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diff --git a/.gitattributes b/.gitattributes new file mode 100644 index 0000000..d7b82bc --- /dev/null +++ b/.gitattributes @@ -0,0 +1,4 @@ +*.txt text eol=lf +*.htm text eol=lf +*.html text eol=lf +*.md text eol=lf diff --git a/LICENSE.txt b/LICENSE.txt new file mode 100644 index 0000000..6312041 --- /dev/null +++ b/LICENSE.txt @@ -0,0 +1,11 @@ +This eBook, including all associated images, markup, improvements, +metadata, and any other content or labor, has been confirmed to be +in the PUBLIC DOMAIN IN THE UNITED STATES. + +Procedures for determining public domain status are described in +the "Copyright How-To" at https://www.gutenberg.org. + +No investigation has been made concerning possible copyrights in +jurisdictions other than the United States. Anyone seeking to utilize +this eBook outside of the United States should confirm copyright +status under the laws that apply to them. diff --git a/README.md b/README.md new file mode 100644 index 0000000..df62ce1 --- /dev/null +++ b/README.md @@ -0,0 +1,2 @@ +Project Gutenberg (https://www.gutenberg.org) public repository for +eBook #63388 (https://www.gutenberg.org/ebooks/63388) diff --git a/old/63388-0.txt b/old/63388-0.txt deleted file mode 100644 index e901ca5..0000000 --- a/old/63388-0.txt +++ /dev/null @@ -1,2540 +0,0 @@ -The Project Gutenberg EBook of The development of British landscape -painting in water-colours, by Alexander Joseph Finberg and E. A. Taylor - -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/license - - -Title: The development of British landscape painting in water-colours - -Author: Alexander Joseph Finberg - E. A. Taylor - -Editor: Charles Holme - -Release Date: October 6, 2020 [EBook #63388] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DEVELOPMENT OF BRITISH *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - - - - - THE DEVELOPMENT - OF BRITISH LANDSCAPE - PAINTING - IN WATER-COLOURS - - EDITED BY CHARLES - HOLME. TEXT BY - ALEXANDER J. - FINBERG & E. A. - TAYLOR - - MCMXVIII “THE STUDIO” LTD. - LONDON PARIS NEW YORK - - - - -CONTENTS - - -ARTICLES - - PAGE - -THE DEVELOPMENT OF BRITISH LANDSCAPE PAINTING IN WATER-COLOURS. -BY ALEXANDER J. FINBERG 1 - -(1) Introductory Remarks on the Idea of Development as -Applied to Art 1 - -(2) The Bearing of these Remarks on the History of British -Water-Colour Painting 3 - -(3) The Development of Subject-Matter and Technique 4 - -(4) Some Famous Water-Colour Painters of the Past 8 - - Paul Sandby 9 - - Alexander Cozens 10 - - John Robert Cozens 11 - - Thomas Girtin 13 - - Joseph Mallord William Turner 15 - - John Sell Cotman 17 - - David Cox 19 - - Samuel Prout 20 - - Peter de Wint 21 - - Richard Parkes Bonington 21 - - Myles Birket Foster 22 - - Alfred William Hunt 23 - - James Abbott McNeill Whistler 24 - -(5) The Work of To-day 26 - -THE DEVELOPMENT OF BRITISH LANDSCAPE PAINTING IN WATER-COLOURS: -SCOTTISH PAINTERS. BY E. A. TAYLOR 29 - - -ILLUSTRATIONS - -_AFTER ENGLISH PAINTERS_ - - _PLATE_ - -Birch, S. J. Lamorna, R.W.S. “Environs of Camborne” V - -Cotman, John Sell, R.W.S. “Kirkham Abbey” III - -Cozens, J. R. “Lake Albano and Castel Gandolfo” I - -Fisher, Mark, A.R.A. “Landscape” VI - -Gere, Charles M. “The Round House” VII - -Girtin, Thomas. “The Valley of the Aire” II - -Goodwin, Albert, R.W.S. “Lincoln” VIII - -Holmes, C. J. “Near Aisgill” IX - -Little, Robert, R.W.S., R.S.W. “Tidal Basin, Montrose” X - -Rich, Alfred W. “Swaledale” XI - -Smythe, Lionel, R.A., R.W.S. “Caught in the Frozen -Palms of Spring” XII - -Turner, J. M. W., R.A. “Launceston” IV - -Walker, W. Eyre, R.W.S. “A Pool in the Woods” XIII - -Waterlow, Sir E. A., R.A., R.W.S., H.R.S.W. “In -Crowhurst Park, Sussex” XIV - - -_AFTER SCOTTISH PAINTERS_ - -Allan, Robert W. Allan, R.W.S., R.S.W. “The Maple -in Autumn” XV - -Brown, A. K., R.S.A., R.S.W. “Ben More” XVI - -Cadenhead, James, A.R.S.A., R.S.W. “A Moorland” XVII - -Cameron, D. Y., A.R.A., R.S.A., R.W.S., R.S.W. -“Autumn in Strath Tay” XVIII - -Flint, W. Russell, R.W.S., R.S.W. “Autumn Evening, -Rydal Water” XIX - -Houston, George, A.R.S.A., R.S.W. “Iona” XX - -Paterson, James, R.S.A., R.W.S., R.S.W. “Frenchland -to Queensberry, Moffat Dale” XXI - -Smith, D. Murray, A.R.W.S. “On the Way to the -South Downs” XXII - -Taylor, E. A. “A Bit of High Corrie” XXIII - -Walton, E. A., R.S.A., P.R.S.W. “Suffolk Pastures” XXIV - - -PREFATORY NOTE - - _The Editor desires to acknowledge his indebtedness to the artists - and owners who have kindly lent their drawings for reproduction in - this volume_ - - - - -THE DEVELOPMENT OF BRITISH LANDSCAPE PAINTING IN WATER-COLOURS. BY -ALEXANDER J. FINBERG - - - - -(1) INTRODUCTORY REMARKS ON THE IDEA OF DEVELOPMENT AS APPLIED TO ART - - -The idea of development has played, for considerably more than half a -century, and still plays, a large part in all discussions about art. And -it is obvious that it is a very useful and at the same time a very -dangerous idea; useful, because with its aid you can prove anything you -have a mind to, and dangerous, because it conceals all sorts of latent -suggestions, vague presuppositions, and lurking misconceptions, and thus -misleads and beguiles the unwary. The most insidious and dangerous of -these suggestions is its connexion with the ideas of progress or -advance. The dictionaries, indeed, give “progress” as one of the -synonyms of “development,” and amongst the synonyms of “progress” I find -“advance,” “attainment,” “growth,” “improvement,” and “proficiency.” So -that as soon as we begin to connect the idea of development with the -history of art we find ourselves committed, before we quite realize what -we are doing, to the view that the latest productions of art are -necessarily the best. If art develops, it necessarily grows, improves, -and advances, and the history of art becomes a record of the steps by -which primitive work has passed into the fully developed art of the -present; the latest productions being evidently the most valuable, -because they sum up in their triumphant complexity all the tentative -variations and advances of which time and experience have approved. - -Stated thus baldly the idea as applied to art seems perhaps too -obviously at variance with our tastes, experience, and instinctive -standards of artistic values to be worth a moment’s consideration. Yet -we are all too well aware that this is the line of argument by which -every freak, every eccentric, insane or immoral manifestation of -artistic perversity and incompetence which has appeared in Europe within -the last thirty or forty years has been commended and justified. -Certainly in England every writer on art who calls himself “advanced” is -an evolutionist of this crude and uncritical type. At one time it was -Cézanne and Van Gogh who were supposed to have summed up in their -triumphant complexity the less developed efforts of Titian, Rembrandt, -Watteau, and Turner, and at the present moment Cézanne and Van Gogh are -being superseded by Mr. Roger Fry and his young lions of “The New -Movement.” - -The worst of it is that the idea of development, of evolution, is a -perfectly sound and useful one in certain spheres of activity. In -science, for instance, the idea works and is helpful. The successive -modifications and improvements by which the latest type of steam-engine -has been evolved from Stevenson’s “Puffing Billy,” or the latest type of -air-ship from the Montgolfier balloon, form a series of steps which are -related and connected with each other, and they are so intimately -connected that the latest step sums up and supersedes all the others. No -one would travel with Stevenson’s engine who could employ a British or -American engine of the latest type. There we have a definite system of -development--of growth, improvement, and increased proficiency. And we -find the same thing if we look at science as a whole, as a body of -knowledge of a special kind. Its problems are tied together, -subordinated and co-ordinated, unified in one vast system, so that we -can represent its history as a single line of progress or retreat. - -But art is not like science. Donatello’s sculpture is not a growth from -the sculpture of Pheidias or Praxiteles in the same way that the London -and North-Western engine is a growth from Stevenson’s model; nor was -Raphael’s work developed from Giotto’s in the same way. Works of art are -separate and independent things. That is why Donatello has not -superseded Pheidias, nor Raphael Giotto; and that is why the world -cherishes the earliest works of art quite as much as the later ones. - -Yet we are bound to admit that we can find traces of an evolutionary -process even in the history of art, if we look diligently for them. I -remember to have seen a book by a well-known Italian critic in which the -representations of the Madonna are exhibited from this point of view (A. -Venturi, “La Madonna,” Milan, 1899). In it the pictures of the Madonna -are treated as an organism which gradually develops, attains perfection, -gets old, and dies. There is something to be said for this point of -view. When you have a number of artists successively treating the same -subject you naturally find that alterations and fresh ideas are imported -into their work. These additions and modifications can quite fairly be -regarded as developments of the subject-matter and its treatment. But -such developments are always partial and one-sided, and they are -accompanied with losses of another kind. If Raphael’s Madonnas are more -correctly drawn and modelled than those of Giotto, these gains are -balanced by a corresponding loss in the spiritual qualities of sincerity -and earnestness of religious conviction. It depends, therefore, on what -narrow and strictly defined point of view we adopt whether we find -development or decay in any particular series of artistic productions. -From one point of view the history of art from Giotto to Raphael can be -regarded as a process of growth and advance, from another, the same -series can be taken, as Ruskin actually took it, as an exhibition of the -processes of death and decay. The enlightened lover and student of art -will look at the matter from both, and other, points of view, but he -will realize that the theory of development does not help him in any way -to find a standard of value for works of art. - -Art must be judged by its own standards, and those standards tell us - -[Illustration: PLATE I. - -(_In the possession of C. Morland Agnew, Esq._) - -“LAKE ALBANO AND CASTEL GANDOLFO.” BY J. R. COZENS.] - -that each individual masterpiece is perfect in its own marvellous way, -whether it was produced like the _Cheik el Beled_ or _The Scribe_, some -five or six thousand years ago, or like the paintings of Reynolds, -Gainsborough, and Turner within comparatively recent times. - - - - -(2) THE BEARING OF THESE REMARKS ON THE HISTORY OF BRITISH WATER-COLOUR -PAINTING - - -The direct bearing of these remarks on our immediate subject-matter -will, I hope, be evident to all who are familiar with the literature of -the history of British water-colour painting. - -The first attempt to form an historical series of British water-colours -for the public use was begun in 1857, by Samuel Redgrave for the Science -and Art Department of what was then the Board of Education. Thanks to -Redgrave’s knowledge and enthusiasm a worthy collection of examples of -the works of the founders of the school was soon got together, and this -nucleus was rapidly enlarged by purchases, gifts, and bequests. These -drawings were housed and exhibited in what was then called the South -Kensington Museum, and in 1877 Redgrave published an admirable -“Descriptive Catalogue” of the collection. As an introduction to this -catalogue he wrote a valuable account of the origin and historical -development of the art. Both the official character of this publication -as well as its intrinsic merits, literary and historical--for Redgrave -and his brother Richard, who had assisted him in the work, were two of -the best informed historians of English art in the last -century--combined to make it at the time and for many years afterwards -the standard and most authoritative book on this subject. But its -historical part has one serious defect, due perhaps to some extent to -the unfortunate association of science with art in the same museum. -Redgrave’s conception of artistic development was evidently borrowed -ready-made from the ideas of his scientific colleagues. He treats the -chronological arrangement of the drawings in exactly the same way as the -men of science treat the successive alterations and improvements which -Stevenson’s first model steam-engine underwent; and as he found the -earlier drawings approached very nearly to monochrome, while the later -ones were highly coloured and fuller in the statement and realization of -detail, he took it for granted that these changes marked the true line -of progress and development in the art. The early “stained” drawings of -Scott and Rooker were treated as the primitive and undeveloped models -from which the later and more elaborate works of Turner, Copley -Fielding, Sidney Cooper, John F. Lewis, Louis Haghe, and Carl Werner -were developed. Every fresh complication of technique and elaboration of -effect were hailed enthusiastically as signs of “progress,” and -brilliance of colour, richness of effect, and fullness of realization -were treated as the marks of “the full perfection” of which the art was -capable. In this way water-colour “drawing” became “elevated” into the -“perfected” art of _painting_ in water-colours, and the beneficent -cosmic process triumphantly produced paintings in water-colour which -could actually “hold their own” in force and brilliancy of effect with -oil paintings. - -As a temporary measure Redgrave’s excursus into evolutionary theory must -have been extraordinarily successful. No more specious doctrine could -well have been invented to flatter and gratify all parties concerned at -the moment; the presidents and leading members of the two water-colour -societies must have found peace and comfort in Redgrave’s theory, and -the general public must have felt that “enlightenment and progress” even -in artistic matters were being duly fostered by an efficient “Committee -Council on Education.” But the theory has serious defects. It sets up a -false standard of artistic value, it withdraws attention from the higher -beauties of art to focus it upon merely materialistic and technical -questions, and, what is perhaps still more serious, it prejudges the -efforts of subsequent artists, and closes the door to future changes and -developments. - -The importance of these latter considerations will be seen as soon as we -turn our attention to the art of the present day and that of the period -which has intervened between it and the date of the publication of -Redgrave’s catalogue. Consider for one moment the water-colours of -Whistler, Clausen, Wilson Steer, D. Y. Cameron, Anning Bell, Charles -Sims, A. W. Rich, Charles Gere, and Romilly Fedden, and judge them in -terms of Redgrave’s formula! If we do we are bound to confess that they -one and all stand condemned. If Redgrave’s idea of the line of progress -and advance is correct we are bound to believe that the works of these -fine artists represent, not progress and advance, but decay and loss. -Indeed, the two chief movements in art in the last quarter of the last -century, the discovery of atmosphere as the predominant factor in -pictorial representation--what may be called for the sake of brevity the -whole Impressionistic movement, and the later deliberate search for -simplicity of statement, either in the interests of decorative effect or -emotional expression, were seriously thwarted and hindered by the -demands for “exhibition finish,” so-called conscientious workmanship, -and a standard of professional technique--“real painting, as such,” as -Ruskin called it--set up and maintained by the erroneous theories of -artistic progress of which Redgrave was only one of the exponents. - -It is therefore of the utmost importance that any attempt to deal fairly -and generously with the art of more recent times shall consciously and -deliberately dissociate itself from such theories. - - - - -(3) THE DEVELOPMENT OF SUBJECT-MATTER AND TECHNIQUE - - -After what has been written above it is to be hoped that the dangers -attending the use of the word “development” have been exorcised. We -intend to use the word merely as a synonym for chronological sequence, -and we have been careful to point out that the historical order in which -artists appear does not coincide or run parallel with any growth, -advance, progress, or improvement in the artistic value of their work. - -Shorn thus of its stolen finery of theoretical prejudice and -philosophical imposture the naked course of chronological sequence -presents few attractions to the enthusiastic lover of the beautiful. It -has, however, its uses. These are mainly mnemonical, for it supplies the -thread on which we string together in our memory the things strewn along -the schedule of the years without apparent rhyme or reason. The dates -will not help us to pick out the good from the bad, but they help us to -place among their proper surroundings the good things which our -sympathies and instincts find for us. - -With this grudging apostrophe to the historical maid-of-all-work we will -proceed with our survey of the brief tale of years during which our -national school of water-colour painting has been in existence. The -business of this chapter is to outline the development of form and -content, of subject-matter and technique. - -For the beginnings of British landscape painting we must look to the -drawings and engravings connected with the study of topography, using -this word in the ordinary sense of place-drawing, or the description of -a particular building or spot. Generally speaking the designs of the -earlier draughtsmen are now known only through the engravings which were -made from them. Roget, in his “History of the Old Water-Colour Society” -(chapters i and iii, Book I) gives a full and interesting account of -these engravings. The earliest drawings we need refer to are those of -Samuel Scott (1710-1772) and his pupil, William Marlow (1740-1813), Paul -Sandby (1725-1809), William Pars (1742-1782), Michael Angelo Rooker -(1743-1801), and Thomas Hearne (1744-1817). - -Working alongside these artists was another group of men who produced -“landscapes” which relied for their interest rather upon the sentiments -evoked by their subject-matter and treatment than upon the purely -topographical character of their work. These painters of poetical or -sentimental landscape may be said to have begun with George Lambert -(1710?-1765), Richard Wilson (1713-1782), and Thomas Gainsborough -(1727-1788). Of these only the latter used water-colour as an -independent medium. His _Landscape with Waggon on a Road through a Wood_ -(British Museum) reminds one somewhat of the landscape studies of Rubens -and Van Dyck, at least as regards the colour-effect and the feeling for -atmosphere. Through Gainsborough the influence of Rubens and that of the -Flemish conception of landscape painting was brought to bear on British -art, while Lambert and Richard Wilson familiarized the younger artists -and their patrons with the style and aims of Poussin and Claude. The -same influences are discernible in the works of Alexander Cozens (d. -1786) and his son, John Robert Cozens (1752-1799), both of whom worked -almost entirely in water-colour. - -The works of these painters of poetical landscape taught the public to -demand something more emotional in feeling and more dignified and -impressive in treatment than the prosaic transcripts and conventionally -composed drawings of the topographers. Their example also taught the -rising generation of artists, amongst whom we find Edward Dayes -(1763-1804), John Glover (1767-1849), Joshua Cristall (1767?-1847), F. -L. T. Francia (1772-1839), Thomas Girtin (1775-1802), J. M. W. Turner -(1775-1851), John Constable (1776-1837), and John Sell Cotman -(1782-1842), how to meet those demands. - -In Turner’s _Warkworth Castle_ (V. and A. Museum), exhibited in 1799, -and Girtin’s _Bridgnorth_ (British Museum), painted in 1802, we find -these two streams of influence uniting. These drawings are at the same -time both topographical and poetical; each represents a particular place -with a good deal of accuracy, but in such a way that the drawing might -just as correctly be called a poetical landscape as a topographical -representation. - -This combination of fact with emotion, of representation with poetry, -has remained during the whole of the nineteenth century and down to the -present day the dominant characteristic of British landscape painting. -Sometimes the topographical factor was subdued or almost submerged, as -in the water-colours of George Barret, junr. (1767-1842) and Francis -Oliver Finch (1802-1862), but it is generally predominant, though always -in combination with emotional or poetical expression, in the works of -William Havell (1782-1857), David Cox (1783-1859), Peter De Wint -(1784-1849), Copley Fielding (1787-1855), G. F. Robson (1788-1833), -Samuel Prout (1783-1852), William Hunt (1790-1864), Clarkson Stanfield -(1793-1867), David Roberts (1796-1864), J. D. Harding (1797 or 8-1863), -R. P. Bonington (1802-1828), T. Shotter Boys (1803-1874), J. Scarlett -Davis (1804?