
+London and then in the Isle of Wight; and from
+the Island he came, in December, 1799, to seek
+escape by procuring his own arrest at the hands
+of friends. Nominally a prisoner in King's
+Bench, he was "granted the rules," and took a
+house in St. George's Fields, where he lived for
+a couple of years with his wife and his brother
+Henry. When granted his release under
+41 Geo. III., he remained in St. George's Fields
+for a few months, and then, for the sake of
+change, went to Highgate. From this time,
+during the few remaining years of his life,
+Morland was an irreclaimable drunkard. His
+constitution was undermined, he could no longer
+take horse exercise, and his excesses told upon
+him rapidly. To the fact that he was now
+unable to work until he had taken stimulant is
+due the common report that he "painted best
+when drunk." Nevertheless, his reputation
+remained, and he was overwhelmed by attentions
+from those who wanted pictures. The great aim
+of these patrons now was to induce him to live
+with them that they might exercise some control
+over his propensity for liquor, and keep him at
+work. His brother Henry was most successful
+in this regard; for some considerable time George
+lived with him, and, during his frequently broken
+stay, painted a very large number of pictures,
+Henry paying him a specified sum per day. This
+has been stated as &pound;2 2s. and &pound;4 4s., but in either
+case Henry's profits must have been great.</p>
+
+<p>Collins, one of Morland's biographers, has
+given us a melancholy word-picture of the artist
+in these, his later days&mdash;besodden with drink,
+his face showing every sign of excess; nerves
+gone, sight failing, one hand palsied; yet able to
+produce works for which everyone clamoured.</p>
+
+<p>Leaving his brother's house, he went from one
+friend to another. For many months he occupied
+lodgings in a sponging-house in Rolls Buildings,
+kept by a sheriff's officer named Donatty; here
+he was free to come and go as he pleased, yet
+was secure from arrest, and Donatty became
+the owner of a number of fine pictures.</p>
+
+<p>It was soon after he left Rolls Buildings to
+reside with some other friend that he was arrested
+for the last time. The sum due was trifling, but
+Morland had no means of discharging it, and
+was conveyed to a sponging-house in Eyre Place,
+Eyre Street Hill, Hatton Garden. Refusing the
+offers of friends to pay the debt, he insisted on
+remaining in custody. He had frequently shown
+bitter resentment at the way his quondam friends
+worked him for their own advantage, and preferred
+to stay where he was. He strove to work;
+but the overtaxed brain and body refused, and
+while at his easel he fell from his chair in a fit.
+For eight days he lay almost insensible with
+brain fever, and then, without recovering consciousness,
+he died.</p>
+
+<p>George Morland's was a singular character.
+His love of flattery and dread of affront may
+account for his choice of companions; he shrank
+from association with his social superiors, finding
+congenial friends among pugilists, grooms, sweeps,
+and persons whom he suffered to profit by his
+recklessness in money matters. Endowed with
+a keen sense of humour, whose artistic expression
+found vent in caricature, he found his principal
+amusement in playing schoolboy practical jokes.
+George Dawe hits off his character in a sentence
+when he says that Morland "never became a
+man"; throughout his life his faults were the
+faults of a boy and his virtues the virtues of a boy.</p>
+
+<p>He and his wife were unhappy together and
+miserable apart. When he had a home she
+shared it, and if he had not, he sent her money&mdash;when
+he could. That he inspired her to the
+utmost with the affection he was able to engage
+from all who came in contact with him, is proved
+by the fact that news of his death killed her.</p>
+
+<p>Morland's art embraced great variety of
+subjects. His earlier popular successes were
+achieved by his figure paintings, and of these it
+is worth noticing that among the best were pictures
+which pointed morals he studiously ignored
+in his own career. The great popularity of
+W. R. Bigg's pictures of child-life led the dealers
+to persuade Morland to take up the same line of
+work, and in his pictures of child-life the artist
+shows himself what we know him to have been&mdash;a
+lover of children and one who had perfect
+understanding of them. The insight with which
+he portrayed children is only equalled by that
+which distinguishes his animal paintings. Morland's
+horses, ponies, asses, calves, and pigs, are
+entirely his own; they possess a character which
+stamps them as the work of one who had almost
+uncanny knowledge. He rarely painted a well-bred
+horse; the animal that appealed to him
+was the farmer's work-horse or the slave of the
+carter, and on these he expended his greatest
+skill. Only an artist who was also a horseman
+could paint the horse as he painted it. He has
+been described as a "pig painter," but this
+refers rather to the success with which he proved
+the artistic possibilities of subjects so unpromising
+than to the number of works in which pigs occur,
+though it is admitted that he was fond of painting
+such pictures. His asses and calves, in their
+kind, are equal to his horses; cows he seldom
+painted, and when he essayed to do sheep he
+was not conspicuously successful.</p>
+
+<p>The composition of his works is rarely otherwise
+than pleasing, a point the more worthy of
+notice when we remember that he never made
+studies, but developed the picture under his hand
+as he worked upon it. The straightforward
+simplicity, the absence of subtlety of his art,
+may perhaps be in some measure an outcome of
+his method. His schemes of colouring were
+subdued rather than brilliant; one of his few
+principles of painting was that a touch of pure
+red should appear in every picture, and we very
+generally find it.</p>
+
+<p>Once Morland left his father's roof, his artistic
+education in one sense ceased. He took not the
+slightest interest in the works of other painters
+of whatever period; on the contrary, he avoided
+study of art lest he should become an imitator;
+and went direct to Nature for all he required.