-1844), J. F. Lewis (1805-1876), W. J. Muller (1812-1845), -William Callow (1812-1908), Birket Foster (1825-1899), A. W. Hunt -(1830-1896), E. M. Wimperis (1835-1900), Tom Collier (1840-1891), and J. -Buxton Knight (1842-1908). - -The course of development of the subject-matter of British landscape -painting in water-colour we may, therefore, say has been somewhat as -follows: it started with the object of recording as clearly and -accurately as was possible the appearance of buildings and places, and -it did this, not for purely artistic reasons, but in the interests of -antiquarian, archæological, historical, or geographical information; by -the side of this place-recording activity there sprang up a series of -painters who aimed at the production of landscapes as the means of -artistic and emotional expression; we then find these two groups acting -on each other, the poetical school teaching the topographers style, -design, “atmosphere,” and emotion, and the topographers directing the -attention of the poetical painters to the observation and study of -nature and the expression of - -[Illustration: PLATE II. - -(_In the possession of Thomas Girtin, Esq._) - -“THE VALLEY OF THE AIRE.” BY THOMAS GIRTIN.] - -their own personal emotions; and the outcome of this process is the -present school of British landscape painters in water-colours, which -attempts, both in its highest and in its lowest efforts, to do full -justice to the progressive demands which the educated public has thus -learned to make on the artist. - -We turn now to the development of technique. The earliest topographers -worked on white paper, on which, after the subject had been outlined in -pencil--such outlines being sometimes enforced with pen and ink, the -general system of light and shade was washed in monochrome; the local -colours were then washed over this preparation. The method, so far as -the colours were concerned, was somewhat similar to that of tinting or -colouring an engraving. In drawings executed in this manner by Sandby, -Rooker, and Hearne the brilliance of the colours is somewhat subdued by -the grey underpainting. But this is probably due to the fact that the -artists worked only with their washes of transparent colour, relying -upon the white paper asserting itself through these washes. The luminous -effects produced in this way--in drawings like Sandby’s _Windsor: East -View from Crown Corner_ (British Museum) and Rooker’s _St. Botolph’s_ -(V. and A. Museum)--have been so much admired that many living artists -have deliberately gone back to this simple way of working. - -The effect of the grey underpainting on the finished work is, however, -largely dependent on the artist’s wishes. If he chooses to sacrifice the -luminosity of the white paper he can paint over his preliminary washes -with colour so heavily charged that it will practically annihilate them. -This is what Girtin generally did in his later works, though it must be -added that he also changed the colour of his preparatory washes from -grey to brown. I am inclined to think, therefore, that Redgrave has -exaggerated the importance of the use or disuse of these preliminary -washes. - -The earlier poetical painters, like Lambert, and Sandby in his larger -compositions painted for exhibition purposes, worked in body-colour, -i.e., opaque white was mixed with all the colours. In this way some -approximation to the force of oil painting was obtained. Another way of -getting a similar result was to work with the paper wet. A good example -of this method is Turner’s _Warkworth Castle_. In this picture Turner -tries to do in water-colour what Richard Wilson did in oils. He gets his -effects of deep rich tone and force of colour by working with a heavily -charged brush, sponging, and wiping out the lights with a dry brush or -handkerchief or scraping them with a knife. - -The methods of _Warkworth Castle_ were practically those used by the -younger Barret, Varley, Copley Fielding, Cox, and De Wint, but after -about 1830 we find opaque white coming into general use, at first merely -to give increased force to the high lights, but later it was mixed -freely with all the transparent colours, and toned or tinted paper was -used to give greater brilliance to the body-colour. John F. Lewis worked -in this way, but the hardness and glitter to which it so easily conduced -led to its abandonment by the later artists who set themselves to render -the delicate gradations of the atmosphere. Yet one must admit that in -the hands of a master technician like Turner all the unpleasant -qualities so often apparent in body-colour work can be avoided, as the -_Rivers of France_ drawings prove. At the present time some artists, who -aim especially at force and brilliance of colour, prefer to work in -tempera, but it is doubtful whether this medium can rightly be regarded -as a form of water-colour painting. - -On the whole we may say that the technique of water-colour has changed -very little during the last two centuries. The chief change has perhaps -been connected with the introduction, about 1830, of moist colours put -up in metal tubes, a great convenience to artists in search of bold -effects without the expenditure of much time or trouble. But even this -has proved a doubtful advantage, and many artists have now gone back to -the use of hard cakes of colour, similar to those with which the earlier -men obtained their delicate and luminous results. - - - - -(4) SOME FAMOUS WATER-COLOUR PAINTERS OF THE PAST - - -In the previous section we have deliberately refrained from saying -anything about the purely artistic qualities of the works we have -referred to. This is because we have been engaged in a strictly -historical survey, and to the eye of history there is no difference -between the works of a great artist and those of a bungler. Both are -equally patent and indubitable facts. It is the business of criticism to -appraise the artistic beauty of works of art. And if in our historical -survey we have kept our attention fixed generally on the works of the -greater men, this is more the result of accident than design. Art -criticism has already sifted much of the good from the bad in the work -of the past, and it is more convenient, in a general survey of this -kind, to deal with what is best known and valued. But because history -can thus take advantage of what art criticism has done, that is no -reason why we should confuse the two processes, and it cannot be -repeated too often that historical importance or interest has nothing -whatever to do with artistic value. - -The aim of this section is to make good the defects of historical study, -so far, at least, as the limited space at our disposal will permit. With -this object in view we have selected a baker’s dozen of the more famous -artists of the past, and we will endeavour to indicate some of the -qualities which make their works a joy and delight to those who have the -privilege of knowing them. In each case we will supply, in tabloid form, -a certain amount of biographical information, as knowledge of the time -and place in which an artist works and the conditions under which he -produces helps us to understand what he has done; we shall also attempt -to point out the chief public galleries where each artist’s works - -[Illustration: PLATE III. - -(_In the possession of Messrs. J. Palser & Sons._) - -“KIRKHAM ABBEY.” BY JOHN SELL COTMAN, R.W.S.] - -can be seen (when happier times bring about the reopening of our museums -and art galleries), and the sources from which those who care for it can -obtain fuller information and more authoritative criticism than we -ourselves can supply. Such information as we can give will be as correct -as we can make it, but it will make no claim whatever to be exhaustive. - - -PAUL SANDBY - -[Born at Nottingham, 1725; entered military drawing office of the Tower -of London, 1746; draughtsman to a survey of the Northern and Western -Highlands, 1748-1751, during which time he published some etchings of -Scottish views; worked at Windsor for some years from 1752, where his -brother, Thomas, was Deputy Ranger; chief drawing-master, Royal Military -Academy, Woolwich, 1768-1797; elected Director of the Society of -Artists, October 18, 1766; original member of Royal Academy, 1768; -introduced the aquatint method of engraving into England; published -first set of twelve aquatints of views in South Wales, 1774, a second -set of views in North Wales, 1776, and a third set in 1777; died 1809. - - EXHIBITED: Society of Artists, 1760-’68; Royal Academy, 1769-’77, - ’79-’82, ’86-’88, ’90-’95, ’97-1802, ’06-’09; Free Society, 1782, - ’83. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum - (Water-Colours); British Museum; National Gallery of Ireland; - Greenwich Hospital; Diploma Gallery, R.A.; Manchester Whitworth - Institute; Norwich, Nottingham, Glasgow, etc., Art Galleries. - - BIOGRAPHICAL AND CRITICAL SOURCES: “Thomas and Paul Sandby,” by - William Sandby, 1892; “D. N. B.”; Roget’s “History of the Old - Water-Colour Society,” 1891. - - REPRODUCTIONS OF WORKS: “The Earlier English Water-Colour - Painters,” by Cosmo Monkhouse; “The English Water-Colour Painters,” - by A. J. Finberg; “Early English Water-Colour,” by C. E. Hughes; - “Water-Colour,” by the Hon. Neville Lytton; “Water-Colour - Painting,” by A. W. Rich; “The Royal Academy” (THE STUDIO Summer - Number, 1904); THE STUDIO, Jan. 1918.] - -Sandby was one of the most prolific of the earlier topographical -artists. His numberless drawings and the engravings he made from them -did more than any one man had done before to familiarize Englishmen with -the beauties of their native land. He was an indefatigable traveller, -and he was the first artist to discover the artistic beauties of Wales. - -He worked both in transparent colour and in gouache. His drawings in the -latter medium, of which there are several in the V. and A. Museum, are -distinctly inferior to his works in pure colour. They are scenic and -conventional in design, feeble and pretentious in execution. His -drawings in transparent colour, however, are delightfully fresh and -vigorous; luminous in effect, and filled with proofs of keen and genial -observation. They seem full of air and light, vivid human interest, and -in their treatment of architecture and of all natural features they are -at once careful, accurate and lucid without ever showing signs of labour -or fatigue. In the abundance of his work and its variety Sandby -approached nearer to Turner than any other artist. But he had not -Turner’s subtlety of eye and hand, nor his exquisite sense of artistic -form. His landscapes are well composed, but on conventional lines, and -the whole material is never welded together into an original and -impeccable design, as with Turner, Cozens, and Cotman. - -Sandby’s Welsh aquatints with their many daring effects of light form -the real forerunners of Turner’s “Liber Studiorum.” They display better -than any single drawing the width and range of the artist’s powers. - -As an engraver and water-colour painter Paul Sandby is a genial and -inspiriting personality. He transformed topographical draughtsmanship -into something new and living, instinct with life and emotion. “And if -we may not call him a great artist, we may at least say that he was a -topographical draughtsman of genius.” - - -ALEXANDER COZENS - -[Born in Russia, date unknown; son of Peter the Great and an -Englishwoman; sent by his father to study painting in Italy; said to -have come to England in 1746; drawing-master at Eton School, 1763-1768; -married a sister of Robert Edge Pine; elected Fellow of the Society of -Artists, 1765; died in Duke Street, Piccadilly, April 23, 1786. - - EXHIBITED: Society of Artists, 1760, ’63, ’65-’71; Free Society, - 1761, ’62; Royal Academy, 1772, ’73, ’75, ’77-’79, ’81. - - WORKS IN PUBLIC GALLERIES: V. and A. Museum (Water-Colours); - British Museum; Manchester Whitworth Institute. - - BIOGRAPHICAL AND CRITICAL SOURCES: Leslie’s “Handbook for Young - Painters”; Redgrave’s “Dictionary”; “Reminiscences of Henry - Angelo,” vol. i, 212-216; “D. N. B.” - - REPRODUCTIONS: THE STUDIO, Feb. 1917; Finberg’s “English - Water-Colour Painters.”] - -The date when Alexander Cozens came to England is given above as 1746. -This is what we find in all the reference books, and it is founded on a -memorandum pasted in a book of drawings made by the artist in Italy -which is now in the British Museum. This memorandum states that -“Alexander Cozens, in London, author of these drawings, lost them, and -many more, in Germany, by their dropping from his saddle, when he was -riding on his way from Rome to England, in the year 1746. John Cozens, -his son, being at Florence in the year 1776, purchased them. When he -returned to London in the year 1779 he delivered the drawings to his -father.” Now either the date in this note is wrong or, what seems a more -probable explanation, Alexander Cozens’s journey to England in 1746 was -not the occasion of his first visit to this country, for there is an -engraved _View of the Royal College of Eton_, after a drawing made by -Cozens, which was published in 1742. It was engraved by John Pine, whose -daughter afterwards became Alexander Cozens’s wife. The existence of -this engraving, which has been noticed by none of the writers on -Cozens’s life, seems to point to the probability that the artist came to -England at least four years earlier than has been supposed. It also -shows how little we know about Cozens’s early life, and it suggests a -certain amount of scepticism about the constantly repeated statements on -this subject which rest, apparently, either on dubious authority or on -authority which has not or cannot be verified. - -Alexander Cozens’s work attracted little attention in modern times until -the late Mr. Herbert Home perceived its beauties. Public attention was -first drawn to it by the “Historical Collection of British -Water-Colours” organized by the Walpole Society in the Loan Exhibition -held at the Grafton Galleries at the end of 1911, which included five -beautiful drawings by Cozens. This was followed, in 1916, by an -exhibition of Mr. Home’s collection of drawings with special reference -to the works of Alexander Cozens, held by the Burlington Fine Arts Club. -To the catalogue of this exhibition Mr. Laurence Binyon contributed a -valuable article on “Alexander Cozens and his Influence on English -Painting.” In this article Mr. Binyon does justice to Cozen’s -originality of design and to the emotional power of his drawings. “In -his freest vein he uses his brush with a loose impetuosity which reminds -one curiously of Chinese monochrome sketches--the kind of work beloved -by those Chinese artists who valued spontaneous freshness and personal -expressiveness above all else in landscape.” “It was indeed,” Mr. Binyon -adds, “the naked elements” (of landscape structure) “rather than the -superficial aspects of a scene which appealed to his imagination; and in -nature it was the solitary and the spacious rather than the agreeably -picturesque which evoked his deepest feelings.” - -Alexander Cozens used colour sparingly and seldom. His best drawings are -either in bistre or in indian ink, and he was fond of working on -stained, or perhaps oiled, paper (which was formerly used for tracing). -Such paper has doubtless acquired a darker tone with age, and it adds to -the “sombreness” of which contemporaries complained in his drawings. - - -JOHN ROBERT COZENS - -[Son of Alexander Cozens, born 1752; made sketching tour in Switzerland -and Italy, with R. Payne Knight, 1776-1779; again visited Switzerland -and Italy, this time in company with William Beckford, 1782; became -insane, 1794; died, it is said, 1799. - - EXHIBITED: Society of Artists, 1767-’71; Royal Academy, 1776. - - WORKS IN PUBLIC GALLERIES: V. and A. Museum (Water-Colours); - British Museum; National Gallery of Ireland; Manchester Whitworth - Institute; Fitzwilliam Museum, Cambridge; Oldham Art Gallery - (Charles E. Lees’ Collection); Manchester Art Gallery (James Blair - Bequest). - - BIOGRAPHICAL AND CRITICAL SOURCES: Edwards’s “Anecdotes”; Leslie’s - “Handbook”; Redgrave’s “Century” and “Dictionary”; “D. N. B.” - - REPRODUCTIONS: Cosmo Monkhouse’s, Finberg’s, Hughes’s and Rich’s - works, already cited; THE STUDIO, Feb. 1917.] - -It is really surprising that we know so little about this artist. During -his lifetime his works were much sought after, and he must have been -personally known to a number of distinguished people; both Payne Knight -and the eccentric millionaire, William Beckford, the author of “Vathek,” -and owner and rebuilder of Fonthill Abbey, with whom he travelled in -Italy and Switzerland, and who both possessed a large number of his -drawings, were voluminous writers, yet neither has deigned to tell us -anything of interest about the character, personality, or even outward -appearance of this very great artist. Both Beckford and Knight wrote -accounts of their travels, but one searches them in vain for a single -word that would prove that these highly intelligent men had the shadow -of a notion that the quiet and unobtrusive young “draughtsman” in their -employ was one of the greatest artists their country had produced. - -We do not know for certain where or when John Cozens was born nor when -he died. Roget says he “appears to have been born abroad when his parent -was giving lessons in Bath,” but he gives no authority for the -statement, and so far as I know it has not been verified. The best -evidence for the date of his birth seems to be Leslie’s statement that -he once saw a small pen-drawing on which was written, “Done by J. -Cozens, 1761, when nine years of age.” If the date is correct Cozens was -only fifteen when he began to exhibit at the Society of Artists. -Constable stated that Cozens died in 1796, but most of the authorities -give the date as 1799. - -That the artist was modest and unobtrusive, like his drawings, we may -feel sure. As Leslie wrote, “So modest and unobtrusive are the beauties -of his drawings that you might pass them without notice, for the painter -himself never says ‘Look at this, or that,’ he trusts implicitly to your -own taste and feeling; and his works are full of half-concealed beauties -such as Nature herself shows but coyly, and these are often the most -fleeting appearances of light. Not that his style is without emphasis, -for then it would be insipid, which it never is, nor ever in the least -commonplace.” - -Constable was one of the first to realize Cozens’s true greatness. -“Cozens,” he said, “is all poetry,” and on another occasion he rather -shocked Leslie by asserting that Cozens was “the greatest genius that -ever touched landscape.” Yet this assertion contains nothing but the -plain truth. Genius is the only word we can use to describe the intense -concentration of mind and feeling which inspires Cozens’s work. To the -analytic eye his drawings are baffling and bewildering in the extreme; -it is impossible to find a trace of cleverness or conscious artifice in -them. They make you feel that you are looking at the work of a -somnambulist or of one who has painted in a trance. They are, I believe, -the most incorporeal paintings which have been produced in the Western -world, for the paint and the execution seem to count for so little and -the personal inspiration for so much. The painter’s genius seems to -speak to you direct, and to impress and overawe you without the help of -any intermediary. - -In this respect Cozens is quite different from Turner. Even when he -trusted most implicitly to his genius Turner was always the great -artist, the great colourist, the incomparable master of his technique -whatever medium he was working in. Beyond the sheer beauty of his simple -washes of transparent colour there is hardly a single technical or -executive merit in Cozens’s drawings that one can single out for praise -or even for notice. Their haunting beauty and incomparable power are -spiritual, not material. And as we can think of a spirit too pure and -fine to inhabit a gross body like our own, so Cozens seems to be a -genius too spiritual for form and colour and the palpable artifices of -representation. Certainly no English artist relied more serenely and -confidently on his genius, and subdued his art more absolutely to -spiritual purposes. And this is what I think Constable meant when he -called Cozens “the greatest genius that ever touched landscape”; he did -not say that he was the greatest artist. - -As one of our illustrations we reproduce the drawing _Lake Albano and -Castel Gandolfo_ by Cozens (Plate I) in the collection of Mr. C. Morland -Agnew. - - -THOMAS GIRTIN - -[Born in Southwark, 1775; apprenticed to Edward Dayes; first engravings -after his drawings published in “Copper Plate Magazine,” 1793; sketching -tours, in the Midlands (Lichfield, etc.), 1794, Kent and Sussex 1795, -Yorkshire and Scotland 1796, Devonshire 1797, Wales 1798, Yorkshire and -Scotland 1799; “Girtin’s Sketching Society” established, 1799; married, -1800; went to Paris, Nov. 1801, and returned to England, May 1802; his -_Eidometropolis_, or Great Panorama of London, exhibited at Spring -Gardens, August, 1802; died Nov. 9, 1802; engravings of his views of -Paris published shortly after his death. - - EXHIBITED: Royal Academy, 1794, ’95, ’97-1801. - - WORKS IN PUBLIC GALLERIES: V. and A. Museum (Water-Colours); - British Museum; National Galleries of Scotland and Ireland; - Manchester Whitworth Institute; Ashmolean and Fitzwilliam Museums; - Oldham Art Gallery (Charles E. Lees’ Collection). - - BIOGRAPHICAL AND CRITICAL SOURCES: Edwards’s “Anecdotes”; Dayes’ - “Professional Sketches”; Redgrave’s “Century” and “Dictionary”; - B.F.A. Club’s Catalogue, 1875; Roget’s “History”; Binyon’s “Life - and Works,” 1900; Walpole Society’s Vols. II. and V. - - REPRODUCTIONS: Binyon’s “Life”; Monkhouse’s, Finberg’s, Hughes’s, - Lytton’s, and Rich’s works already cited; THE STUDIO (Centenary of - Thomas Girtin Number), Nov. 1902; THE STUDIO, May 1916; Walpole - Society’s Vols. II. and V.] - -Compared with John Cozens’s work Girtin’s appears often self-conscious -and artificial. His drawings were admired by his contemporaries chiefly -on account of their style; references to the “sword-play” of his -pencil, the boldness and swiftness of his washes, constantly recur in -their eulogies of his work. Girtin was nearly always a stylist, and -often a mannerist. But his style, at its best, is so thoroughly in -keeping with the spirit of his work that it is difficult to separate the -two. His love of the sweeping lines of the open moorland and his passion -for height and space appeal irresistibly to our imagination, while the -broad simplicity of his vision, his restrained and truthful colour, and -his frank, bold, decisive handling seem the only adequate means by which -his inspiration could find clear and authoritative expression. - -We must remember, too, that Girtin died at the age of twenty-seven. The -knowledge of his early and untimely death intensifies our admiration for -all he did; while the few supreme masterpieces of poetical landscape he -has left us, like the _Plinlimmon_, show clearly what our national art -lost by the tragedy of his early death. - -Girtin seems to have mastered his