+To this practice we may attribute his originality.</p>
+
+<p>Since I had the pleasure of collaborating with
+Sir Walter Gilbey in writing the biography of
+the painter, it has been pointed out that the
+artist with whom George Morland has more
+in common than any is Jean Baptiste Sim&eacute;on
+Chardin (1699-1779). The resemblance between
+the figure subjects in which each excelled is
+certainly striking; and this resemblance, regarded
+in conjunction with the French nationality of
+Morland's mother, has evoked the suggestion
+that the English painter may have derived
+hereditary talent from the maternal side. Search
+through the registers of the churches of the
+parish in which Henry Robert Morland lived
+fails to reveal entry relating to his marriage. It
+may be recalled, however, that Chardin's two
+daughters died in infancy.</p>
+
+<p style='text-align: right'>E. D. CUMING.</p>
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl2" id="Pl2"></a>
+<img src="images/i019.jpg" width="100%" alt="" title="" />
+<span class="caption">Idleness</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl3" id="Pl3"></a>
+<img src="images/i021.jpg" width="100%" alt="" title="" />
+<span class="caption">Diligence</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl4" id="Pl4"></a>
+<img src="images/i023.jpg" width="100%" alt="" title="" />
+<span class="caption">Belinda, Billet-Doux</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl5" id="Pl5"></a>
+<img src="images/i025.jpg" width="100%" alt="" title="" />
+<span class="caption">The Effects of Youthful Extravagance and Idleness</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl7" id="Pl7"></a>
+<img src="images/i027.jpg" width="100%" alt="" title="" />
+<span class="caption">The Deserter's Farewell</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl8" id="Pl8"></a>
+<img src="images/i029.jpg" width="100%" alt="" title="" />
+<span class="caption">The Deserter Pardoned</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl9" id="Pl9"></a>
+<img src="images/i031.jpg" width="100%" alt="" title="" />
+<span class="caption">The Fox Inn</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl10" id="Pl10"></a>
+<img src="images/i033.jpg" width="100%" alt="" title="" />
+<span class="caption">Gathering Sticks</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl11" id="Pl11"></a>
+<img src="images/i035.jpg" width="100%" alt="" title="" />
+<span class="caption">Morning; or, The Benevolent Sportsman</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl12" id="Pl12"></a>
+<img src="images/i037.jpg" width="100%" alt="" title="" />
+<span class="caption">Farmyard</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl13" id="Pl13"></a>
+<img src="images/i039.jpg" width="100%" alt="" title="" />
+<span class="caption">Gipsies in a Wood</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl14" id="Pl14"></a>
+<img src="images/i041.jpg" width="100%" alt="" title="" />
+<span class="caption">Evening; or, The Post-Boy's Return</span>
+</div>
+
+
+<div class="figcenter" style="width: 80%;">
+<a name="Pl15" id="Pl15"></a>
+<img src="images/i043.jpg" width="100%" alt="" title="" />
+<span class="caption">Winter: Skating</span>
+</div>
+
+
+<div class="figcenter" style="width: 60%;">
+<a name="Pl16" id="Pl16"></a>
+<img src="images/i045.jpg" width="100%" alt="" title="" />
+<span class="caption">Justice; or, The Merciless Bailiff</span>
+</div>
+
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of George Morland, by Edward D. Cuming
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+</body>
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+The Project Gutenberg EBook of George Morland, by Edward D. Cuming
+
+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: George Morland
+       Sixteen examples in colour of the artist's work
+
+Author: Edward D. Cuming
+
+Illustrator: George Morland
+
+Release Date: August 13, 2011 [EBook #37063]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK GEORGE MORLAND ***
+
+
+
+
+Produced by The Online Distributed Proofreading Team at
+http://www.pgdp.net (This file was produced from images
+generously made available by The Internet Archive)
+
+
+
+
+
+
+
+
+  BRITISH
+  ARTISTS
+
+  GEORGE MORLAND
+
+
+
+  [Illustration: The Dipping-Well (Cover Page)]
+
+
+
+  IN THE SAME SERIES
+
+    BIRKET FOSTER, R.W.S.