art as Robert Louis Stevenson mastered -his, by “playing the sedulous ape” to the men he admired. There are now -in the British Museum copies he made after Antonio Canal, Piranesi, -Hearne, Marlow, and Morland. Of these masters Canal seems to have -impressed and taught him most. The spaciousness and breadth of effect of -all his topographical work are clearly the outcome of his admiration for -Canal’s drawings and paintings. The calligraphic quality of his line -work, what has been called the “sword-play” of his pencil, is also due -to the same influence. - -His earlier drawings, made about 1792 and 1793, were, however, modelled -on the style of his master, Edward Dayes. The drawings he made after -James Moore’s sketches--of which several have been recently acquired by -the Ashmolean Museum--might easily be mistaken for Dayes’ work. They -only differ in being more accomplished and workmanlike than those which -his master made for the same patron, and in their deliberate avoidance -of the dark “repoussoir” of which Dayes was so fond in his -foregrounds--an avoidance which gives Girtin’s drawings a greater unity -and a more decorative effect than those of Dayes. - -By about 1795 Girtin’s real style began to assert itself, in drawings -like those of Lichfield and Peterborough Cathedrals. From this time we -find him pouring forth an abundance of superb topographical subjects -instinct with style and ennobled with poetry and imagination--drawings -like _Rievaulx Abbey_ (1798), in the V. and A. Museum, _Carnarvon -Castle_, and _The Old Ouse Bridge, York_, both in the possession of his -great-grandson, Mr. Thomas Girtin. The noble studies for his Panorama of -London (made probably in 1801), his _Lindisfarne_ (?1797) and -_Bridgnorth_ (1802), are fortunately in the British Museum. The drawings -he made on his return from Paris, during the last sad months of his -fast-ebbing life--drawings like the _Porte St. Denis_--are amongst the -most superb of his splendid productions. - -I will close these brief and inadequate remarks by copying out two -advertisements connected with Girtin’s “Panorama” which I believe have -not been printed or referred to by any one of the writers on his life -and work. The first appeared in “The Times” on August 27, 1802. It runs -as follows: “_Eidometropolis_, or Great Panoramic Picture of London, -Westminster, and Environs, now exhibiting at the Great Room, Spring -Gardens, Admission 1_s._ T. Girtin returns his most grateful thanks to a -generous Public for the encouragement given to his Exhibition, and as it -has been conceived to be merely a Picture framed, he further begs leave -to request of the Public to notice that it is Panoramic, and from its -magnitude, which contains 1944 square feet, gives every object the -appearance of being the size of nature. The situation is so chosen as to -shew to the greatest advantage the Thames, Somerset House, the Temple -Gardens, all the Churches, Bridges, principal Buildings, &c., with the -surrounding country to the remotest distance, interspersed with a -variety of objects characteristic of the great Metropolis. His views of -Paris, etched by himself, are in great forwardness, and to be seen with -the Picture as above.” - -The second notice is as follows: “Thursday, 11 Nov., 1802. The Public -are most respectfully informed that in consequence of the decease of Mr. -Thomas Girtin, his Panorama of London exhibiting at Spring Gardens, will -be shut till after his interment, when it will be re-opened for the -benefit of his widow and children, under the management of his brother, -Mr. John Girtin.” - -As an example of Girtin’s work we reproduce _The Valley of the Aire with -Kirkstall Abbey_ (Plate II), from Mr. Thomas Girtin’s collection. - - -JOSEPH MALLORD WILLIAM TURNER - -[Born in Maiden Lane, Covent Garden, 23 April, 1775; worked in Life -Academy, R.A. schools, 1792-1799; A.R.A., 1799, R.A. 1802; first tour on -Continent, 1802; first part of “Liber Studiorum” issued, 1807; Professor -of Perspective, R.A., 1807-1837; _Crossing the Brook_ exhibited 1815; -published “Southern Coast” series of engravings, 1814-1826, “Views in -Sussex,” 1816-1820, Hakewill’s “Italy,” 1818-1820, “Richmondshire,” -1818-1823, “Provincial Antiquities of Scotland,” 1819-1826, “England and -Wales,” 1827-1838, Rogers’s “Italy,” 1830, and “Poems,” 1834, “Rivers of -France,” 1833-1835; exhibited _Rain, Steam, and Speed_, 1844; died Dec. -18, 1851. - - EXHIBITED: Royal Academy, 1790-1804, ’06-’20, ’22, ’23, ’25-’47, - ’49, ’50; British Institution, 1806, ’8, ’9, ’14, ’17, ’35-’41, - ’46; Society of British Artists, 1833, ’34; Institution for Enc. of - F.A., Edinburgh, 1824; Cooke’s Exhibitions, 1822-’24; Northern - Academy of Arts, Newcastle, 1828; R. Birmingham S. of Artists, - 1829, ’30, ’34, ’35, ’47; Liverpool Academy, 1831, ’45; R. - Manchester Institution, 1834, ’35; Leeds Exhibition, 1839. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum; - British Museum; National Galleries of Ireland and Scotland; - Ashmolean and Fitzwilliam Museums; Manchester Whitworth Institute; - Bury Art Gallery, etc. etc. - - BIOGRAPHICAL AND CRITICAL SOURCES: Peter Cunningham’s Memoir, in - John Burnet’s “Turner and his Works,” 1852; Alaric Watts’s Memoir, - in “Liber Fluviorum,” 1853; Ruskin’s “Modern Painters” and - “Preterita”; Thornbury’s “Life, etc.,” 2 vols., 1862; Hamerton’s - “Life,” 1879; Monkhouse’s “Turner” (in “Great Artists Series”), - 1882; C. F. Bell’s “Exhibited Works of Turner,” 1901; Sir Walter - Armstrong’s “Turner,” 1902; Finberg’s “Turner’s Sketches and - Drawings,” 1910; etc. etc. - - REPRODUCTIONS: Armstrong’s “Turner”; Wedmore’s “Turner and Ruskin”; - “The Genius of Turner” (THE STUDIO Special Number, 1903); “Hidden - Treasures at the National Gallery,” 1905; “The Water-Colours of J. - M. W. Turner” (THE STUDIO Spring Number, 1909); “Turner’s - Water-Colours at Farnley Hall” (THE STUDIO Special Number, 1912); - Walpole Society’s Vols. I., III., and VI.] - -Turner’s first exhibited water-colour, a _View of the Archbishop’s -Palace, Lambeth_ (1790), is a poor imitation of Malton’s least inspired -topographical drawings. But he learned quickly. His _Inside of Tintern -Abbey_, (1794) shows that before he was twenty he could draw and paint -Gothic architecture better than any of the older topographical artists. -His pre-eminence as a topographical draughtsman was firmly established -by 1797, when he had painted such works as the _Lincoln Cathedral_ -(1795), _Llandaff Cathedral_ (1796), _Westminster Abbey: St. Erasmus and -Bishop Islip’s Chapel_ (1796), and _Wolverhampton_ (1796). - -From 1796 to 1804 Turner’s style changed, chiefly under the influence of -Richard Wilson’s works, which he studied and copied diligently. These -years saw the production of _Norham Castle_ (1798), _Warkworth Castle_ -(1799), _Edinburgh, from Calton Hill_ (1804), _The Great Fall of the -Reichenbach_ (done in 1804, but not exhibited till 1815), and the -wonderful sketches in the Alps, _Blair’s Hut_, _St. Gothard_, etc. -(1802). In these energetic and powerful drawings he aims at getting -depth and richness of tone and colour. - -From 1804 to 1815 his energies were mainly directed to the production of -his great sea-paintings, _The Shipwreck_, _Spithead_, etc., his lovely -English landscapes like _Abingdon_, _Windsor_, _The Frosty Morning_, and -_Crossing the Brook_, and to making the designs in sepia for his “Liber -Studiorum” and helping to engrave the plates. His water-colours during -these years were not numerous, but they include _Scarborough Town and -Castle_ (1811), _The Strid_ (about 1811), _Bolton Abbey from the South_ -(about 1812), all three at Farnley Hall, Mr. Morland Agnew’s -_Scarborough_ (1810), _Scene on the River Tavey_ (1813)--called by Mr. -Ruskin _Pigs in Sunshine_, now in the Ruskin School at Oxford, and the -_Malham Cove_ (about 1815), now in the British Museum (Salting Bequest). -In these drawings the capacities of water-colour are not forced so much -into rivalry with the depth and power of oil painting as in those of the -1797-1804 period. - -About 1812 or 1813 Turner began making the drawings which were engraved -and published in Cooke’s “Picturesque Views of the Southern Coast of -England.” Between 1815 and 1840 nearly all his work in - -[Illustration: PLATE IV. - -(_In the possession of J. F. Schwann, Esq._) - -“LAUNCESTON.” BY J. M. W. TURNER, R.A.] - -water-colour was done to be engraved and published in similar -undertakings. Turner’s fame as a water-colour painter rested during his -lifetime chiefly on these drawings. Among them are many of the most -beautiful works which have ever been produced in this medium. It is a -pity, therefore, that they are not more adequately represented in our -public galleries. This remark applies particularly to the drawings in -transparent colour (like the _Launceston_, for instance, which is here -reproduced, Plate IV), for those in body-colour--the “Rivers of -France”--are nearly all either in the National Gallery, Ashmolean or -Fitzwilliam Museums. But with the exception of _Hornby Castle_ (V. & A. -Museum) and most of the originals of the “Rivers” and “Ports of England” -series (in the National Gallery), nearly all Turner’s drawings made for -the engravers are in private collections. We may perhaps allow ourselves -to hope that some time in the future a separate gallery may be founded -to do justice to British water-colours, in which such drawings would -have to be properly represented. - -After about 1840 Turner only worked in water-colours for his own -pleasure and for that of a small circle of friends and admirers. The -drawings made for his own pleasure are now nearly all in the National -Gallery, where they have never been properly exhibited and where most of -them cannot be seen by the public. These formed part of the Turners -which the Trustees wanted to sell about a year ago. The drawings made -for his friends and admirers include the _Constance_, _Lucerne_, and -others of what have been called “The Epilogue” drawings. The public is -able to catch glimpses of these occasionally at loan exhibitions and in -auction rooms. - - -JOHN SELL COTMAN - -[Born at Norwich, May 16, 1782; went to London, 1798; gained prize for a -drawing from the Society of Arts, 1800; returned to Norwich, 1806, and -opened a school for drawing and design; married, 1809; published a -series of etchings, 1811, and became president of the Norwich Society of -Artists; published “Norman and Gothic Architecture,” 1817, and -“Architectural Antiquities of Normandy,” 1822; Associate, Society of -Painters in Water-Colours, 1825; appointed Professor of Drawing at -King’s College, London, 1834, mainly through Turner’s influence; -published his “Liber Studiorum,” 1838; died July 24, 1842. - - EXHIBITED: Royal Academy, 1800-’06; Associated Artists, 1810, ’11; - Society of Painters in Water-Colours, 1825, ’26, ’28-’39; Society - of British Artists, 1838; Norwich Society of Artists, 1807-’12, - ’15, ’18, ’20, ’21, ’23, ’24; Norfolk and Suffolk Institution, - 1828-’33. - - WORKS IN PUBLIC GALLERIES: National Gallery (an oil-painting); V. - and A. Museum (Water-Colours); British Museum; National Galleries - of Scotland and Ireland; Norwich Castle Museum; Manchester - Whitworth Institute, etc. - - BIOGRAPHICAL AND CRITICAL SOURCES: Memoir in catalogue of Norwich - Art Circle’s exhibition of Cotman’s works, July 1888; Laurence - Binyon’s “Crome and Cotman” (Portfolio Monograph), 1897, and - “Cotman” in “Masters of English Landscape Painting” (THE STUDIO - Summer Number, 1903). - - REPRODUCTIONS: The three works cited above, and histories of - British water-colour painting by Monkhouse, Finberg, etc., already - cited.] - -Cotman is the greatest of all the English water-colour painters born -after Turner. He is the only one of them whose works can be put beside -Turner’s and judged on a footing of equality. When we compare Prout, -Cox, De Wint, and even Bonington, with Turner we feel that they must be -judged by some less exacting standard than that which we apply to -Turner. This is not the case with Cotman. He had not the width and -range, the abundance and all-conquering power of Turner, but within his -own limits he is every whit as unapproachable. - -Cotman was a member of Girtin’s sketching club, and it is evident that -Girtin’s influence counted for much in his early work. From Girtin he -learned to rely first and foremost upon full-bodied washes of colour -placed exactly where they were wanted and left to dry just as they had -flowed from the brush. Cotman’s quite early works can easily be mistaken -for poor drawings by Girtin or Francia. But in the drawings produced -between 1803 and 1817, we find that he was not satisfied to paint, like -the older men, in his studio upon an arbitrarily chosen formula of -colouring. In a letter written to Dawson Turner on Nov. 30, 1805, he -speaks of his summer sketching tour to York and Durham, and adds, “My -chief study has been colouring from Nature, many of which are close -copies of that full Dame.” We see one of the results of these studies in -what is perhaps his earliest masterpiece, the _Greta Bridge, Yorkshire_ -(1806), now in the British Museum. Its colour-scheme is as original as -it is beautiful. The colouring is “natural,” but it is Nature simplified -to a system of harmoniously coloured spaces, in which light and shade -and modelling are suggested rather than rendered. - -The distinctive peculiarity of the workmanship of this, as indeed of all -Cotman’s drawings, is his reliance on the clear stain or rich blotting -of the colour on paper preserved in all its freshness. The aims of -representation are forced so much into the background that the artist -seems to be mainly intent on the discovery and display of “the beauty -native and congenial” to his materials. Mr. Binyon has drawn attention -to the unconscious similarity of Cotman’s methods and aims to those of -the great schools of China and Japan of more than a thousand years ago. - -Among the better-known of Cotman’s drawings of this period we may -mention the _Twickenham_ (1807), _Trentham Church_ (about 1809), -_Draining Mill, Lincolnshire_ (1810), and _Mousehold Heath_ (1810); -these are all reproduced in “Masters of English Landscape Painting” (THE -STUDIO Summer Number, 1903), in which Mr. Binyon’s illuminating essay -was published. The beautiful drawing of _Kirkham Abbey, Yorkshire_, here -reproduced (Plate III) by the courtesy of Messrs. J. Palser & Sons, is -an admirable example of Cotman’s wonderful mastery in the use of decided -washes of pure colour. - -In 1817 Cotman made his first visit to Normandy, and after this date his -colour becomes warmer, brighter, and more arbitrary. After about 1825 he -indulges himself freely in the use of the strong primary colours, -influenced probably by Turner’s daring chromatic experiments. - - -DAVID COX - -[Born at Deritend, Birmingham, April 29, 1783; scene-painter in London, -1804; President of the “Associated Artists,” 1810; member of the Society -of Painters in Water-Colours, 1813; drawing-master at Hereford, -1814-1826; published “Treatise on Landscape Painting,” 1814, “Lessons in -Landscape,” 1816, “Young Artists’ Companion,” 1825, etc.; took lessons -in oil painting from W. J. Müller, 1839; removed to neighbourhood of -Birmingham, 1841, visiting Bettws-y-Coed yearly, 1844-1856; died June 7, -1859. - - EXHIBITED: Royal Academy, 1805-’08; ’27-’29, ’43, ’44; Associated - Artists, 1809-’12; Society of Painters in Water-Colours, 1813-’16, - ’18-’59; British Institution, 1814, ’28, ’43; Society of British - Artists, 1841, ’42. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum - (Water-Colours); British Museum; National Galleries of Scotland and - Ireland; Birmingham Art Gallery; Manchester Whitworth Institute; - Glasgow, Manchester, Bury, Nottingham Art Galleries, etc. - - BIOGRAPHICAL AND CRITICAL SOURCES: “Memoir of the Life of David - Cox,” by N. Neal Solly, 1875; Wedmore’s “Studies in English Art,” - 2nd series. - - REPRODUCTIONS: Solly’s “Memoir”; Masters of English Landscape - Painting (THE STUDIO Summer Number, 1903); “Drawings of David Cox” - (Newnes’s “Modern Master Draughtsmen” Series).] - -It was not till about 1840, when he was fifty-seven years of age, that -Cox managed to break free from the drudgery of teaching. This drudgery -during the greater part of his life undoubtedly exercised a mischievous -effect upon his art. Besides wasting so much of his time, and thus -preventing him from attempting works which required sustained efforts, -it forced him to develop a mechanical and facile dexterity of style. He -got into the habit of “slithering” over the individual forms of objects, -making his rocks and trees as rounded and shapeless as his clouds, in a -way that irritates any one who has learned to use his eyes. There is -some truth in John Brett’s remark that “the daubs and blots of that -famous sketcher (David Cox) were just definite enough to suggest ... the -most superficial aspects of things,” though it may have been prompted by -envy and exasperation. - -Cox’s reputation nowadays rests to a large extent on the drawings he -made after 1840. _Hayfield with Figures_, _The Young Anglers_ (1847), -the _Welsh Funeral_ (1850), _The Challenge_ (1853), and _Snowden from -Capel Curig_ (1858) were among the fine things produced by the grand old -artist during the last years of his life. Such moving and powerful -works are stamped with the sincerity, simplicity, and rugged dignity of -David Cox’s own character. - - -SAMUEL PROUT - -[Born at Plymouth, Sep. 17, 1783; settled in London, 1811; member of the -Society of Painters in Water-Colours, 1819; published “Rudiments of -Landscape,” etc., 1813, “A New Drawing Book for the Use of Beginners,” -1821, and other drawing books; published lithographs of his Continental -drawings, The Rhine, 1824, Flanders and Germany, 1833, France, -Switzerland, and Italy, about 1839; died at Denmark Hill, Feb. 1852. - - EXHIBITED: Royal Academy, 1803-’05, ’08-’10, ’12-’14, ’17, ’26, - ’27; British Institution, 1809-’11, ’16-’18; Associated Artists, - 1811, ’12; Society of Painters in Water-Colours, 1815-’51. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum - (Water-Colours); British Museum; National Galleries of Scotland and - Ireland; Fitzwilliam and Ashmolean Museums; Manchester Whitworth - Institute; Birmingham, Manchester, Bury Art Galleries, etc. - - BIOGRAPHICAL AND CRITICAL SOURCES: Ruskin, in “Art Journal,” 1849, - “Modern Painters,” and “Notes on S. Prout and W. Hunt”; Roget’s - “History of the Old Water-Colour Society,” 1891; “D. N. B.,” - “Sketches by Samuel Prout” (THE STUDIO Winter Number, 1914-’15), - with text by E. G. Halton. - - REPRODUCTIONS: Ruskin’s “Notes,” etc., 1879-’80; “Sketches by - Samuel Prout” (THE STUDIO Winter Number, 1914-’15).] - -Up to 1819 Prout’s work was confined to the making of English -topographical drawings and marine subjects. They show Girtin’s influence -mainly, and they are stolid, heavy-handed, and rather dull. - -In 1819 Prout went to France, and in 1821 to Belgium and the Rhine -provinces. The drawings made from his sketches appeared in the -exhibitions of the Society of Painters in Water-Colours and attracted a -great deal of interest and admiration, partly on account of their novel -subject-matter--for the public was beginning to weary of the numberless -views of Tintern Abbey, Harlech, Conway and Carnarvon Castles, and other -English subjects, with which it had been surfeited during the preceding -twenty years--and partly on account of Prout’s boldness of manner and -marked feeling for the picturesque. Having struck this successful vein -of subject-matter Prout continued to work it till the end of his life, -producing a great quantity of water-colours of Continental buildings, -all executed on the same general principles, and several series of -admirable lithographs from his sketches and drawings. - -Ruskin liked Prout and admired his work inordinately. In “Modern -Painters” he calls him “a very great man”--which is absurd--and says -that his rendering of the character of old buildings is “as perfect and -as heartfelt as I can conceive possible.” Some people may prefer the -buildings in Turner’s early drawings, in Cotman’s, Girtin’s, and -Bonington’s works. But Prout’s work is uniformly successful within its -own limitations; it is bold, workmanlike, and picturesque, and its -subject-matter is full of inexhaustible interest and delight. - - -PETER DE WINT - -[Born at Stone, Staffordshire, Jan. 21, 1784; apprenticed to John -Raphael Smith, 1802; student R. A. Schools, 1809; Associate, Society of -Painters in Water-Colours, 1810, member, 1811, and 1825; died at 40 -Upper Gower Street, June 30, 1849. - - EXHIBITED: Royal Academy, 1807, ’11, ’13-’15, ’19, ’20, ’28; - British Institution, 1808, ’13-’17, ’21, ’24; Associated Artists, - 1808, ’09; Society of Painters in Water-Colours, 1810-’15, ’25-’49. - - WORKS IN PUBLIC GALLERIES: V. and A. Museum (Oil and - Water-Colours); British Museum; National Galleries of Scotland and - Ireland; Manchester Whitworth Institute; Birmingham, Manchester, - Glasgow, Bury, Norwich, Nottingham Art Galleries, etc. - - BIOGRAPHICAL AND CRITICAL SOURCES: Sir Walter Armstrong’s “Peter De - Wint,” 1888; Roget’s “History,” etc.; “D. N. B.” - - REPRODUCTIONS: Armstrong’s “De Wint”; “Masters of English Landscape - Painting” (THE STUDIO Special Summer Number, 1903).] - -De Wint’s work may be described as a cross between that of Girtin and -Cotman. Girtin was his first source of inspiration. From him he learned -the value of breadth of effect and simplicity of design. From Cotman he -learned to distil his colour harmonies from Nature. As a draughtsman he -was less of a mannerist than Girtin, and he had not Cotman’s marvellous -feeling for the beauties of abstract design. - -De Wint had Dutch blood in his veins, and he had a good deal of the -Dutchman’s solidity of character and stolid realism. His drawings always -look like bits of real life. They are nearer to the common experience of -Nature than either Turner’s, Cozens’, Girtin’s, or Cotman’s works. But -his homely realism is always restrained by his respect for the medium he -worked in and by his innate sense of style. - -His work is well represented in the Victoria and Albert Museum by -drawings like _Bray on the Thames, from the Towing Path_, _Hayfield_, -_Yorkshire_, and _Westmoreland Hills, bordering the Ken_, all lent to -that Museum from the National Gallery; and of his famous works in -private collections we may mention _Cookham-on-Thames_, recently in the -Beecham Collection, _The Thames from Greenwich Hill_, once in the -collection of James Orrock, and _Near Lowther Castle_. - -For all his “objectivity,” his steadiness of poise, his calm strength of -character, De Wint’s work is intensely personal and original. The number -of admirers of his manly and felicitous work has steadily increased -since his death, and can only go on increasing as the public gets more -opportunities of seeing his noble works with their superb mosaic of -rich, deep, and harmonious colour. - - -RICHARD PARKES BONINGTON - -[Born at Arnold, near Nottingham, October 25, 1802; received some -instruction from Francia at Calais, 1817; studied at the Louvre and -Institute, and under Baron Gros, at Paris; first exhibited at the -Salon, 1822; made lithographs for Baron Taylor’s “Voyages Pittoresques -dans l’ancienne France,” “Vues Pittoresques de l’Ecosse” (1826) and -other works; visited England with Delacroix, 1825; died during a visit -to England, 1828. - - EXHIBITED: Salon (Paris), 1822 (Water-Colours), ’24 - (Water-Colours), ’27 (Oils and Water-Colours); Royal Academy, 1827, - ’28; British Institution, 1826-’29. - - WORKS IN PUBLIC GALLERIES: Louvre; National Gallery; National - Portrait Gallery (a small drawing of himself); V. and A. Museum - (Oil and Water-Colours); British Museum; Wallace Collection; - Manchester Whitworth Institute; Nottingham, Birmingham, Manchester, - and Glasgow Art Galleries; National Gallery of Ireland. - - BIOGRAPHICAL AND CRITICAL SOURCES: “Annual Register” and - “Gentleman’s Magazine,” 1828; Cunningham’s “Lives,” etc.; - Redgrave’s “Dictionary”; THE STUDIO, Nov. 1904; Catalogue of - Bonington’s Lithographs, by Aglaüs Bonvenne (Paris), 1873; - “Influence de Bonington et de l’Ecole Anglaise sur la Peinture de - Paysage en France,” by A. Dubuisson (Walpole Society’s Vol. II.). - - REPRODUCTIONS: “Series of Subjects from Bonington’s Works,” - lithographed by J. D. Harding (twenty-one plates), 1828; - Monkhouse’s and Hughes’s works cited above.] - -Bonington was the most brilliant of the later school of topographical -artists--those who used the full resources of water-colour for the -production of pictorial effects. The drawings he produced during his -short life--for he died at twenty-six, may be divided into purely -topographical subjects, like the _Street in Verona_ (V. and A. Museum); -river and coast scenes, like the _Rouen_ (Wallace Collection); and -figure subjects, in which historical costume played the chief part, like -the _Meditation_ and several other drawings in the Wallace Collection. - -His drawings are amazingly dexterous, firm and large in handling, finely -composed, and wonderfully rich in tone and colour. His influence on -English artists was considerable, particularly on W. J. Müller, T. -Shotter Boys, and William Callow. - -As he worked mostly in Paris his best paintings and drawings are -generally to be found in the French private collections. That is -probably why he is better known and more warmly appreciated in France -than in England. An authoritative book on Bonington’s life and work is -much needed. Just before the war broke out it was rumoured that a work -of this kind, the joint production of Monsieur A. Dubuisson and Mr. C. -E. Hughes, was about to be published by Mr. John Lane. Such a work will -be doubly welcome, for it will help us to realize the amazing quantity -of work Bonington managed to produce in his short life, and its -wonderful quality; and it should benefit Bonington’s reputation by -drawing attention to the large number of drawings and paintings to -which, in our public and private collections, his name is wrongly and -ignorantly given. - - -MYLES BIRKET FOSTER - -[Born at North Shields, February 4, 1825, of an old Quaker Family; -educated at the Quaker Academy at Hitchin, Herts, where he had lessons -from Charles Parry, the drawing master; apprenticed to Ebenezer -Landells, the wood-engraver, 1841-1846; engaged chiefly on -book-illustration till 1858, after that time devoted mostly to painting; -Associate “Old” Water-Colour Society, 1860, member, 1862; painted in -oils 1869-1877, after which he abandoned it in favour of water-colours; -died at Weybridge, March 27, 1899. - - EXHIBITED: Royal Academy, 1859, ’69-’77, ’81; Society of Painters - in Water-Colours, 1860-’99; Society of British Artists, 1876; Royal - Scottish Academy, 1871, ’75. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum - (Water-Colours); Birmingham, Manchester, and Bury Art Galleries. - - BIOGRAPHICAL AND CRITICAL SOURCES: “Art Annual,” 1890; “Athenæum,” - April 1, 1899; “D. N. B.” (Supplement); “Birket Foster,” by H. M. - Cundall, 1906. - - REPRODUCTIONS: “Art Annual,” 1890; Cundall’s “Birket Foster.”] - -In his choice of subjects Birket Foster confined himself generally to -roadside and woodland scenes, and in these he sought prettiness rather -than the deeper and more profoundly poetical emotions. His work is neat -and extraordinarily accomplished, but his style being always the same -made its many merits seem mechanical and unfeeling. Unlike the older men -he avoided the use of broad washes of transparent colour, used -body-colour freely, and finished his work with elaborate stipplings. - -His standard of excessive finish, his general methods of work and choice -of subject-matter, were violently opposed to those of the younger men -who came after him. For this reason, and also because of the great -popularity he enjoyed, Birket Foster’s work has excited the animosity of -“superior persons” and æsthetes. But their cheap and easy sneers merely -mark the inevitable reaction which follows a period of indiscriminating -praise. Doubtless Birket Foster was not the great artist his -contemporaries thought him to be. But his work must figure in any -well-balanced history of British landscape painting, if only because it -expresses so fully and abundantly, and with so much technical success, -the artistic ideals of a large part of the nineteenth century. But it -also deserves consideration for other reasons. Birket Foster’s grace and -prettiness were the results of his sincere and unaffected love of the -orderliness and real beauty of the life of the English countryside. He -had a genuine affection for the themes he painted, and he painted them -in the way he thought best. Fashions in technical matters change, slowly -perhaps but inevitably, and I shall be very much surprised if the future -will not be readier than we are to-day to give Birket Foster’s work its -due meed of affectionate admiration. - - -ALFRED WILLIAM HUNT - -[Born in Bold Street, Liverpool, Nov. 15, 1830; educated at Liverpool -Collegiate School and at Corpus Christi College, Oxford, which he -entered with a scholarship, 1848; a fellow of Corpus, 1853-1861; -Associate of Liverpool Academy, 1854, member, 1856; Associate Society of -Painters in Water-Colours, 1862, member, 1864; died May 3, 1896. - - EXHIBITED: Royal Academy, 1854, ’56, ’57, ’59-’62, ’70-’75, ’77, - ’79-’83, ’85-’88; Society of Painters in Water-Colours, 1860-’93; - Society of British Artists, 1846, ’59, ’60, ’70, ’73, ’74; - Grosvenor Gallery, 1882, ’87; New Gallery, 1888, ’90; Portland - Gallery, 1854-’56, ’60; Dudley Gallery (Oil), 1872. - - WORKS IN PUBLIC GALLERIES: National Gallery; V. and A. Museum - (Water-Colours); Liverpool, Glasgow, and Birmingham Art Galleries. - - BIOGRAPHICAL AND CRITICAL SOURCES: “Athenæum,” May 9, 1896; - Catalogue B. F. A. Club’s Exhibition, 1897; “D. N. B.” - (Supplement); “One Way of Art,” by Violet Hunt, “St. George’s - Review,” June 1908. - - REPRODUCTIONS: One in “The Old Water-Colour Society” (THE STUDIO - Spring Number, 1905).] - -Of all the artists influenced by Ruskin’s propaganda in favour of -Naturalism Alfred William Hunt was probably the most sensitive and the -most poetical. He was as ardent a student of “natural facts” as John -Brett, Holman Hunt, or any other of Ruskin’s protégés, but his work was -never, like so much of theirs, merely literal and tedious. His works -prove to demonstration how little artistic theories count in determining -the value of a work of art. We know Ruskin’s theories of realism were -all wrong, but the sensitiveness of Alfred Hunt’s nerves, the intensity -and rightness of his emotions, redeemed his work and gave it an -inevitable stamp of greatness. - -In the absorbingly interesting account of her father’s methods of work -contributed by Miss Violet Hunt to “St. George’s Review” (1908) the -demands made by his art on the nerves and character of the artist are -vividly described. His daughter tells us that she has seen “delicately -stained pieces of Whatman’s Imperial subjected to the most murderous -‘processes,’ and yet come out alive in the end.” Hunt “scrupled not to -‘work on the feelings of the paper,’ as his friend George Boughton used -to tell him, “He severely sponged it into submission; he savagely -scraped it into rawness and a fresh state of smarting receptivity. Yet -some of the drawings that have suffered _peine forte et dure_ are among -the most cherished assets of certain private collectors, such as Mr. -Newall and the late Mr. Humphrey Roberts.” - -The “subtle finish and watchfulness of nature” which Ruskin praised in -Hunt’s work was only the raw material of his art. It was the fervour and -energy with which he subdued his facts to a genuinely poetic unity of -feeling and expression that make Hunt’s drawings so significant and -beautiful. To-day Hunt seems to be forgotten by all but a small number -of admirers, but works like his _Durham Misty with Colliery Smoke_, -_Bamborough from the Sands_, _Cloud March at Twilight_, and many others -as poignant and as beautiful, are sufficient guarantees that he will not -always be neglected. - - -JAMES ABBOTT McNEILL WHISTLER - -[Born at Lowell, Massachusetts, July 10, 1834; lived in Russia, -1843-’49; studied at the Military Academy, West Point, 1851-1854; -engaged on United States coast and geodetic survey for about a year; -went to Paris, 1855, and studied in Gleyre’s studio; published set of -thirteen etchings--“The French Set”--1858; settled in London, 1860; -published “The Thames” set of etchings, 1871; libel action against -Ruskin, 1878; bankrupt, 1879; “Ten-o’clock” lecture, 1884; portrait of -Carlyle bought for Glasgow, 1891; “Grand Prix” for painting, and another -for engraving, at Paris exhibition, 1900; died at 74 Cheyne Walk, July -17, 1903. - - EXHIBITED: Royal Academy, 1859-’65, ’67, ’70, ’72, ’79; Society of - British Artists, 1884-’87; Grosvenor Gallery, 1877-’79, ’81-’84; - Dudley Gallery (Oil), 1871-’73, ’75; Dudley Gallery (Black and - White), 1872, ’79, ’80; Society of Portrait Painters, 1891-’93; - Royal Scottish Academy, 1899, 1901-’04. - - WORKS IN PUBLIC GALLERIES: National Gallery; Glasgow Art Gallery. - - BIOGRAPHICAL AND CRITICAL SOURCES: “The Art of Whistler,” by T. R. - Way and G. R. Dennis, 1903; “Life of Whistler,” by E. R. and J. - Pennell, 2 vols., 1908; “Memoirs of Whistler,” by T. R. Way, 1912; - Wedmore’s “Whistler’s Etchings”; “D. N. B.” (Supplement). - - REPRODUCTIONS: The “Whistler Portfolio” (THE STUDIO Special - Publication, 1904); the monthly issues of THE STUDIO; in Way’s and - Pennells’ works cited above, etc.] - -In Turner’s and Alfred Hunt’s works the multitudinous objects of Nature -are subdued to poetical and decorative purposes chiefly by the influence -of the atmosphere. But though subdued in the final result the facts were -always vividly present to the minds of these artists. With Whistler and -all those who like him were influenced by the theories of Impressionism, -such facts were less considered. They began with the study of values and -tones, and relied almost entirely on the justness with which these were -rendered, being content with a merely slight and grudging suggestion of -the objects which were veiled in their envelopment of atmosphere. The -difference, I admit, is only one of degree. But it accounts, I think, -for the difference between a drawing like Whistler’s water-colour of -_London Bridge_ (reproduced in Mr. Way’s “The Art of James McNeill -Whistler,” p. 96) and, say, Alfred Hunt’s _Coast Scene near Whitby_ -(1878). - -The advantage of Whistler’s method of approach is that it throws greater -emphasis on the decorative quality of the picture, the tones being -capable of treatment as a unity of colour harmonies--an advantage which -Whistler clearly realized and diligently exploited. - -It was not till about 1880 that Whistler took up water-colour painting. -The _London Bridge_ referred to above was done soon after his return -from Venice. He then used this medium for some fine drawings made in the -Channel Islands, and from time to time in various places in England and -abroad, chiefly at St. Ives and Southend. It is almost unnecessary to -say that he used water-colour with the same unerring mastery he -displayed in his etchings and pastels. But the curious will notice the -use he made in nearly all his water-colours of the grey underpainting -which played such an important part in the drawings of the early -topographers. He did not, however, use this grey underpainting, as they -did, merely to establish the broad division of light and shade. In his -bold and skilful hands it did more than this; it formed the unifying -element--the ground tone or harmony--which knit together the lovely -tones and colours which made his works so charming and delightful to the -eye. - -The influence of Whistler’s methods and ideals is clearly marked in the -works of men like J. Buxton Knight and C. E. Holloway, two artists who -produced a greater volume of fine work in water-colour than Whistler. We -might have chosen them on this account to take his place in our small -gallery of representative water-colour painters, but the quality of -Whistler’s work seemed to us of more consequence than their quantity. -And though both these men--especially Buxton Knight--urgently demand -fuller recognition than they have yet received, we are bound to admit -that Whistler was a greater genius than either; and that seems to settle -the matter. - - - - -(5) THE WORK OF TO-DAY - - -We have now traced the development in the past of subject-matter and -technique in British landscape painting in water-colour, and we have -surveyed as well as our poor memories would enable us to do so--for the -Museums have long been closed and most private collections are -inaccessible, and it is therefore impossible either to verify or renew -our earlier impressions--the differing aims and diverse achievements of -a few of those who have made our national art so glorious and so -memorable. We have done this because the careful and attentive study of -the history of an art provides the best, and, indeed, the only, means by -which we can educate ourselves to value and appreciate it. Historical -studies enable us to enlarge our sympathies and discipline our tastes, -so that the man who knows best what has been done in the past will be -the first to appreciate the good work which is being done by living -artists. He will also be the most indulgent critic of a young artist’s -shortcomings, and the readiest to help and encourage him in his -difficult struggle toward self-expression and mastery over his -intractable material. - -It is not, however, our business on the present occasion to praise the -works with which this volume is enriched. In the first place, to do so -is quite unnecessary, because the works are here to speak for -themselves, or rather such excellent colour-reproductions of them that -almost all their charm and beauty have been preserved; and, in the -second place, to do so would be impertinent, because the fact that these -drawings have been selected by the Editor of THE STUDIO for publication -in this way is a sufficient guarantee of their merit and importance. I -shall, therefore, confine my remarks rather to the general character of -their subject-matter and treatment than to their individual excellences. -In this way the following observations may be taken as an attempt to -continue to the present day the survey of the past which occupied us in -a previous chapter. - -In tracing the development of subject-matter in the works of the artists -of the nineteenth century we have seen that they generally gave -prominence to the place represented, with all its historical and -literary associations. Whistler was the chief exception to this -tendency, as in his work the decorative and emotional elements of the -picture itself were most prominent. Whistler’s example has been followed -by many of the living artists. Men like Clausen and Mark Fisher are shy -of any suggestion of what has been called “literary subject” or -“guide-book” interest. But though the works of such artists, from their -absence of topographical interest, seem to claim classification as -poetical landscapes, yet, if we compare them with the earlier poetical -landscapes of men like Lambert, Zuccarelli, George Smith of Chichester, -and the elder Barret, we find they have undergone a very thorough change -of character. The older work owed more to the study and imitation of the -Old Masters than to the study and representation of Nature. In the place -of formulas and motives borrowed from Claude and Poussin the modern men -give us their own interpretations of what they have seen and felt in the -presence of Nature. So that if we take a drawing like Mark Fisher’s -_Landscape_, reproduced in the present volume (Plate VI), we find that -it is, or at any rate that it looks as though it is, the representation -of an actual place, though the place is unnamed and therefore devoid of -any historical or literary interest to the spectator. Such a drawing may -therefore very well be classed as topographical, though the -topographical matter is used in the service of other than strictly -topographical purposes. - -However, in the works of other distinguished living artists, like -Matthew Hale, Albert Goodwin--whose _Lincoln_ is here reproduced (Plate -VIII), Hughes-Stanton, Lamorna Birch, Wilson Steer, Rich, Gere, etc., we -often find a similar use of topographical matter for the purposes of -poetical expression, but at the same time they show a marked preference -for the choice of subject-matter enriched by historical and literary -associations. - -The majority of drawings here reproduced are the outcome of their -painters’ loving and tireless effort to render the appearances of Nature -in their exact tones and colours. There is little of conscious artifice -or preoccupation with abstract design of form or colour in drawings like -C. M. Gere’s vivid presentment of light--_The Round House_ (Plate VII), -Eyre Walker’s _Pool in the Woods_ (Plate XIII), R. W. Allan’s _Maple in -Autumn_ (Plate XV), George Houston’s _Iona_ (Plate XX), or in Mark -Fisher’s _Landscape_. But though their aims, broadly speaking, are the -same, viz. the truthful rendering of particular effects of light and -particular scenes, yet each work is different from each, and each is -personal and individual, because the artist has painted only what he -liked and knew best. - -In other cases, generally in the choice of subject-matter, one is often -reminded of the works of the older men, only to realize as the result -of the comparisons thus provoked the important differences which -distinguish the new treatment and justify the repetition of the same -motives. Sir Ernest Waterlow’s _In Crowhurst Park_ (Plate XIV), for -instance, calls up memories of David Cox, of E. M. Wimperis, Tom Collier -and many others who have delighted in such wide surveys of rolling down -and moving cloud. But Sir Ernest’s work holds its own against all our -historical reminiscences; it is so vivid, so evidently the outcome of -the artist’s experiences, so freely and confidently set up. Robert -Little’s _Tidal Basin_, _Montrose_ (Plate X), Lamorna Birch’s _Environs -of Camborne_ (Plate V), and Murray Smith’s _On the Way to the South -Downs_ (Plate XXII), justify themselves in the same way. How easily, -too, can we imagine Girtin or Cozens painting the scene which Russell -Flint has portrayed so vividly in his _April Evening, Rydal Water_ -(Plate XIX). Yet how differently they would have painted it! - -In all this one sees the Naturalistic movement begun in the nineteenth -century still at work, with its inevitable tendency towards -Pantheism--its exaltation of Nature at the expense of man and the -individual. Moralists have dwelt upon its dangers in the deadening -effect it is supposed to produce upon the sense of individual -responsibility and freedom of will. But with results like these before -our eyes we are more inclined to dwell upon its advantages, its -enlargement of our sympathies and knowledge. - -But the tendency is not altogether in the direction of Pantheism. There -is a group of artists, among whom I will only mention D. Y. Cameron, A. -W. Rich, Albert Goodwin, and C. J. Holmes, which manfully upholds the -supremacy of the artist over Nature. The influence of the art of the -past has counted for more in works like Cameron’s _Autumn in Strath Tay_ -(Plate XVIII), Rich’s _Swaledale_ (Plate XI), Goodwin’s _Lincoln_, and -Holmes’s _Near Aisgill_ (Plate IX), than Nature herself. In these -drawings the free-will of the individual triumphantly asserts itself. -They are what they are because their makers loved art and particular -forms of art first of all, and wanted to imitate them. Their inspiration -came from within (from human nature) and not from without (from physical -nature). But this is not to say that they are mere copies of other men’s -works, for obviously they are nothing of the kind. They are at least as -original and individual as any of the other drawings of which we have -spoken. And these artists, too, study Nature just as keenly and as -indefatigably as the realists, only their methods of study are -different. With works like those illustrated in this volume--so -different in aim and method, yet each so virile, sincere and -personal--it is evident that water-colour painting is still a distinctly -living art in this country. The British water-colour painters of to-day -are “keeping their end up” as well as our soldiers, sailors and workers -in other spheres, and, like them, they have earned the right to face the -future with hearts full of confidence and hope. - -[Illustration: PLATE V. - -“ENVIRONS OF CAMBORNE.” BY S. J. LAMORNA BIRCH, R.W.S. - -(_In the possession of the Fine Art Society._)] - -[Illustration: PLATE VI. - -(_In the possession of Messrs. Ernest Brown & Phillips, the Leicester -Galleries._) - -LANDSCAPE. BY MARK FISHER, A.R.A.] - -[Illustration: PLATE VII. - -“THE ROUND HOUSE.” BY CHARLES M. GERE.] - -[Illustration: PLATE VIII. - -(_In the possession of E. Weber, Esq._) - -“LINCOLN.” BY ALBERT GOODWIN, R.W.S.] - -[Illustration: PLATE IX. - -“NEAR AISGILL.” BY C. J. HOLMES. - -(_In the possession of D. M. Carnegie, Esq._)] - -[Illustration: PLATE X. - -“TIDAL BASIN, MONTROSE.” BY ROBERT LITTLE, R.W.S., R.S.W.] - -[Illustration: PLATE XI. - -“SWALEDALE.” BY ALFRED W. RICH.] - -[Illustration: PLATE XII. - -“CAUGHT IN THE FROZEN PALMS OF SPRING.” BY LIONEL SMYTHE, R.A., R.W.S. - -(_In the possession of W. Lawrence Smith, Esq._)] - -[Illustration: PLATE XIII. - -“A POOL IN THE WOODS.” BY W. EYRE WALKER, R.W.S.] - -[Illustration: PLATE XIV. - -“IN CROWHURST PARK, SUSSEX.” BY SIR E. A. WATERLOW, R.A., R.W.S., -H.R.S.W.] - - - - -THE DEVELOPMENT OF BRITISH LANDSCAPE PAINTING IN WATER-COLOURS: SCOTTISH -PAINTERS. BY E. A. TAYLOR - - -To lift the veil enshrouding the past and, though but dimly, recall its -artists’ lives and works may appeal to a few only. The secrets of the -great are already known; their deeds, as modern times desire, will be -more rapidly found tabulated in any biographical dictionary; those whom -chance and fate have less favoured will serve no other purpose than that -of a poor remembrance. Nevertheless to separate those who followed the -ways of art in other than water-colour landscape painting, I must recall -some at least whose influence of mind and work aided to attain in -Scotland the important position it commands to-day. Amongst the first -connected with landscape painting the names of John and Robert Norie -cannot fairly be omitted. Carrying on a business in Edinburgh at the -beginning of the eighteenth century as house painters and decorators, it -was in their decorative schemes that landscape played the most -significant part, a form of decoration of considerable fashion in the -Scottish capital at that time, and applied in various ways to doors, -panels, mantelpieces, etc., of private houses; and apart from their -business, both father and sons painted some landscapes of no mean order. -It was in their workshops, too, that some afterwards notable artists, in -their early life, served as apprentices, famous amongst them being -Alexander Runciman (1736-1785), John Wilson (1774-1855), and James Howe -(1780-1836). - -Landscape painting, however, apart from such as was utilized in -decorative schemes, had little or no public appreciators. Portraits and -deeds of tragedy and valour seemed to occupy the artists’ minds; yet, -like the curlew’s haunting note on loch and mountain side, there was an -influence astir towards more peaceful scenes, a call that knew no -limited geography, no definite law. In Ayrshire, Robert Burns -(1759-1796) was weaving his nature songs; while Alexander Nasmyth -(1758-1840), in Midlothian, was preparing his palette to capture similar -themes in paint. But perhaps the greatest impetus given to a wider -public appreciation of the scenery of his own country was the -publication in 1810 of Sir Walter Scott’s “Lady of the Lake,” followed -in 1814 by his more distinguished “Waverley Novels.” Yet previous to -that universal awakening, in 1793 Alexander Nasmyth resigned his -portrait and figure work for that of landscape, and it is from that -period that this branch of painting in oils most vigorously commenced; -while apart from the use of water-colour by topographical artists, -perhaps the first few landscapes of importance were of a slightly -earlier date, by the renowned architect Robert Adam (1728-1792). Not, -however, until the time of Hugh William Williams (1773-1829) did the art -become more pictorially practised. As Nasmyth has been credited with -being the father of Scottish landscape painting in oils, Hugh William -Williams might be more universally noted as, if not the father, at least -one of the principal pioneers of landscape painting in water-colours. -Taking a short extract from a criticism of an exhibition of his work in -that medium opened in Edinburgh in 1822, the writer states: “There is -room for more unqualified praise than in the works of any single artist -in landscape painting to which this country has yet given birth.” -Williams, however, was of Welsh parentage and born on board his father’s -ship when at sea, his early upbringing being entrusted to an Italian -grandfather in Edinburgh, where his name as an exhibitor and -water-colour painter became prominent in 1810. His successes at that -time enabled him to undertake a long sojourn in Italy and Greece, of -which he published an account in 1820 illustrated with engravings and -some of his own drawings, following it up with his exhibition in 1822 -almost entirely composed of work done during his continental travels. -Artistically his paintings are distinctly personal, and technically they -are treated with broad simple washes over delicately outlined -compositions. Another artist of the period remembered for his -water-colour work was Andrew Wilson, born in Edinburgh (1780-1848), who, -after a varied art life in Italy and England, occupied the post of -master in the Trustees Academy of his native city in 1818. It was during -this year that the remarkable David Roberts, who is said to have had a -week’s tuition under Wilson, started to exhibit his famed architectural -subjects; while a few years later Andrew Donaldson, whose work in the -style of Prout, and little known beyond Glasgow, contributed in no -slight degree to the advancement of water-colour painting in that city. - -It was not, however, until 1832 that the water-colour landscapes of -William Leighton Leitch began to make their public appearance, and -biographical records place this artist and Williams as the two most -prominent water-colour painters in Scotland in those days. From a -Glasgow weaver to house-painter and scene-painter, ultimately -instructing the Queen and other members of the Royal Household, Leitch’s -life was certainly inspiring to young enthusiasts, and his work being of -rather the “pretty” order was undoubtedly popular. But England claimed -the later and more important days of his life. - -To revive more distinctly local Scottish memories one must turn to the -name of Thomas Fairbairn (1821-1885). Originally a shop-lad with a firm -of dyers in Glasgow, Fairbairn had no rose-paved road to travel to -attain his desires, and it is by his sketches of old houses and -localities around Glasgow that he at first became known, and latterly by -his literal paintings of forest scenery. Attracted by the wealth of -subject at Cadzow, in Hamilton, it was there that in 1852 he met Sam -Bough, who greatly influenced his further artistic outlook, as the -English borderer did that of many other painters, and who twenty-three -years later was lauded as being one of the most important figures in -Scottish art. - -Another prominent artist at the time was J. Crawford Wintour (1825-1882) -who, though chiefly concerned with oil painting, showed his rarest -artistic achievements in water-colour landscapes. To him and Bough the -credit is due for creating a greater interest in that medium and branch -of art than it had hitherto enjoyed. Nevertheless the various -exhibitions gave but scanty appreciation to the water-colour painters. -In their organizers’ minds the medium employed seemed to be rated higher -than a work of art, despite water-colour being the one almost entirely -employed by the supreme artists of China and Japan. Works in it were -exhibitionally a little less than ignored, with the result that in -Glasgow on December 21, 1877, ten enthusiasts held the first preliminary -meeting of the now important Royal Scottish Society of Painters in -Water-Colours. The only member of that faithful gathering now living is -the Society’s present Vice-President, A. K. Brown, R.S.A. It was not, -however, until two months later that the Society was definitely formed, -due to the proposition of Sir Francis Powell and seconded by William -McTaggart, Powell being elected its first president and the virile Sam -Bough vice-president on March 4, 1878. In November of the same year the -new Society held its first exhibition in which 172 pictures were shown; -and in February 1888, as the only representative art body of its kind in -Scotland, it was empowered to use the prefix “Royal.” Its present -membership numbers seventy-nine, of which eight are honorary, under the -presidency of E. A. Walton, R.S.A. That the Society has been the means -of promoting a wider public interest in water-colour painting in -Scotland has been clearly evinced, and of recent years its exhibitions -(now and again not entirely confined to the work of its members) have -unquestionably stimulated a general interest in the art. Yet the day -seems still far off when a more united appreciation will be based on a -picture as a work of art, regardless of the value placed upon the medium -in which it is produced. - -In comparison with the old water-colourists’ slightly tinted drawings, p -the chief elements most markedly notable in the modern development are -the more extensively varied methods employed, aided considerably by the -scientifically discovered greater range and assured permanency of -pigments and materials. Technically, I think, the art of painting is -closely allied to the art of acting; the actor utilizes voice and -make-up according to the emotions and character he wishes to express, in -the same way that the painter’s subject and thought to be fully -indicated call for a process and technique affinitive with them. Within -recent years it became the fashion amongst water-colour artists to -strain the medium beyond its limited powers, the result being heavily -framed works competing in a feeble way with oils, and subjects that -would certainly have been better rendered artistically had this medium -been employed. - -With the exception of the work of De Wint and Cox, the greatest -influence recognizable in the work of many of the Scottish -water-colourists is of Dutch origin and easily traced to such masters as -Anton Mauve, Josef Israëls, Bosboom and the Maris brothers; so much so -in fact that with certain artists it has been difficult to discern the -difference between many of their own paintings and those of the men by -whom they were so obviously inspired. The method employed was as -follows: after the drawing had been roughly suggested, the paper was -submitted to a tubbing and scrubbing, so that the colour ate its way in -until finally more direct and stronger touches were applied, desired -lighter portions being wiped out while wet, or slicked up with a little -body-colour. The method, though losing much that is inherently beautiful -in water-colour, is nevertheless one which most aptly suggests certain -phases of landscape dealing with poetic sentiment and mystery. - -The one perfect artist in Scotland who most originally adopted the -process was Arthur Melville (1855-1904). What good there was in it he -certainly extracted; Melville, too, seldom resorted to the aid of -body-colour. I have known him, if unsatisfied with any portion of his -painting, to deliberately cut it out and dexterously insert a fresh -piece of paper, and much trouble and experience went to bring about the -apparent ease with which his work appears to have been done. - -Another method extremely popular with some artists, though perhaps -practised more on the Continent, was the almost entire use of -body-colour on a tinted ground, a method which brings water-colour -painting into a closer relation to that of oils. In other than capable -hands it has a tendency to lack freshness, giving an opaque and chalky -quality to the work. But when used by a few artists in this country who -have fully realized its possibilities and limitations, some excellent -results have been achieved, pre-eminent amongst them being those by the -Newcastle artist, Joseph Crawhall, by whom his many Scottish associates -were inspired to a remarkable degree. His paintings, principally of -birds and animal life, in the various exhibitions were always -outstanding, and to-day there is little if any work of this character -being done that can surpass it. - -Water-colour, however, used direct without the assistance of scrubbing, -scraping and body-colour shows without question the medium at its best. -As a process used in what is termed the purist’s method, there certainly -is no other that can compete with it for affinitive landscapes, and what -has been done even experimentally in it, by other than water-colour -artists, represents, perhaps, the finest examples of genuine art they -have left us. With the exception of the short-lived George Manson -(1850-1876), Tom Scott, R.S.A., R. B. Nisbet, R.S.A., and Ewen Geddes, -R.S.W., one might safely say that all the Scottish water-colourists are -equally conversant with oils, though in recent years Nisbet has been -devoting much of his time to the latter medium. - -Perhaps the first artist in Scotland to realize the brilliancy of Nature -in water-colour was the late William McTaggart (1835-1910); his -landscapes are all veritably untricked effects of the land’s and sea’s -sunlit and wind-swept moods in which his spontaneous and untrammelled -method aided to a considerable extent his ability to maintain the high -artistic quality of his pictures in oils. - -A less vivid outlook attracts the essentially water-colour artist, R. B. -Nisbet, his landscapes being almost exclusively low-toned aspects of -Nature, and technically similar to the works of the previously mentioned -Dutch masters. Universally his work has been vastly appreciated and -probably he can claim more official honours than any other Scottish -water-colour painter. Not a few of the younger men owe some of the rarer -qualities in their work to his sympathetic influence. - -In companionship with Nisbet, Tom Scott is probably now, with the -exception of Ewen Geddes, the only entirely water-colour painter in -Scotland. His _motifs_, however, being chiefly inspired by the glamour -surrounding the Borderland, are more of a figured historical nature, but -not the least emotional pleasure is derived from their distinctive -landscape settings. - -Incidentally humble crofts and lowland scenery attract the artist in -Ewen Geddes, and as a painter of snow landscapes, I doubt if there is -another water-colourist who as sensitively portrays the spirit of the -wintry day. But to pick and choose from amongst the many artists whose -work entitles them to be more than briefly mentioned, regardless of -individual precedence, one may not omit W. Y. MacGregor, A.R.S.A., whose -inspiring enthusiasm as father of the famed Glasgow School of Painters -is historically honoured, and whose latter-day charcoal and water-colour -landscapes are not the least distinctive expressions of genuine art; -while amongst younger men, prominently known, are the distinguished -exponent C. H. Mackie, R.S.A., R.S.W., whose work and ideas declared in -various mediums are extremely invigorating, and J. Hamilton Mackenzie, -R.S.W., A.R.E., who, as well as a painter in oils, pastellist and -etcher, is an admirable water-colourist. To further enumerate one must -include the names of such personal landscape artists as J. Whitelaw -Hamilton, A.R.S.A., R.S.W., Archibald Kay, A.R.S.A., R.S.W., T.M. Hay, -R.S.W., Alexander MacBride, R.I., R.S.W., Stanley Cursiter, R.S.W., -James Herald, and Stewart Orr. - -But to deal more minutely with the artists who are here represented, A. -K. Brown (Plate XVI) must take precedence for his untiring services -rendered to the promotion of the delightful art of water-colour painting -in Scotland. Though born in Edinburgh in 1849, it has been in Glasgow -that the greater part of his life has been lived, and with the art -affairs of that city he has been most directly connected. His early -years were spent there as a calico-print designer, the artistic -relationship of which soon led him to the higher ideal of landscape -painting, the hills and glens as seen from a moorland road or mountain -burn being the themes that most intimately allured him; yet not that -aspect of the rugged inhumanity of the hills, but where man has trod, -and where the shepherd’s whistle may be familiarly heard. It is, too, -that sensation of friendliness felt amongst the hills that pervades his -works. Treated with a methodical tenderness, they never exhibitionally -assert themselves, but must be seen singly to convey their full -attractiveness. - -In early association next to A. K. Brown would be R. W. Allan, born in -Glasgow in 1852 (Plate XV). In his young days, inspired by his father -who was a well-known lithographer in the city, he certainly had not the -usual students’ struggles to contend with, and was soon one of the few -Scottish painters in water-colour who fully realized the beauty of the -unsullied quality the medium possessed, by his broad decisive handling -in comparison with the prevalent minute finish indulged in. It is now, -however, about thirty-five years since he left his native city for -London, where he has not only become a distinguished painter in oils, -but also a prominent member of the “Old” Water-Colour Society. - -Two years later than R. W. Allan, James Paterson (Plate XXI) was born in -Glasgow, and is noted there as one of the first artists energetically -active, with W. Y. MacGregor, in forming a bolder style of painting than -had been previously fashionable, and who, with the grouping of a few -other enthusiasts later, became known to the art world as the Glasgow -School of Painters. Their revolutionary aims and ideals influenced to a -remarkable extent artists and painting in general throughout Scotland. -Though equally well known as a painter of the figure and occasional -portraits, it is as a landscapist that Paterson’s reputation has been -most uniquely established, his present Dumfriesshire home providing him -extensively with subjects in harmony with his earlier technically broad -sympathies. - -Not so closely connected with the Glasgow School movement as James -Paterson, James Cadenhead, born in Aberdeen in 1858 (Plate XVII), became -somewhat imbued with its views. Like the majority of now celebrated -water-colourists, oil painting claimed his first attention. Less -realistic in outlook than his brother artists, his work assumed a more -conceptionally decorative tendency and displayed a flat treatment, -technically similar to that which one associates with the landscape -artists of Japan. It was by such individual features that attention was -drawn to his work, and in 1893 he was elected a member of the Royal -Scottish Society of Painters in Water-Colours, and nine years later an -associate of the Royal Scottish Academy, where, in both exhibitions, his -work shares with that of other leading artists a distinctive admiration. - -Turning to the illustration _Suffolk Pastures_, by E. A. Walton (Plate -XXIV), one finds the work of an artist whose ability as a painter is -unanimously respected amongst his fellows. Born in Renfrewshire in 1860, -he is also one who has been historically associated with the -revolutionary Glasgow School; originally a landscape artist, he is -nevertheless one of the leading Scottish portrait painters. But to -confine my appreciation to his landscape work, it is with a lingering -doubt whether it be his examples in oils or water-colours which are the -more enticing if a choice were demanded. It is probably to his work in -the gentler medium I would assign the talent of the man and the artist -as being most completely revealed, especially favouring those drawings -executed on a grey-brown millboard, or some other similarly tinted -paper, with which his skilful use of body-colour mingles and expresses -his prenurtured vision of design and colour harmonies for which he is so -greatly esteemed. - -Five years later than E. A. Walton, D. Y. Cameron was born in Glasgow -(Plate XVIII). With the exception of Muirhead Bone, there is no other -Scottish artist whose pre-eminence as an etcher is as universally -admitted. Within recent years his reputation as a painter has been -rapidly becoming as widely acknowledged. In his early etchings, oils, -and water-colours, though previous masters’ influences were easily -detected, his gift of selection and fitness placed his results on a -higher artistic plane than those by whom he had been evidently inspired, -and to-day his work is always amongst the most dignified and refined in -any exhibition. Technically he resorts to no fumbled trickery, nor does -he strain any of the means he uses beyond their own inherent powers. -Before his landscapes one feels the mood of time and place charmingly -interpreted, such moods of Nature, when the trivialities of the day have -passed, or only those remain which fittingly appeal, with their silent -ponderings. - -In 1869, at Dalry, Ayrshire, George Houston was born (Plate XX), and it -is as a painter of that part of Scotland that his name became most in -evidence before the Scottish art world in 1904 by a large-scaled canvas, -_An Ayrshire Landscape_, shown at the exhibition of the Glasgow Fine -Arts Institute. No little praise was bestowed upon it by artists and -public alike, resulting in its being purchased for the City’s permanent -collection. But memories recall other earlier and smaller works -creatively quite as important. To place Houston amongst the Scottish -artists is to do so individually, as his work is extremely personal, -both technically and compositionally. Late winter and early spring -landscapes attract him most, the time, too, when the earth is just -dappled with snow, and the atmosphere and undergrowth alive in all their -gentle colour-harmony. A keen lover of Nature, little escapes his -observation, and it is those qualities of his mind and outlook, so -carefully expressed in his oil paintings, that arrest admiring attention -in his water-colours of similar themes. - -By age, W. Russell Flint and D. Murray Smith belong to the group of -younger Scottish painters, and