+    JOHN PETTIE, R.A., H.R.S.A.
+    KATE GREENAWAY
+
+  A. AND C. BLACK  .  SOHO SQUARE  .  LONDON, W.
+
+
+  AGENTS
+
+    AMERICA          THE MACMILLAN COMPANY
+                     64 & 66 FIFTH AVENUE, NEW YORK
+
+    AUSTRALASIA      OXFORD UNIVERSITY PRESS
+                     205 FLINDERS LANE, MELBOURNE
+
+    CANADA           THE MACMILLAN COMPANY OF CANADA, LTD.
+                     ST. MARTIN'S HOUSE, 70 BOND STREET, TORONTO
+
+    INDIA            MACMILLAN & COMPANY, LTD.
+                     MACMILLAN BUILDING, BOMBAY
+                     309 BOW BAZAAR STREET, CALCUTTA
+
+
+
+  [Illustration: Confidences]
+
+
+
+  GEORGE MORLAND
+
+  SIXTEEN EXAMPLES IN COLOUR
+  OF THE ARTIST'S WORK
+
+  WITH
+  AN INTRODUCTION
+  BY
+  E. D. CUMING
+
+  [Illustration]
+
+  PUBLISHED BY A. & C. BLACK
+  4, 5 & 6 SOHO SQUARE, LONDON
+  MCMX
+
+
+
+
+LIST OF PLATES
+
+
+                                                       OWNER OF ORIGINAL
+
+  1. Confidences                                       _Mrs. Carl Meyer_
+
+  2. Idleness                                _Sir Edward Tennant, Bart._
+
+  3. Diligence                                             "
+
+  4. Belinda, Billet-Doux                          _T. J. Barratt, Esq._
+
+  5. The Effects of Youthful Extravagance
+  and Idleness                                _Sir Walter Gilbey, Bart._
+
+  [A]6. The Dipping-Well                                   "
+
+  7. The Deserter's Farewell                               "
+
+  8. The Deserter Pardoned                          _Barnet Lewis, Esq._
+
+  9. The Fox Inn                              _Sir Walter Gilbey, Bart._
+
+  10. Gathering Sticks                                     "
+
+  11. Morning; or, The Benevolent Sportsman           _J. Beecham, Esq._
+
+  12. Farmyard                                     _T. J. Barratt, Esq._
+
+  13. Gipsies in a Wood                       _Sir Walter Gilbey, Bart._
+
+  14. Evening; or, The Post-Boy's Return               _Lord Swaythling_
+
+  15. Winter: Skating                         _Sir Walter Gilbey, Bart._
+
+  16. Justice; or, The Merciless Bailiff                   "
+
+       [A] On the cover
+
+
+
+
+GEORGE MORLAND
+
+(Born June 26, 1763; died October 29, 1804)
+
+
+The son of Henry Robert, who combined with the exercise of the painter's
+art the work of cleaning and restoring old pictures, it may fairly be
+said of George Morland that he was reared in the studio. His genius
+betrayed itself at a very early age, some chalk drawings tinged with
+crayon which he produced when ten years old being exhibited in the Royal
+Academy. Such education as he received was given him at home; but it
+would seem that his father kept him too closely at work with pencil and
+brush to leave the boy opportunity of gleaning knowledge from books.
+
+When fourteen years old, his father bound him apprentice to himself,
+having ere then fully recognized the artistic genius which promised him
+material advantages. Others than his father recognized George Morland's
+genius: Sir Joshua Reynolds, who gave the boy the run of his studio,
+urged that he be brought up in "the grand line" of art; and when his
+indentures expired, Romney offered to take him as pupil at a salary of
+L300 a year. Sir Joshua's recommendation was declined by the father; to
+Romney's offer George would have nothing to say.
+
+George was slow to discover a spirit of independence, even when he came
+of age, remaining at home for at least six months after he had reached
+man's estate. His independent career began in 1785, when he was
+twenty-two years old. Having escaped from the hands of an Irish
+picture-dealer who worked him for his own advantage, he spent a few
+months at Margate, devoting himself with success to the painting of
+portraits he had been invited to do by a Mrs. Hill. He seems to have
+been tolerably industrious, for he was able to live in comfort and to
+share the amusements offered by a then fashionable watering-place. On
+his own showing he began to acquire at this period a taste for drink;
+but he was young, of robust constitution and fond of exercise, and his
+indulgence was not excessive.
+
+After his return to London in 1786, he lived sometimes with his parents,
+and sometimes elsewhere. Among his acquaintances he numbered William
+Ward, the famous engraver, who had, ere this time, reproduced at least
+one of Morland's pictures. He became a frequent visitor at Ward's house
+at Kensal Green, and before long took up his quarters with the family,
+consisting of the engraver, his mother, and two sisters. Anne Ward, a
+very beautiful girl, soon captivated Morland, and they were married at
+St. Paul's, Hammersmith, on September 22, 1786.
+
+He appears to have been steady and industrious during his residence at
+Kensal Green, and he continued to work hard for the first few months
+after his marriage, which was followed a month later by the wedding of
+William Ward to Maria Morland.
+
+A joint establishment set up by the two young couples in High Street,
+Marylebone, endured for about three months; a quarrel ended in
+separation, and the Morlands found new quarters in Great Portland
+Street. It was during his early married life that the artist painted,
+among others, the six famous pictures known as the "Laetitia Series," for
+which his wife sat as model. The move to Great Portland Street was the
+first of the numerous changes of residence made by Morland during his
+married life. During the first two years these changes were dictated by
+the success which enabled him to house himself more comfortably; but the
+period of steadiness and hard work was so brief that it may be dismissed
+in a few lines. The advent of a still-born child, and the knowledge that
+he might not hope to be a father, appear to have been the means of
+unsettling him in his domestic capacity; and the indifference of his
+wife to the music he loved may have contributed to the same end; but the
+fact remains that within a year of marriage Morland began to neglect
+her. He acquired the habit of making trips into the country during the
+day and resorting to musical gatherings at night, leaving Mrs. Morland
+much to her own devices.
+
+He was not idle in the ordinary sense of the word. Gifted with
+extraordinary facility, he painted numerous pictures which, if sold in
+business-like fashion, would have produced enough to raise him to
+affluence; but he had inherited from his father, in intensified form, a
+singular lack of common sense. He sold his pictures for any sum that
+might be offered, regardless of the fact that the purchasers took them
+direct to dealers in the certainty of disposing of them for double the
+money. Even while working on these lines his prolific brush and steadily
+increasing reputation enabled him to make a good income; but success, if
+the expression may be used, "went to his head." He launched out into the
+wildest extravagance, regulating his expenditure by the ease with which
+he could borrow rather than by the ease with which he could earn, and
+while he had cash in his pocket he would not work. As his reputation
+grew, largely through the medium of the engravings made from his
+pictures, the anxiety of dealers and others to secure works from his
+easel grew in ratio with it; his natural readiness to borrow was
+encouraged on every side by those who intended, or hoped, to obtain in
+pictures more than the equivalent of the money they advanced, and
+Morland gave promissory notes with joyful recklessness, absolutely
+indifferent to the load of debt he was rolling up.
+
+The inevitable crash came in 1789, when for the first time he found it
+expedient to fly from his creditors. There is evidence in the shape of
+pictures to show that he sought refuge in the Isle of Wight; but he did
+not long remain there. His legal adviser, Mr. Wedd, took his affairs in
+hand, and he returned to London to go into temporary hiding while
+matters were adjusted by means of a "Letter of Licence," a document
+which secured him from arrest by making terms with his creditors. Under
+this bond he pledged himself to pay off his liabilities at the rate of
+L120 a month. How his credit declined in subsequent years is proved by
+the series of "Letters of Licence" procured for him. These respectively
+pledged him to pay L100, L50, and the last only L10, per month.
+
+Perhaps the most pathetic feature of Morland's career is the
+circumstance that the period which saw his greatest exertions to escape
+from creditors coincided with that during which he produced his finest
+work. "Inside of a Stable" (now in the National Gallery, and known as
+"The Farmer's Stable") attracted universal attention when exhibited at
+the Royal Academy of 1791, and raised the painter's fame to its zenith.