otherwise, similarly, both artists have -been resident in England for a considerable time. It is only within -recent years that their work has appeared, as it were, anew in the -Scottish exhibitions. W. Russell Flint (Plate XIX) was born in Edinburgh -in 1880; originally studying in the art school there, he made his home -in London in 1900, where, after a short course at Heatherley’s Academy, -his name and work came rapidly into prominence. In 1913 he was awarded -the silver medal for his water-colours in the Salon des Artistes -Français. The following year he was elected an associate of the Royal -Society of Painters in Water-Colours, and a full member in 1917. As an -artist both figure and landscape equally reveal his versatile ability. -As an illustrator, too, he can claim no less distinctive recognition by -his charming imagery expressed in that phase of his talent in the -publications of the Riccardi Press. Thoroughly acquainted with the -medium of water-colour, he applies it with no special mannerism other -than the choice his vision dictates and the subjects of his mind most -emotionally demand. - -Though less varied paths tempt the outlook of D. Murray Smith (Plate -XXII), his spacious conceptions of landscapes are uncommonly -interesting. The admirable characteristics of largeness and freedom, -which earlier prophesied a coming artist in the Scottish capital where -he was born, have altered little. As an etcher of illustrative -landscapes in those days he gained no meagre reputation, which he has -vastly enhanced in England, where he settled some twenty-four years ago. -In all his works there pervades a strong affection for flat expanses of -Nature, unhampered in the composition by the human element, save for -friendly wayside cottages or distant villages. It is, however, those -examples where even such features are the least prominent, like his -unpeopled roads, that have a most abiding charm, manifesting at times a -vision and technical qualities akin to the rare landscapes by the old -Dutch and early English masters, and to the French in their Corotesque -and lyrical love of trees. And it is, perhaps, to the lyrical aspects of -Nature that water-colour is most closely allied, and in such of her -voiceless poems most expressively lives the spirit of the medium. -[Illustration: PLATE XV. - -“THE MAPLE IN AUTUMN.” BY ROBERT W. ALLAN, R.W.S., R.S.W.] - -[Illustration: PLATE XVI. - -“BEN MORE.” BY A. K. BROWN, R.S.A., R.S.W. - -(_In the possession of J. Whitelaw Hamilton, Esq., A.R.S.A._)] - -[Illustration: PLATE XVII. - -“A MOORLAND.” BY JAMES CADENHEAD, A.R.S.A., R.S.W.] - -[Illustration: PLATE XVIII. - -“AUTUMN IN STRATH TAY.” BY D. Y. CAMERON, A.R.A., R.S.A., R.W.S., R.S.W. - -(_In the possession of R. Skinner, Esq._)] [Illustration: PLATE XIX. - -“APRIL EVENING, RYDAL WATER.” BY W. RUSSELL FLINT, R.W.S., R.S.W. - -(_In the possession of Messrs. Ernest Brown & Phillips, the Leicester -Galleries._)] - -[Illustration: PLATE XX. - -“IONA.” BY GEORGE HOUSTON, A.R.S.A., R.S.W.] - -[Illustration: PLATE XXI. - -“FRENCHLAND TO QUEENSBERRY, MOFFAT DALE.” BY JAMES PATERSON, R.S.A., -R.W.S., R.S.W.] - -[Illustration: PLATE XXII. - -“ON THE WAY TO THE SOUTH DOWNS.” BY D. MURRAY SMITH, A.R.W.S.] - -[Illustration: PLATE XXIII. - -“A BIT OF HIGH CORRIE.” BY E. A. TAYLOR. - -(_In the possession of Charles Holme, Esq._)] - - -[Illustration: PLATE XXIV. - -“SUFFOLK PASTURES.” BY E. A. WALTON, R.S.A., P. R.S.W. - -(_In the possession of John Tattersall, Esq._)] - - - - - -End of the Project Gutenberg EBook of The development of British landscape -painting in water-colours, by Alexander Joseph Finberg and E. A. 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A. Taylor - -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/license - - -Title: The development of British landscape painting in water-colours - -Author: Alexander Joseph Finberg - E. A. Taylor - -Editor: Charles Holme - -Release Date: October 6, 2020 [EBook #63388] - -Language: English - -Character set encoding: UTF-8 - -*** START OF THIS PROJECT GUTENBERG EBOOK THE DEVELOPMENT OF BRITISH *** - - - - -Produced by Chuck Greif and the Online Distributed -Proofreading Team at http://www.pgdp.net (This file was -produced from images available at The Internet Archive) - - - - - - -</pre> - -<hr class="full" /> - -<div class="figcenter"> -<a href="images/cover.jpg"> -<img src="images/cover.jpg" height="550" alt="" /></a> -</div> - -<div class="blockc"> -<div class="block"> - -<h1>THE DEVELOPMENT<br /> -OF BRITISH LAND-<br />SCAPE PAINTING<br /> -IN WATER-COLOURS</h1> -</div></div> - -<div class="blockc1"> -<div class="block1"> -EDITED BY CHARLES<br /> -HOLME. TEXT BY<br /> -A L E X A N D E R J.<br /> -F I N B E R G & E. A. -<br /> -TAYLOR -<img src="images/deco.png" -width="90" -alt="" -/> -</div></div> - -<p class="c">MCMXVIII <span style="margin-left: 2em;">“THE STUDIO” LTD.</span><br /> -LONDON PARIS NEW YORK -</p> - -<h2 class="c"><a name="CONTENTS" id="CONTENTS"></a>CONTENTS</h2> - -<table border="0" cellpadding="3" cellspacing="0" summary=""> - -<tr><th colspan="3">ARTICLES</th></tr> - -<tr><td> </td><td class="rt"><small>PAGE</small></td></tr> - -<tr><td><span class="smcap"><a href="#THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_BY">The Development of British Landscape Painting in Water-Colours. By Alexander J. Finberg</a></span></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#hd1_INTRODUCTORY_REMARKS_ON_THE_IDEA_OF_DEVELOPMENT_AS_APPLIED_TO_ART">(1) Introductory Remarks on the Idea of Development as Applied to Art</a></td><td class="rt" valign="bottom"><a href="#page_1">1</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#hd2_THE_BEARING">(2) The Bearing of these Remarks on the History of British Water-Colour Painting</a></td><td class="rt" valign="bottom"><a href="#page_3">3</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#hd3_THE_DEVELOPMENT_OF_SUBJECT-MATTER_AND_TECHNIQUE">(3) The Development of Subject-Matter and Technique</a></td><td class="rt" valign="bottom"><a href="#page_4">4</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#hd4_SOME_FAMOUS_WATER-COLOUR_PAINTERS_OF_THE_PAST">(4) Some Famous Water-Colour Painters of the Past</a></td><td class="rt" valign="bottom"><a href="#page_8">8</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#PAUL_SANDBY">Paul Sandby</a></td><td class="rt" valign="bottom"><a href="#page_9">9</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#ALEXANDER_COZENS">Alexander Cozens</a></td><td class="rt" valign="bottom"><a href="#page_10">10</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#JOHN_ROBERT_COZENS">John Robert Cozens</a></td><td class="rt" valign="bottom"><a href="#page_11">11</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#THOMAS_GIRTIN">Thomas Girtin</a></td><td class="rt" valign="bottom"><a href="#page_13">13</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#JOSEPH_MALLORD_WILLIAM_TURNER">Joseph Mallord William Turner</a></td><td class="rt" valign="bottom"><a href="#page_15">15</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#JOHN_SELL_COTMAN">John Sell Cotman</a></td><td class="rt" valign="bottom"><a href="#page_17">17</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#DAVID_COX">David Cox</a></td><td class="rt" valign="bottom"><a href="#page_19">19</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#SAMUEL_PROUT">Samuel Prout</a></td><td class="rt" valign="bottom"><a href="#page_20">20</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#PETER_DE_WINT">Peter de Wint</a></td><td class="rt" valign="bottom"><a href="#page_21">21</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#RICHARD_PARKES_BONINGTON">Richard Parkes Bonington</a></td><td class="rt" valign="bottom"><a href="#page_21">21</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#MYLES_BIRKET_FOSTER">Myles Birket Foster</a></td><td class="rt" valign="bottom"><a href="#page_22">22</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#ALFRED_WILLIAM_HUNT">Alfred William Hunt</a></td><td class="rt" valign="bottom"><a href="#page_23">23</a></td></tr> -<tr><td valign="top" class="pdd1"><a href="#JAMES_ABBOTT_McNEILL_WHISTLER">James Abbott McNeill Whistler</a></td><td class="rt" valign="bottom"><a href="#page_24">24</a></td></tr> -<tr><td valign="top" class="pdd"><a href="#hd5_THE_WORK_OF_TO-DAY">(5) The Work of To-day</a></td><td class="rt" valign="bottom"><a href="#page_26">26</a></td></tr> - -<tr><td><span class="smcap"><a href="#THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_SCOTTISH">The Development of British Landscape Painting in Water-Colours: Scottish Painters. By E. A. Taylor</a></span></td><td class="rt" valign="bottom"><a href="#page_29">29</a></td></tr> -</table> - -<table border="0" cellpadding="3" cellspacing="0" summary=""> - -<tr><th colspan="2">ILLUSTRATIONS</th></tr> - -<tr><td><i>AFTER ENGLISH PAINTERS</i></td></tr> - -<tr><td> </td><td class="rt"><small><i>PLATE</i></small></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_V">Birch, S. J. Lamorna, R.W.S. “Environs of Camborne”</a></td><td valign="bottom" class="rt"><a href="#plt_V">V</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_I">Cozens, J. R. “Lake Albano and Castel Gandolfo”</a></td><td valign="bottom" class="rt"><a href="#plt_I">I</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_VI">Fisher, Mark, A.R.A. “Landscape”</a></td><td valign="bottom" class="rt"><a href="#plt_VI">VI</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_VII">Gere, Charles M. “The Round House”</a></td><td valign="bottom" class="rt"><a href="#plt_VII">VII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_VIII">Goodwin, Albert, R.W.S. “Lincoln”</a></td><td valign="bottom" class="rt"><a href="#plt_VIII">VIII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_IX">Holmes, C. J. “Near Aisgill”</a></td><td valign="bottom" class="rt"><a href="#plt_IX">IX</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_X">Little, Robert, R.W.S., R.S.W. “Tidal Basin, Montrose”</a></td><td valign="bottom" class="rt"><a href="#plt_X">X</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XI">Rich, Alfred W. “Swaledale”</a></td><td valign="bottom" class="rt"><a href="#plt_XI">XI</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XII">Smythe, Lionel, R.A., R.W.S. “Caught in the Frozen Palms of Spring”</a></td><td valign="bottom" class="rt"><a href="#plt_XII">XII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_IV">Turner, J. M. W., R.A. “Launceston”</a></td><td valign="bottom" class="rt"><a href="#plt_IV">IV</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XIII">Walker, W. Eyre, R.W.S. “A Pool in the Woods”</a></td><td valign="bottom" class="rt"><a href="#plt_XIII">XIII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XIV">Waterlow, Sir E. A., R.A., R.W.S., H.R.S.W. “In Crowhurst Park, Sussex”</a></td><td valign="bottom" class="rt"><a href="#plt_XIV">XIV</a></td></tr> -<tr><td> </td></tr> - -<tr><td><i>AFTER SCOTTISH PAINTERS</i></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XV">Allan, Robert W. Allan, R.W.S., R.S.W. “The Maple in Autumn”</a></td><td valign="bottom" class="rt"><a href="#plt_XV">XV</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XVI">Brown, A. K., R.S.A., R.S.W. “Ben More”</a></td><td valign="bottom" class="rt"><a href="#plt_XVI">XVI</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XVII">Cadenhead, James, A.R.S.A., R.S.W. “A Moorland”</a></td><td valign="bottom" class="rt"><a href="#plt_XVII">XVII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XVIII">Cameron, D. Y., A.R.A., R.S.A., R.W.S., R.S.W. “Autumn in Strath Tay”</a></td><td valign="bottom" class="rt"><a href="#plt_XVIII">XVIII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XIX">Flint, W. Russell, R.W.S., R.S.W. “Autumn Evening, Rydal Water”</a></td><td valign="bottom" class="rt"><a href="#plt_XIX">XIX</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XX">Houston, George, A.R.S.A., R.S.W. “Iona”</a></td><td valign="bottom" class="rt"><a href="#plt_XX">XX</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XXI">Paterson, James, R.S.A., R.W.S., R.S.W. “Frenchland to Queensberry, Moffat Dale”</a></td><td valign="bottom" class="rt"><a href="#plt_XXI">XXI</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XXII">Smith, D. Murray, A.R.W.S. “On the Way to the South Downs”</a></td><td valign="bottom" class="rt"><a href="#plt_XXII">XXII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XXIII">Taylor, E. A. “A Bit of High Corrie”</a></td><td valign="bottom" class="rt"><a href="#plt_XXIII">XXIII</a></td></tr> - -<tr><td valign="top" class="pdd"><a href="#plt_XXIV">Walton, E. A., R.S.A., P.R.S.W. “Suffolk Pastures”</a></td><td valign="bottom" class="rt"><a href="#plt_XXIV">XXIV</a></td></tr> -</table> - -<h2 class="c">PREFATORY NOTE</h2> - -<div class="blockquotp"><p class="nind"><i>The Editor desires to acknowledge his indebtedness to the artists -and owners who have kindly lent their drawings for reproduction in -this volume</i></p></div> - -<p><span class="pagenum"><a name="page_1" id="page_1">{1}</a></span> </p> - -<h1><a name="THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_BY" - id="THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_BY"></a> -THE DEVELOPMENT OF BRITISH<br /> LANDSCAPE PAINTING IN WATER-COLOURS.<br /> BY -ALEXANDER J. FINBERG</h1> - -<h2><a name="hd1_INTRODUCTORY_REMARKS_ON_THE_IDEA_OF_DEVELOPMENT_AS_APPLIED_TO_ART" id="hd1_INTRODUCTORY_REMARKS_ON_THE_IDEA_OF_DEVELOPMENT_AS_APPLIED_TO_ART"></a>(1) INTRODUCTORY REMARKS ON THE IDEA OF DEVELOPMENT AS APPLIED TO ART</h2> - -<p class="nind"><span class="letra">T</span>HE idea of development has played, for considerably more than half a -century, and still plays, a large part in all discussions about art. And -it is obvious that it is a very useful and at the same time a very -dangerous idea; useful, because with its aid you can prove anything you -have a mind to, and dangerous, because it conceals all sorts of latent -suggestions, vague presuppositions, and lurking misconceptions, and thus -misleads and beguiles the unwary. The most insidious and dangerous of -these suggestions is its connexion with the ideas of progress or -advance. The dictionaries, indeed, give “progress” as one of the -synonyms of “development,” and amongst the synonyms of “progress” I find -“advance,” “attainment,” “growth,” “improvement,” and “proficiency.” So -that as soon as we begin to connect the idea of development with the -history of art we find ourselves committed, before we quite realize what -we are doing, to the view that the latest productions of art are -necessarily the best. If art develops, it necessarily grows, improves, -and advances, and the history of art becomes a record of the steps by -which primitive work has passed into the fully developed art of the -present; the latest productions being evidently the most valuable, -because they sum up in their triumphant complexity all the tentative -variations and advances of which time and experience have approved.</p> - -<p>Stated thus baldly the idea as applied to art seems perhaps too -obviously at variance with our tastes, experience, and instinctive -standards of artistic values to be worth a moment’s consideration. Yet -we are all too well aware that this is the line of argument by which -every freak, every eccentric, insane or immoral manifestation of -artistic perversity and incompetence which has appeared in Europe within -the last thirty or forty years has been commended and justified. -Certainly in England every writer on art who calls himself “advanced” is -an evolutionist of this crude and uncritical type. At one time it was -Cézanne and Van Gogh who were supposed to have summed up in their -triumphant complexity the less developed efforts of Titian, Rembrandt, -Watteau, and Turner, and at the present moment Cézanne and Van Gogh are -being superseded by Mr. Roger Fry and his young lions of “The New -Movement.”</p> - -<p>The worst of it is that the idea of development, of evolution, is a -perfectly sound and useful one in certain spheres of activity. In -science, for instance, the idea works and is helpful. The successive -modifications and<span class="pagenum"><a name="page_2" id="page_2">{2}</a></span> improvements by which the latest type of steam-engine -has been evolved from Stevenson’s “Puffing Billy,” or the latest type of -air-ship from the Montgolfier balloon, form a series of steps which are -related and connected with each other, and they are so intimately -connected that the latest step sums up and supersedes all the others. No -one would travel with Stevenson’s engine who could employ a British or -American engine of the latest type. There we have a definite system of -development—of growth, improvement, and increased proficiency. And we -find the same thing if we look at science as a whole, as a body of -knowledge of a special kind. Its problems are tied together, -subordinated and co-ordinated, unified in one vast system, so that we -can represent its history as a single line of progress or retreat.</p> - -<p>But art is not like science. Donatello’s sculpture is not a growth from -the sculpture of Pheidias or Praxiteles in the same way that the London -and North-Western engine is a growth from Stevenson’s model; nor was -Raphael’s work developed from Giotto’s in the same way. Works of art are -separate and independent things. That is why Donatello has not -superseded Pheidias, nor Raphael Giotto; and that is why the world -cherishes the earliest works of art quite as much as the later ones.</p> - -<p>Yet we are bound to admit that we can find traces of an evolutionary -process even in the history of art, if we look diligently for them. I -remember to have seen a book by a well-known Italian critic in which the -representations of the Madonna are exhibited from this point of view (A. -Venturi, “La Madonna,” Milan, 1899). In it the pictures of the Madonna -are treated as an organism which gradually develops, attains perfection, -gets old, and dies. There is something to be said for this point of -view. When you have a number of artists successively treating the same -subject you naturally find that alterations and fresh ideas are imported -into their work. These additions and modifications can quite fairly be -regarded as developments of the subject-matter and its treatment. But -such developments are always partial and one-sided, and they are -accompanied with losses of another kind. If Raphael’s Madonnas are more -correctly drawn and modelled than those of Giotto, these gains are -balanced by a corresponding loss in the spiritual qualities of sincerity -and earnestness of religious conviction. It depends, therefore, on what -narrow and strictly defined point of view we adopt whether we find -development or decay in any particular series of artistic productions. -From one point of view the history of art from Giotto to Raphael can be -regarded as a process of growth and advance, from another, the same -series can be taken, as Ruskin actually took it, as an exhibition of the -processes of death and decay. The enlightened lover and student of art -will look at the matter from both, and other, points of view, but he -will realize that the theory of development does not help him in any way -to find a standard of value for works of art.</p> - -<p>Art must be judged by its own standards, and those standards tell us</p> - -<div class="figcenter"> -<p><a name="plt_I" id="plt_I"></a></p> -<a href="images/plt_001.jpg"> -<img src="images/plt_001.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE I.</p> - -<p>(<i>In the possession of C. Morland Agnew, Esq.</i>)</p> - -<p>“LAKE ALBANO AND CASTEL GANDOLFO.” <small>BY</small> J. R. COZENS.</p></div> -</div> - -<p><span class="pagenum"><a name="page_3" id="page_3">{3}</a></span></p> - -<p class="nind">that each individual masterpiece is perfect in its own marvellous way, -whether it was produced like the <i>Cheik el Beled</i> or <i>The Scribe</i>, some -five or six thousand years ago, or like the paintings of Reynolds, -Gainsborough, and Turner within comparatively recent times.</p> - -<h2><a name="hd2_THE_BEARING" id="hd2_THE_BEARING"></a>(2) THE BEARING OF THESE REMARKS ON THE HISTORY OF BRITISH WATER-COLOUR -PAINTING</h2> - -<p class="nind">THE direct bearing of these remarks on our immediate subject-matter -will, I hope, be evident to all who are familiar with the literature of -the history of British water-colour painting.</p> - -<p>The first attempt to form an historical series of British water-colours -for the public use was begun in 1857, by Samuel Redgrave for the Science -and Art Department of what was then the Board of Education. Thanks to -Redgrave’s knowledge and enthusiasm a worthy collection of examples of -the works of the founders of the school was soon got together, and this -nucleus was rapidly enlarged by purchases, gifts, and bequests. These -drawings were housed and exhibited in what was then called the South -Kensington Museum, and in 1877 Redgrave published an admirable -“Descriptive Catalogue” of the collection. As an introduction to this -catalogue he wrote a valuable account of the origin and historical -development of the art. Both the official character of this publication -as well as its intrinsic merits, literary and historical—for Redgrave -and his brother Richard, who had assisted him in the work, were two of -the best informed historians of English art in the last -century—combined to make it at the time and for many years afterwards -the standard and most authoritative book on this subject. But its -historical part has one serious defect, due perhaps to some extent to -the unfortunate association of science with art in the same museum. -Redgrave’s conception of artistic development was evidently borrowed -ready-made from the ideas of his scientific colleagues. He treats the -chronological arrangement of the drawings in exactly the same way as the -men of science treat the successive alterations and improvements which -Stevenson’s first model steam-engine underwent; and as he found the -earlier drawings approached very nearly to monochrome, while the later -ones were highly coloured and fuller in the statement and realization of -detail, he took it for granted that these changes marked the true line -of progress and development in the art. The early “stained” drawings of -Scott and Rooker were treated as the primitive and undeveloped models -from which the later and more elaborate works of Turner, Copley -Fielding, Sidney Cooper, John F. Lewis, Louis Haghe, and Carl Werner -were developed. Every fresh complication of technique and elaboration of -effect were hailed enthusiastically as signs of “progress,” and -brilliance of colour, richness of effect, and fullness of realization -were treated as the marks of “the full perfection” of which the art was -capable. In this way water-colour “drawing” became -<span class="pagenum"><a name="page_4" id="page_4">{4}</a></span> “elevated” into the -“perfected” art of <i>painting</i> in water-colours, and the beneficent -cosmic process triumphantly produced paintings in water-colour which -could actually “hold their own” in force and brilliancy of effect with -oil paintings.