+Commissions for pictures, with advances of money, were pressed upon him
+on all sides; Morland accepted the cash, promised the pictures, and
+launched out into wilder extravagance. He kept eight horses, or more,
+for the country excursions on which his friends joined him; he
+entertained lavishly; he drew round him a disreputable crew of
+prize-fighters and similar characters, who lived upon him; and he
+scattered money with a reckless hand. He could always find those who
+were eager to lend, and, revelling in the ease with which he could raise
+money, would not paint until he felt the pinch of need. When out of
+funds he would work, and did so with the amazing speed and deftness that
+stamp him a genius. There is no doubt that he drank at this time, but
+his love of riding and outdoor life enabled him to throw off the effects
+of over-indulgence.
+
+His career from 1791 to 1799 was one long series of flights from one
+place to another to avoid the creditors who pressed for money. From time
+to time Mr. Wedd arranged his affairs in such wise that he could show
+his face in London; and at other times men who wanted pictures relieved
+him from his difficulties to the same end; but viewing these nine years
+as a whole, the general impression left on the mind is one of a hunted
+animal--now in hiding in the Isle of Wight, now in Leicestershire, now
+in mean lodgings in a poor part of London, now out of sight. It is only
+occasionally that we can trace his place of abode. He would go into
+hiding, with friend or servant sworn to secrecy, and while in hiding
+would work, and his companion would bring his paintings up to London and
+dispose of them.
+
+In 1798 he spent six months at Hackney, comparatively free from the
+attentions of creditors, and during this brief period he executed some
+pictures which compare favourably with those painted in his best years
+(1790-1793).
+
+The improvement was not maintained. Morland, whose nerves were now
+suffering from the periodical debauches in which he indulged, and also,
+no doubt, from the ceaseless pressure of creditors, left Hackney and
+found refuge first in London and then in the Isle of Wight; and from the
+Island he came, in December, 1799, to seek escape by procuring his own
+arrest at the hands of friends. Nominally a prisoner in King's Bench, he
+was "granted the rules," and took a house in St. George's Fields, where
+he lived for a couple of years with his wife and his brother Henry.
+When granted his release under 41 Geo. III., he remained in St. George's
+Fields for a few months, and then, for the sake of change, went to
+Highgate. From this time, during the few remaining years of his life,
+Morland was an irreclaimable drunkard. His constitution was undermined,
+he could no longer take horse exercise, and his excesses told upon him
+rapidly. To the fact that he was now unable to work until he had taken
+stimulant is due the common report that he "painted best when drunk."
+Nevertheless, his reputation remained, and he was overwhelmed by
+attentions from those who wanted pictures. The great aim of these
+patrons now was to induce him to live with them that they might exercise
+some control over his propensity for liquor, and keep him at work. His
+brother Henry was most successful in this regard; for some considerable
+time George lived with him, and, during his frequently broken stay,
+painted a very large number of pictures, Henry paying him a specified
+sum per day. This has been stated as L2 2s. and L4 4s., but in either
+case Henry's profits must have been great.
+
+Collins, one of Morland's biographers, has given us a melancholy
+word-picture of the artist in these, his later days--besodden with
+drink, his face showing every sign of excess; nerves gone, sight
+failing, one hand palsied; yet able to produce works for which everyone
+clamoured.
+
+Leaving his brother's house, he went from one friend to another. For
+many months he occupied lodgings in a sponging-house in Rolls Buildings,
+kept by a sheriff's officer named Donatty; here he was free to come and
+go as he pleased, yet was secure from arrest, and Donatty became the
+owner of a number of fine pictures.
+
+It was soon after he left Rolls Buildings to reside with some other
+friend that he was arrested for the last time. The sum due was trifling,
+but Morland had no means of discharging it, and was conveyed to a
+sponging-house in Eyre Place, Eyre Street Hill, Hatton Garden. Refusing
+the offers of friends to pay the debt, he insisted on remaining in
+custody. He had frequently shown bitter resentment at the way his
+quondam friends worked him for their own advantage, and preferred to
+stay where he was. He strove to work; but the overtaxed brain and body
+refused, and while at his easel he fell from his chair in a fit. For
+eight days he lay almost insensible with brain fever, and then, without
+recovering consciousness, he died.
+
+George Morland's was a singular character. His love of flattery and
+dread of affront may account for his choice of companions; he shrank
+from association with his social superiors, finding congenial friends
+among pugilists, grooms, sweeps, and persons whom he suffered to profit
+by his recklessness in money matters. Endowed with a keen sense of
+humour, whose artistic expression found vent in caricature, he found his
+principal amusement in playing schoolboy practical jokes. George Dawe
+hits off his character in a sentence when he says that Morland "never
+became a man"; throughout his life his faults were the faults of a boy
+and his virtues the virtues of a boy.
+
+He and his wife were unhappy together and miserable apart. When he had a
+home she shared it, and if he had not, he sent her money--when he could.
+That he inspired her to the utmost with the affection he was able to
+engage from all who came in contact with him, is proved by the fact that
+news of his death killed her.
+
+Morland's art embraced great variety of subjects. His earlier popular
+successes were achieved by his figure paintings, and of these it is
+worth noticing that among the best were pictures which pointed morals he
+studiously ignored in his own career. The great popularity of W. R.
+Bigg's pictures of child-life led the dealers to persuade Morland to
+take up the same line of work, and in his pictures of child-life the
+artist shows himself what we know him to have been--a lover of children
+and one who had perfect understanding of them. The insight with which
+he portrayed children is only equalled by that which distinguishes his
+animal paintings. Morland's horses, ponies, asses, calves, and pigs, are
+entirely his own; they possess a character which stamps them as the work
+of one who had almost uncanny knowledge. He rarely painted a well-bred
+horse; the animal that appealed to him was the farmer's work-horse or
+the slave of the carter, and on these he expended his greatest skill.
+Only an artist who was also a horseman could paint the horse as he
+painted it. He has been described as a "pig painter," but this refers
+rather to the success with which he proved the artistic possibilities of
+subjects so unpromising than to the number of works in which pigs occur,
+though it is admitted that he was fond of painting such pictures. His
+asses and calves, in their kind, are equal to his horses; cows he seldom
+painted, and when he essayed to do sheep he was not conspicuously
+successful.
+
+The composition of his works is rarely otherwise than pleasing, a point
+the more worthy of notice when we remember that he never made studies,
+but developed the picture under his hand as he worked upon it. The
+straightforward simplicity, the absence of subtlety of his art, may
+perhaps be in some measure an outcome of his method. His schemes of
+colouring were subdued rather than brilliant; one of his few principles
+of painting was that a touch of pure red should appear in every picture,
+and we very generally find it.
+
+Once Morland left his father's roof, his artistic education in one sense
+ceased. He took not the slightest interest in the works of other
+painters of whatever period; on the contrary, he avoided study of art
+lest he should become an imitator; and went direct to Nature for all he
+required. To this practice we may attribute his originality.
+
+Since I had the pleasure of collaborating with Sir Walter Gilbey in
+writing the biography of the painter, it has been pointed out that the
+artist with whom George Morland has more in common than any is Jean
+Baptiste Simeon Chardin (1699-1779). The resemblance between the figure
+subjects in which each excelled is certainly striking; and this
+resemblance, regarded in conjunction with the French nationality of
+Morland's mother, has evoked the suggestion that the English painter may
+have derived hereditary talent from the maternal side. Search through
+the registers of the churches of the parish in which Henry Robert
+Morland lived fails to reveal entry relating to his marriage. It may be
+recalled, however, that Chardin's two daughters died in infancy.
+
+                                                       E. D. CUMING.
+
+
+[Illustration: Idleness]
+
+
+[Illustration: Diligence]
+
+
+[Illustration: Belinda, Billet-Doux]
+
+
+[Illustration: The Effects of Youthful Extravagance and Idleness]
+
+
+[Illustration: The Deserter's Farewell]
+
+
+[Illustration: The Deserter Pardoned]
+
+
+[Illustration: The Fox Inn]
+
+
+[Illustration: Gathering Sticks]
+
+
+[Illustration: Morning; or, The Benevolent Sportsman]
+
+
+[Illustration: Farmyard]
+
+
+[Illustration: Gipsies in a Wood]
+
+
+[Illustration: Evening; or, The Post-Boy's Return]
+
+
+[Illustration: Winter: Skating]
+
+
+[Illustration: Justice; or, The Merciless Bailiff]
+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of George Morland, by Edward D. Cuming
+
+*** END OF THIS PROJECT GUTENBERG EBOOK GEORGE MORLAND ***
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