</p> - -<p>As a temporary measure Redgrave’s excursus into evolutionary theory must -have been extraordinarily successful. No more specious doctrine could -well have been invented to flatter and gratify all parties concerned at -the moment; the presidents and leading members of the two water-colour -societies must have found peace and comfort in Redgrave’s theory, and -the general public must have felt that “enlightenment and progress” even -in artistic matters were being duly fostered by an efficient “Committee -Council on Education.” But the theory has serious defects. It sets up a -false standard of artistic value, it withdraws attention from the higher -beauties of art to focus it upon merely materialistic and technical -questions, and, what is perhaps still more serious, it prejudges the -efforts of subsequent artists, and closes the door to future changes and -developments.</p> - -<p>The importance of these latter considerations will be seen as soon as we -turn our attention to the art of the present day and that of the period -which has intervened between it and the date of the publication of -Redgrave’s catalogue. Consider for one moment the water-colours of -Whistler, Clausen, Wilson Steer, D. Y. Cameron, Anning Bell, Charles -Sims, A. W. Rich, Charles Gere, and Romilly Fedden, and judge them in -terms of Redgrave’s formula! If we do we are bound to confess that they -one and all stand condemned. If Redgrave’s idea of the line of progress -and advance is correct we are bound to believe that the works of these -fine artists represent, not progress and advance, but decay and loss. -Indeed, the two chief movements in art in the last quarter of the last -century, the discovery of atmosphere as the predominant factor in -pictorial representation—what may be called for the sake of brevity the -whole Impressionistic movement, and the later deliberate search for -simplicity of statement, either in the interests of decorative effect or -emotional expression, were seriously thwarted and hindered by the -demands for “exhibition finish,” so-called conscientious workmanship, -and a standard of professional technique—“real painting, as such,” as -Ruskin called it—set up and maintained by the erroneous theories of -artistic progress of which Redgrave was only one of the exponents.</p> - -<p>It is therefore of the utmost importance that any attempt to deal fairly -and generously with the art of more recent times shall consciously and -deliberately dissociate itself from such theories.</p> - -<h2><a name="hd3_THE_DEVELOPMENT_OF_SUBJECT-MATTER_AND_TECHNIQUE" id="hd3_THE_DEVELOPMENT_OF_SUBJECT-MATTER_AND_TECHNIQUE"></a>(3) THE DEVELOPMENT OF SUBJECT-MATTER AND TECHNIQUE</h2> - -<p class="nind">AFTER what has been written above it is to be hoped that the dangers -attending the use of the word “development” have been exorcised. We -intend to use the word merely as a synonym for chronological sequence,<span class="pagenum"><a name="page_5" id="page_5">{5}</a></span> -and we have been careful to point out that the historical order in which -artists appear does not coincide or run parallel with any growth, -advance, progress, or improvement in the artistic value of their work.</p> - -<p>Shorn thus of its stolen finery of theoretical prejudice and -philosophical imposture the naked course of chronological sequence -presents few attractions to the enthusiastic lover of the beautiful. It -has, however, its uses. These are mainly mnemonical, for it supplies the -thread on which we string together in our memory the things strewn along -the schedule of the years without apparent rhyme or reason. The dates -will not help us to pick out the good from the bad, but they help us to -place among their proper surroundings the good things which our -sympathies and instincts find for us.</p> - -<p>With this grudging apostrophe to the historical maid-of-all-work we will -proceed with our survey of the brief tale of years during which our -national school of water-colour painting has been in existence. The -business of this chapter is to outline the development of form and -content, of subject-matter and technique.</p> - -<p>For the beginnings of British landscape painting we must look to the -drawings and engravings connected with the study of topography, using -this word in the ordinary sense of place-drawing, or the description of -a particular building or spot. Generally speaking the designs of the -earlier draughtsmen are now known only through the engravings which were -made from them. Roget, in his “History of the Old Water-Colour Society” -(chapters i and iii, Book I) gives a full and interesting account of -these engravings. The earliest drawings we need refer to are those of -Samuel Scott (1710-1772) and his pupil, William Marlow (1740-1813), Paul -Sandby (1725-1809), William Pars (1742-1782), Michael Angelo Rooker -(1743-1801), and Thomas Hearne (1744-1817).</p> - -<p>Working alongside these artists was another group of men who produced -“landscapes” which relied for their interest rather upon the sentiments -evoked by their subject-matter and treatment than upon the purely -topographical character of their work. These painters of poetical or -sentimental landscape may be said to have begun with George Lambert -(1710?-1765), Richard Wilson (1713-1782), and Thomas Gainsborough -(1727-1788). Of these only the latter used water-colour as an -independent medium. His <i>Landscape with Waggon on a Road through a Wood</i> -(British Museum) reminds one somewhat of the landscape studies of Rubens -and Van Dyck, at least as regards the colour-effect and the feeling for -atmosphere. Through Gainsborough the influence of Rubens and that of the -Flemish conception of landscape painting was brought to bear on British -art, while Lambert and Richard Wilson familiarized the younger artists -and their patrons with the style and aims of Poussin and Claude. The -same influences are discernible in the works of Alexander Cozens (d. -1786) and his son, John Robert Cozens (1752-1799), both of whom worked -almost entirely in water-colour.<span class="pagenum"><a name="page_6" id="page_6">{6}</a></span></p> - -<p>The works of these painters of poetical landscape taught the public to -demand something more emotional in feeling and more dignified and -impressive in treatment than the prosaic transcripts and conventionally -composed drawings of the topographers. Their example also taught the -rising generation of artists, amongst whom we find Edward Dayes -(1763-1804), John Glover (1767-1849), Joshua Cristall (1767?-1847), F. -L. T. Francia (1772-1839), Thomas Girtin (1775-1802), J. M. W. Turner -(1775-1851), John Constable (1776-1837), and John Sell Cotman -(1782-1842), how to meet those demands.</p> - -<p>In Turner’s <i>Warkworth Castle</i> (V. and A. Museum), exhibited in 1799, -and Girtin’s <i>Bridgnorth</i> (British Museum), painted in 1802, we find -these two streams of influence uniting. These drawings are at the same -time both topographical and poetical; each represents a particular place -with a good deal of accuracy, but in such a way that the drawing might -just as correctly be called a poetical landscape as a topographical -representation.</p> - -<p>This combination of fact with emotion, of representation with poetry, -has remained during the whole of the nineteenth century and down to the -present day the dominant characteristic of British landscape painting. -Sometimes the topographical factor was subdued or almost submerged, as -in the water-colours of George Barret, junr. (1767-1842) and Francis -Oliver Finch (1802-1862), but it is generally predominant, though always -in combination with emotional or poetical expression, in the works of -William Havell (1782-1857), David Cox (1783-1859), Peter De Wint -(1784-1849), Copley Fielding (1787-1855), G. F. Robson (1788-1833), -Samuel Prout (1783-1852), William Hunt (1790-1864), Clarkson Stanfield -(1793-1867), David Roberts (1796-1864), J. D. Harding (1797 or 8-1863), -R. P. Bonington (1802-1828), T. Shotter Boys (1803-1874), J. Scarlett -Davis (1804?-1844), J. F. Lewis (1805-1876), W. J. Muller (1812-1845), -William Callow (1812-1908), Birket Foster (1825-1899), A. W. Hunt -(1830-1896), E. M. Wimperis (1835-1900), Tom Collier (1840-1891), and J. -Buxton Knight (1842-1908).</p> - -<p>The course of development of the subject-matter of British landscape -painting in water-colour we may, therefore, say has been somewhat as -follows: it started with the object of recording as clearly and -accurately as was possible the appearance of buildings and places, and -it did this, not for purely artistic reasons, but in the interests of -antiquarian, archæological, historical, or geographical information; by -the side of this place-recording activity there sprang up a series of -painters who aimed at the production of landscapes as the means of -artistic and emotional expression; we then find these two groups acting -on each other, the poetical school teaching the topographers style, -design, “atmosphere,” and emotion, and the topographers directing the -attention of the poetical painters to the observation and study of -nature and the expression of</p> - -<div class="figcenter"> -<p><a name="plt_II" id="plt_II"></a></p> -<a href="images/plt_002.jpg"> -<img src="images/plt_002.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE II.</p> - -<p>(<i>In the possession of Thomas Girtin, Esq.</i>)</p> - -<p>“THE VALLEY OF THE AIRE.” <span class="smcap">BY</span> THOMAS GIRTIN.</p></div> -</div> - -<p><span class="pagenum"><a name="page_7" id="page_7">{7}</a></span></p> - -<p class="nind">their own personal emotions; and the outcome of this process is the -present school of British landscape painters in water-colours, which -attempts, both in its highest and in its lowest efforts, to do full -justice to the progressive demands which the educated public has thus -learned to make on the artist.</p> - -<p>We turn now to the development of technique. The earliest topographers -worked on white paper, on which, after the subject had been outlined in -pencil—such outlines being sometimes enforced with pen and ink, the -general system of light and shade was washed in monochrome; the local -colours were then washed over this preparation. The method, so far as -the colours were concerned, was somewhat similar to that of tinting or -colouring an engraving. In drawings executed in this manner by Sandby, -Rooker, and Hearne the brilliance of the colours is somewhat subdued by -the grey underpainting. But this is probably due to the fact that the -artists worked only with their washes of transparent colour, relying -upon the white paper asserting itself through these washes. The luminous -effects produced in this way—in drawings like Sandby’s <i>Windsor: East -View from Crown Corner</i> (British Museum) and Rooker’s <i>St. Botolph’s</i> -(V. and A. Museum)—have been so much admired that many living artists -have deliberately gone back to this simple way of working.</p> - -<p>The effect of the grey underpainting on the finished work is, however, -largely dependent on the artist’s wishes. If he chooses to sacrifice the -luminosity of the white paper he can paint over his preliminary washes -with colour so heavily charged that it will practically annihilate them. -This is what Girtin generally did in his later works, though it must be -added that he also changed the colour of his preparatory washes from -grey to brown. I am inclined to think, therefore, that Redgrave has -exaggerated the importance of the use or disuse of these preliminary -washes.</p> - -<p>The earlier poetical painters, like Lambert, and Sandby in his larger -compositions painted for exhibition purposes, worked in body-colour, -i.e., opaque white was mixed with all the colours. In this way some -approximation to the force of oil painting was obtained. Another way of -getting a similar result was to work with the paper wet. A good example -of this method is Turner’s <i>Warkworth Castle</i>. In this picture Turner -tries to do in water-colour what Richard Wilson did in oils. He gets his -effects of deep rich tone and force of colour by working with a heavily -charged brush, sponging, and wiping out the lights with a dry brush or -handkerchief or scraping them with a knife.</p> - -<p>The methods of <i>Warkworth Castle</i> were practically those used by the -younger Barret, Varley, Copley Fielding, Cox, and De Wint, but after -about 1830 we find opaque white coming into general use, at first merely -to give increased force to the high lights, but later it was mixed -freely with all the transparent colours, and toned or tinted paper was<span class="pagenum"><a name="page_8" id="page_8">{8}</a></span> -used to give greater brilliance to the body-colour. John F. Lewis worked -in this way, but the hardness and glitter to which it so easily conduced -led to its abandonment by the later artists who set themselves to render -the delicate gradations of the atmosphere. Yet one must admit that in -the hands of a master technician like Turner all the unpleasant -qualities so often apparent in body-colour work can be avoided, as the -<i>Rivers of France</i> drawings prove. At the present time some artists, who -aim especially at force and brilliance of colour, prefer to work in -tempera, but it is doubtful whether this medium can rightly be regarded -as a form of water-colour painting.</p> - -<p>On the whole we may say that the technique of water-colour has changed -very little during the last two centuries. The chief change has perhaps -been connected with the introduction, about 1830, of moist colours put -up in metal tubes, a great convenience to artists in search of bold -effects without the expenditure of much time or trouble. But even this -has proved a doubtful advantage, and many artists have now gone back to -the use of hard cakes of colour, similar to those with which the earlier -men obtained their delicate and luminous results.</p> - -<h2><a name="hd4_SOME_FAMOUS_WATER-COLOUR_PAINTERS_OF_THE_PAST" id="hd4_SOME_FAMOUS_WATER-COLOUR_PAINTERS_OF_THE_PAST"></a>(4) SOME FAMOUS WATER-COLOUR PAINTERS OF THE PAST</h2> - -<p class="nind">IN the previous section we have deliberately refrained from saying -anything about the purely artistic qualities of the works we have -referred to. This is because we have been engaged in a strictly -historical survey, and to the eye of history there is no difference -between the works of a great artist and those of a bungler. Both are -equally patent and indubitable facts. It is the business of criticism to -appraise the artistic beauty of works of art. And if in our historical -survey we have kept our attention fixed generally on the works of the -greater men, this is more the result of accident than design. Art -criticism has already sifted much of the good from the bad in the work -of the past, and it is more convenient, in a general survey of this -kind, to deal with what is best known and valued. But because history -can thus take advantage of what art criticism has done, that is no -reason why we should confuse the two processes, and it cannot be -repeated too often that historical importance or interest has nothing -whatever to do with artistic value.</p> - -<p>The aim of this section is to make good the defects of historical study, -so far, at least, as the limited space at our disposal will permit. With -this object in view we have selected a baker’s dozen of the more famous -artists of the past, and we will endeavour to indicate some of the -qualities which make their works a joy and delight to those who have the -privilege of knowing them. In each case we will supply, in tabloid form, -a certain amount of biographical information, as knowledge of the time -and place in which an artist works and the conditions under which he -produces helps us to understand what he has done; we shall also attempt -to point out the chief public galleries where each artist’s works</p> - -<div class="figcenter"> -<p><a name="plt_III" id="plt_III"></a></p> -<a href="images/plt_003.jpg"> -<img src="images/plt_003.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE III.</p> - -<p>(<i>In the possession of Messrs. J. Palser & Sons.</i>)</p> - -<p>“KIRKHAM ABBEY.” <span class="smcap">BY</span> JOHN SELL COTMAN, R.W.S.</p></div> -</div> - -<p><span class="pagenum"><a name="page_9" id="page_9">{9}</a></span></p> - -<p class="nind">can be seen (when happier times bring about the reopening of our museums -and art galleries), and the sources from which those who care for it can -obtain fuller information and more authoritative criticism than we -ourselves can supply. Such information as we can give will be as correct -as we can make it, but it will make no claim whatever to be exhaustive.</p> - -<h3><a name="PAUL_SANDBY" id="PAUL_SANDBY"></a>PAUL SANDBY</h3> - -<p>[Born at Nottingham, 1725; entered military drawing office of the Tower -of London, 1746; draughtsman to a survey of the Northern and Western -Highlands, 1748-1751, during which time he published some etchings of -Scottish views; worked at Windsor for some years from 1752, where his -brother, Thomas, was Deputy Ranger; chief drawing-master, Royal Military -Academy, Woolwich, 1768-1797; elected Director of the Society of -Artists, October 18, 1766; original member of Royal Academy, 1768; -introduced the aquatint method of engraving into England; published -first set of twelve aquatints of views in South Wales, 1774, a second -set of views in North Wales, 1776, and a third set in 1777; died 1809.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Society of Artists, 1760-’68; Royal Academy, 1769-’77, -’79-’82, ’86-’88, ’90-’95, ’97-1802, ’06-’09; Free Society, 1782, -’83.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum -(Water-Colours); British Museum; National Gallery of Ireland; -Greenwich Hospital; Diploma Gallery, R.A.; Manchester Whitworth -Institute; Norwich, Nottingham, Glasgow, etc., Art Galleries.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “Thomas and Paul Sandby,” by -William Sandby, 1892; “D. N. B.”; Roget’s “History of the Old -Water-Colour Society,” 1891.</p> - -<p><span class="smcap">Reproductions of Works</span>: “The Earlier English Water-Colour -Painters,” by Cosmo Monkhouse; “The English Water-Colour Painters,” -by A. J. Finberg; “Early English Water-Colour,” by C. E. Hughes; -“Water-Colour,” by the Hon. Neville Lytton; “Water-Colour -Painting,” by A. W. Rich; “The Royal Academy” (<span class="smcap">The Studio</span> Summer -Number, 1904); <span class="smcap">The Studio</span>, Jan. 1918.]</p></div> - -<p>Sandby was one of the most prolific of the earlier topographical -artists. His numberless drawings and the engravings he made from them -did more than any one man had done before to familiarize Englishmen with -the beauties of their native land. He was an indefatigable traveller, -and he was the first artist to discover the artistic beauties of Wales.</p> - -<p>He worked both in transparent colour and in gouache. His drawings in the -latter medium, of which there are several in the V. and A. Museum, are -distinctly inferior to his works in pure colour. They are scenic and -conventional in design, feeble and pretentious in execution. His -drawings in transparent colour, however, are delightfully fresh and -vigorous; luminous in effect, and filled with proofs of keen and genial -observation. They seem full of air and light, vivid human interest, and -in their treatment of architecture and of all natural features they are -at once careful, accurate and lucid without ever showing signs of labour -or fatigue. In the abundance of his work and its variety Sandby -approached nearer to<span class="pagenum"><a name="page_10" id="page_10">{10}</a></span> Turner than any other artist. But he had not -Turner’s subtlety of eye and hand, nor his exquisite sense of artistic -form. His landscapes are well composed, but on conventional lines, and -the whole material is never welded together into an original and -impeccable design, as with Turner, Cozens, and Cotman.</p> - -<p>Sandby’s Welsh aquatints with their many daring effects of light form -the real forerunners of Turner’s “Liber Studiorum.” They display better -than any single drawing the width and range of the artist’s powers.</p> - -<p>As an engraver and water-colour painter Paul Sandby is a genial and -inspiriting personality. He transformed topographical draughtsmanship -into something new and living, instinct with life and emotion. “And if -we may not call him a great artist, we may at least say that he was a -topographical draughtsman of genius.”</p> - -<h3><a name="ALEXANDER_COZENS" id="ALEXANDER_COZENS"></a>ALEXANDER COZENS</h3> - -<p>[Born in Russia, date unknown; son of Peter the Great and an -Englishwoman; sent by his father to study painting in Italy; said to -have come to England in 1746; drawing-master at Eton School, 1763-1768; -married a sister of Robert Edge Pine; elected Fellow of the Society of -Artists, 1765; died in Duke Street, Piccadilly, April 23, 1786.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Society of Artists, 1760, ’63, ’65-’71; Free Society, -1761, ’62; Royal Academy, 1772, ’73, ’75, ’77-’79, ’81.</p> - -<p><span class="smcap">Works in Public Galleries</span>: V. and A. Museum (Water-Colours); -British Museum; Manchester Whitworth Institute.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Leslie’s “Handbook for Young -Painters”; Redgrave’s “Dictionary”; “Reminiscences of Henry -Angelo,” vol. i, 212-216; “D. N. B.”</p> - -<p><span class="smcap">Reproductions</span>: <span class="smcap">The Studio</span>, Feb. 1917; Finberg’s “English -Water-Colour Painters.”]</p></div> - -<p>The date when Alexander Cozens came to England is given above as 1746. -This is what we find in all the reference books, and it is founded on a -memorandum pasted in a book of drawings made by the artist in Italy -which is now in the British Museum. This memorandum states that -“Alexander Cozens, in London, author of these drawings, lost them, and -many more, in Germany, by their dropping from his saddle, when he was -riding on his way from Rome to England, in the year 1746. John Cozens, -his son, being at Florence in the year 1776, purchased them. When he -returned to London in the year 1779 he delivered the drawings to his -father.” Now either the date in this note is wrong or, what seems a more -probable explanation, Alexander Cozens’s journey to England in 1746 was -not the occasion of his first visit to this country, for there is an -engraved <i>View of the Royal College of Eton</i>, after a drawing made by -Cozens, which was published in 1742. It was engraved by John Pine, whose -daughter afterwards became Alexander Cozens’s wife. The existence of -this engraving, which has been noticed by none<span class="pagenum"><a name="page_11" id="page_11">{11}</a></span> of the writers on -Cozens’s life, seems to point to the probability that the artist came to -England at least four years earlier than has been supposed. It also -shows how little we know about Cozens’s early life, and it suggests a -certain amount of scepticism about the constantly repeated statements on -this subject which rest, apparently, either on dubious authority or on -authority which has not or cannot be verified.</p> - -<p>Alexander Cozens’s work attracted little attention in modern times until -the late Mr. Herbert Home perceived its beauties. Public attention was -first drawn to it by the “Historical Collection of British -Water-Colours” organized by the Walpole Society in the Loan Exhibition -held at the Grafton Galleries at the end of 1911, which included five -beautiful drawings by Cozens. This was followed, in 1916, by an -exhibition of Mr. Home’s collection of drawings with special reference -to the works of Alexander Cozens, held by the Burlington Fine Arts Club. -To the catalogue of this exhibition Mr. Laurence Binyon contributed a -valuable article on “Alexander Cozens and his Influence on English -Painting.” In this article Mr. Binyon does justice to Cozen’s -originality of design and to the emotional power of his drawings. “In -his freest vein he uses his brush with a loose impetuosity which reminds -one curiously of Chinese monochrome sketches—the kind of work beloved -by those Chinese artists who valued spontaneous freshness and personal -expressiveness above all else in landscape.” “It was indeed,” Mr. Binyon -adds, “the naked elements” (of landscape structure) “rather than the -superficial aspects of a scene which appealed to his imagination; and in -nature it was the solitary and the spacious rather than the agreeably -picturesque which evoked his deepest feelings.”</p> - -<p>Alexander Cozens used colour sparingly and seldom. His best drawings are -either in bistre or in indian ink, and he was fond of working on -stained, or perhaps oiled, paper (which was formerly used for tracing). -Such paper has doubtless acquired a darker tone with age, and it adds to -the “sombreness” of which contemporaries complained in his drawings.</p> - -<h3><a name="JOHN_ROBERT_COZENS" id="JOHN_ROBERT_COZENS"></a>JOHN ROBERT COZENS</h3> - -<p>[Son of Alexander Cozens, born 1752; made sketching tour in Switzerland -and Italy, with R. Payne Knight, 1776-1779; again visited Switzerland -and Italy, this time in company with William Beckford, 1782; became -insane, 1794; died, it is said, 1799.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Society of Artists, 1767-’71; Royal Academy, 1776.</p> - -<p><span class="smcap">Works in Public Galleries</span>: V. and A. Museum (Water-Colours); -British Museum; National Gallery of Ireland; Manchester Whitworth -Institute; Fitzwilliam Museum, Cambridge; Oldham Art Gallery -(Charles E. Lees’ Collection); Manchester Art Gallery (James Blair -Bequest).</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Edwards’s “Anecdotes”; Leslie’s -“Handbook”; Redgrave’s “Century” and “Dictionary”; “D. N. B.”</p> - -<p><span class="smcap">Reproductions</span>: Cosmo Monkhouse’s, Finberg’s, Hughes’s and Rich’s -works, already cited; <span class="smcap">The Studio</span>, Feb. 1917.]</p></div><p><span class="pagenum"><a name="page_12" id="page_12">{12}</a></span></p> - -<p>It is really surprising that we know so little about this artist. During -his lifetime his works were much sought after, and he must have been -personally known to a number of distinguished people; both Payne Knight -and the eccentric millionaire, William Beckford, the author of “Vathek,” -and owner and rebuilder of Fonthill Abbey, with whom he travelled in -Italy and Switzerland, and who both possessed a large number of his -drawings, were voluminous writers, yet neither has deigned to tell us -anything of interest about the character, personality, or even outward -appearance of this very great artist. Both Beckford and Knight wrote -accounts of their travels, but one searches them in vain for a single -word that would prove that these highly intelligent men had the shadow -of a notion that the quiet and unobtrusive young “draughtsman” in their -employ was one of the greatest artists their country had produced.</p> - -<p>We do not know for certain where or when John Cozens was born nor when -he died. Roget says he “appears to have been born abroad when his parent -was giving lessons in Bath,” but he gives no authority for the -statement, and so far as I know it has not been verified. The best -evidence for the date of his birth seems to be Leslie’s statement that -he once saw a small pen-drawing on which was written, “Done by J. -Cozens, 1761, when nine years of age.” If the date is correct Cozens was -only fifteen when he began to exhibit at the Society of Artists. -Constable stated that Cozens died in 1796, but most of the authorities -give the date as 1799.</p> - -<p>That the artist was modest and unobtrusive, like his drawings, we may -feel sure. As Leslie wrote, “So modest and unobtrusive are the beauties -of his drawings that you might pass them without notice, for the painter -himself never says ‘Look at this, or that,’ he trusts implicitly to your -own taste and feeling; and his works are full of half-concealed beauties -such as Nature herself shows but coyly, and these are often the most -fleeting appearances of light. Not that his style is without emphasis, -for then it would be insipid, which it never is, nor ever in the least -commonplace.”</p> - -<p>Constable was one of the first to realize Cozens’s true greatness. -“Cozens,” he said, “is all poetry,” and on another occasion he rather -shocked Leslie by asserting that Cozens was “the greatest genius that -ever touched landscape.” Yet this assertion contains nothing but the -plain truth. Genius is the only word we can use to describe the intense -concentration of mind and feeling which inspires Cozens’s work. To the -analytic eye his drawings are baffling and bewildering in the extreme; -it is impossible to find a trace of cleverness or conscious artifice in -them. They make you feel that you are looking at the work of a -somnambulist or of one who has painted in a trance. They are, I believe, -the most incorporeal paintings which have been produced in the Western -world, for the paint and the execution seem to count for so<span class="pagenum"><a name="page_13" id="page_13">{13}</a></span> little and -the personal inspiration for so much. The painter’s genius seems to -speak to you direct, and to impress and overawe you without the help of -any intermediary.</p> - -<p>In this respect Cozens is quite different from Turner. Even when he -trusted most implicitly to his genius Turner was always the great -artist, the great colourist, the incomparable master of his technique -whatever medium he was working in. Beyond the sheer beauty of his simple -washes of transparent colour there is hardly a single technical or -executive merit in Cozens’s drawings that one can single out for praise -or even for notice. Their haunting beauty and incomparable power are -spiritual, not material. And as we can think of a spirit too pure and -fine to inhabit a gross body like our own, so Cozens seems to be a -genius too spiritual for form and colour and the palpable artifices of -representation. Certainly no English artist relied more serenely and -confidently on his genius, and subdued his art more absolutely to -spiritual purposes. And this is what I think Constable meant when he -called Cozens “the greatest genius that ever touched landscape”; he did -not say that he was the greatest artist.</p> - -<p>As one of our illustrations we reproduce the drawing <i>Lake Albano and -Castel Gandolfo</i> by Cozens (<a href="#plt_I">Plate I</a>) in the collection of Mr. C. Morland -Agnew.</p> - -<h3><a name="THOMAS_GIRTIN" id="THOMAS_GIRTIN"></a>THOMAS GIRTIN</h3> - -<p>[Born in Southwark, 1775; apprenticed to Edward Dayes; first engravings -after his drawings published in “Copper Plate Magazine,” 1793; sketching -tours, in the Midlands (Lichfield, etc.), 1794, Kent and Sussex 1795, -Yorkshire and Scotland 1796, Devonshire 1797, Wales 1798, Yorkshire and -Scotland 1799; “Girtin’s Sketching Society” established, 1799; married, -1800; went to Paris, Nov. 1801, and returned to England, May 1802; his -<i>Eidometropolis</i>, or Great Panorama of London, exhibited at Spring -Gardens, August, 1802; died Nov. 9, 1802; engravings of his views of -Paris published shortly after his death.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1794, ’95, ’97-1801.</p> - -<p><span class="smcap">Works in Public Galleries</span>: V. and A. Museum (Water-Colours); -British Museum; National Galleries of Scotland and Ireland; -Manchester Whitworth Institute; Ashmolean and Fitzwilliam Museums; -Oldham Art Gallery (Charles E. Lees’ Collection).</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Edwards’s “Anecdotes”; Dayes’ -“Professional Sketches”; Redgrave’s “Century” and “Dictionary”; -B.F.A. Club’s Catalogue, 1875; Roget’s “History”; Binyon’s “Life -and Works,” 1900; Walpole Society’s Vols. II. and V.</p> - -<p><span class="smcap">Reproductions</span>: Binyon’s “Life”; Monkhouse’s, Finberg’s, Hughes’s, -Lytton’s, and Rich’s works already cited; <span class="smcap">The Studio</span> (Centenary of -Thomas Girtin Number), Nov. 1902; <span class="smcap">The Studio</span>, May 1916; Walpole -Society’s Vols. II. and V.]</p></div> - -<p>Compared with John Cozens’s work Girtin’s appears often self-conscious -and artificial. His drawings were admired by his contemporaries chiefly -on account of their style; references to the “sword-play” of his -pencil,<span class="pagenum"><a name="page_14" id="page_14">{14}</a></span> the boldness and swiftness of his washes, constantly recur in -their eulogies of his work. Girtin was nearly always a stylist, and -often a mannerist. But his style, at its best, is so thoroughly in -keeping with the spirit of his work that it is difficult to separate the -two. His love of the sweeping lines of the open moorland and his passion -for height and space appeal irresistibly to our imagination, while the -broad simplicity of his vision, his restrained and truthful colour, and -his frank, bold, decisive handling seem the only adequate means by which -his inspiration could find clear and authoritative expression.</p> - -<p>We must remember, too, that Girtin died at the age of twenty-seven. The -knowledge of his early and untimely death intensifies our admiration for -all he did; while the few supreme masterpieces of poetical landscape he -has left us, like the <i>Plinlimmon</i>, show clearly what our national art -lost by the tragedy of his early death.</p> - -<p>Girtin seems to have mastered his art as Robert Louis Stevenson mastered -his, by “playing the sedulous ape” to the men he admired. There are now -in the British Museum copies he made after Antonio Canal, Piranesi, -Hearne, Marlow, and Morland. Of these masters Canal seems to have -impressed and taught him most. The spaciousness and breadth of effect of -all his topographical work are clearly the outcome of his admiration for -Canal’s drawings and paintings. The calligraphic quality of his line -work, what has been called the “sword-play” of his pencil, is also due -to the same influence.</p> - -<p>His earlier drawings, made about 1792 and 1793, were, however, modelled -on the style of his master, Edward Dayes. The drawings he made after -James Moore’s sketches—of which several have been recently acquired by -the Ashmolean Museum—might easily be mistaken for Dayes’ work. They -only differ in being more accomplished and workmanlike than those which -his master made for the same patron, and in their deliberate avoidance -of the dark “repoussoir” of which Dayes was so fond in his -foregrounds—an avoidance which gives Girtin’s drawings a greater unity -and a more decorative effect than those of Dayes.</p> - -<p>By about 1795 Girtin’s real style began to assert itself, in drawings -like those of Lichfield and Peterborough Cathedrals. From this time we -find him pouring forth an abundance of superb topographical subjects -instinct with style and ennobled with poetry and imagination—drawings -like <i>Rievaulx Abbey</i> (1798), in the V. and A. Museum, <i>Carnarvon -Castle</i>, and <i>The Old Ouse Bridge, York</i>, both in the possession of his -great-grandson, Mr. Thomas Girtin. The noble studies for his Panorama of -London (made probably in 1801), his <i>Lindisfarne</i> (?1797) and -<i>Bridgnorth</i> (1802), are fortunately in the British Museum. The drawings -he made on his return from Paris, during the last sad months of his -fast-ebbing life—drawings like the <i>Porte St. Denis</i>—are amongst the -most superb of his splendid productions.<span class="pagenum"><a name="page_15" id="page_15">{15}</a></span></p> - -<p>I will close these brief and inadequate remarks by copying out two -advertisements connected with Girtin’s “Panorama” which I believe have -not been printed or referred to by any one of the writers on his life -and work. The first appeared in “The Times” on August 27, 1802. It runs -as follows: “<i>Eidometropolis</i>, or Great Panoramic Picture of London, -Westminster, and Environs, now exhibiting at the Great Room, Spring -Gardens, Admission 1<i>s.</i> T. Girtin returns his most grateful thanks to a -generous Public for the encouragement given to his Exhibition, and as it -has been conceived to be merely a Picture framed, he further begs leave -to request of the Public to notice that it is Panoramic, and from its -magnitude, which contains 1944 square feet, gives every object the -appearance of being the size of nature. The situation is so chosen as to -shew to the greatest advantage the Thames, Somerset House, the Temple -Gardens, all the Churches, Bridges, principal Buildings, &c., with the -surrounding country to the remotest distance, interspersed with a -variety of objects characteristic of the great Metropolis. His views of -Paris, etched by himself, are in great forwardness, and to be seen with -the Picture as above.”</p> - -<p>The second notice is as follows: “Thursday, 11 Nov., 1802. The Public -are most respectfully informed that in consequence of the decease of Mr. -Thomas Girtin, his Panorama of London exhibiting at Spring Gardens, will -be shut till after his interment, when it will be re-opened for the -benefit of his widow and children, under the management of his brother, -Mr. John Girtin.”</p> - -<p>As an example of Girtin’s work we reproduce <i>The Valley of the Aire with -Kirkstall Abbey</i> (<a href="#plt_II">Plate II</a>), from Mr. Thomas Girtin’s collection.</p> - -<h3><a name="JOSEPH_MALLORD_WILLIAM_TURNER" id="JOSEPH_MALLORD_WILLIAM_TURNER"></a>JOSEPH MALLORD WILLIAM TURNER</h3> - -<p>[Born in Maiden Lane, Covent Garden, 23 April, 1775; worked in Life -Academy, R.A. schools, 1792-1799; A.R.A., 1799, R.A. 1802; first tour on -Continent, 1802; first part of “Liber Studiorum” issued, 1807; Professor -of Perspective, R.A., 1807-1837; <i>Crossing the Brook</i> exhibited 1815; -published “Southern Coast” series of engravings, 1814-1826, “Views in -Sussex,” 1816-1820, Hakewill’s “Italy,” 1818-1820, “Richmondshire,” -1818-1823, “Provincial Antiquities of Scotland,” 1819-1826, “England and -Wales,” 1827-1838, Rogers’s “Italy,” 1830, and “Poems,” 1834, “Rivers of -France,” 1833-1835; exhibited <i>Rain, Steam, and Speed</i>, 1844; died Dec. -18, 1851.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1790-1804, ’06-’20, ’22, ’23, ’25-’47, -’49, ’50; British Institution, 1806, ’8, ’9, ’14, ’17, ’35-’41, -’46; Society of British Artists, 1833, ’34; Institution for Enc. of -F.A., Edinburgh, 1824; Cooke’s Exhibitions, 1822-’24; Northern -Academy of Arts, Newcastle, 1828; R. Birmingham S. of Artists, -1829, ’30, ’34, ’35, ’47; Liverpool Academy, 1831, ’45; R. -Manchester Institution, 1834, ’35; Leeds Exhibition, 1839.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum; -British Museum;<span class="pagenum"><a name="page_16" id="page_16">{16}</a></span> National Galleries of Ireland and Scotland; -Ashmolean and Fitzwilliam Museums; Manchester Whitworth Institute; -Bury Art Gallery, etc. etc.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Peter Cunningham’s Memoir, in -John Burnet’s “Turner and his Works,” 1852; Alaric Watts’s Memoir, -in “Liber Fluviorum,” 1853; Ruskin’s “Modern Painters” and -“Preterita”; Thornbury’s “Life, etc.,” 2 vols., 1862; Hamerton’s -“Life,” 1879; Monkhouse’s “Turner” (in “Great Artists Series”), -1882; C. F. Bell’s “Exhibited Works of Turner,” 1901; Sir Walter -Armstrong’s “Turner,” 1902; Finberg’s “Turner’s Sketches and -Drawings,” 1910; etc. etc.</p> - -<p><span class="smcap">Reproductions</span>: Armstrong’s “Turner”; Wedmore’s “Turner and Ruskin”; -“The Genius of Turner” (<span class="smcap">The Studio</span> Special Number, 1903); “Hidden -Treasures at the National Gallery,” 1905; “The Water-Colours of J. -M. W. Turner” (<span class="smcap">The Studio</span> Spring Number, 1909); “Turner’s -Water-Colours at Farnley Hall” (<span class="smcap">The Studio</span> Special Number, 1912); -Walpole Society’s Vols. I., III., and VI.]</p></div> - -<p>Turner’s first exhibited water-colour, a <i>View of the Archbishop’s -Palace, Lambeth</i> (1790), is a poor imitation of Malton’s least inspired -topographical drawings. But he learned quickly. His <i>Inside of Tintern -Abbey</i>, (1794) shows that before he was twenty he could draw and paint -Gothic architecture better than any of the older topographical artists. -His pre-eminence as a topographical draughtsman was firmly established -by 1797, when he had painted such works as the <i>Lincoln Cathedral</i> -(1795), <i>Llandaff Cathedral</i> (1796), <i>Westminster Abbey: St. Erasmus and -Bishop Islip’s Chapel</i> (1796), and <i>Wolverhampton</i> (1796).</p> - -<p>From 1796 to 1804 Turner’s style changed, chiefly under the influence of -Richard Wilson’s works, which he studied and copied diligently. These -years saw the production of <i>Norham Castle</i> (1798), <i>Warkworth Castle</i> -(1799), <i>Edinburgh, from Calton Hill</i> (1804), <i>The Great Fall of the -Reichenbach</i> (done in 1804, but not exhibited till 1815), and the -wonderful sketches in the Alps, <i>Blair’s Hut</i>, <i>St. Gothard</i>, etc. -(1802). In these energetic and powerful drawings he aims at getting -depth and richness of tone and colour.</p> - -<p>From 1804 to 1815 his energies were mainly directed to the production of -his great sea-paintings, <i>The Shipwreck</i>, <i>Spithead</i>, etc., his lovely -English landscapes like <i>Abingdon</i>, <i>Windsor</i>, <i>The Frosty Morning</i>, and -<i>Crossing the Brook</i>, and to making the designs in sepia for his “Liber -Studiorum” and helping to engrave the plates. His water-colours during -these years were not numerous, but they include <i>Scarborough Town and -Castle</i> (1811), <i>The Strid</i> (about 1811), <i>Bolton Abbey from the South</i> -(about 1812), all three at Farnley Hall, Mr. Morland Agnew’s -<i>Scarborough</i> (1810), <i>Scene on the River Tavey</i> (1813)—called by Mr. -Ruskin <i>Pigs in Sunshine</i>, now in the Ruskin School at Oxford, and the -<i>Malham Cove</i> (about 1815), now in the British Museum (Salting Bequest). -In these drawings the capacities of water-colour are not forced so much -into rivalry with the depth and power of oil painting as in those of the -1797-1804 period.</p> - -<p>About 1812 or 1813 Turner began making the drawings which were engraved -and published in Cooke’s “Picturesque Views of the Southern Coast of -England.” Between 1815 and 1840 nearly all his work in</p> - -<div class="figcenter"> -<p><a name="plt_IV" id="plt_IV"></a></p> -<a href="images/plt_004.jpg"> -<img src="images/plt_004.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IV.</p> - -<p>(<i>In the possession of J. F. Schwann, Esq.</i>)</p> - -<p>“LAUNCESTON.” <span class="smcap">BY</span> J. M. W. TURNER, R.A.</p></div> -</div> - -<p><span class="pagenum"><a name="page_17" id="page_17">{17}</a></span></p> - -<p class="nind">water-colour was done to be engraved and published in similar -undertakings. Turner’s fame as a water-colour painter rested during his -lifetime chiefly on these drawings. Among them are many of the most -beautiful works which have ever been produced in this medium. It is a -pity, therefore, that they are not more adequately represented in our -public galleries. This remark applies particularly to the drawings in -transparent colour (like the <i>Launceston</i>, for instance, which is here -reproduced, Plate IV), for those in body-colour—the “Rivers of -France”—are nearly all either in the National Gallery, Ashmolean or -Fitzwilliam Museums. But with the exception of <i>Hornby Castle</i> (V. & A. -Museum) and most of the originals of the “Rivers” and “Ports of England” -series (in the National Gallery), nearly all Turner’s drawings made for -the engravers are in private collections. We may perhaps allow ourselves -to hope that some time in the future a separate gallery may be founded -to do justice to British water-colours, in which such drawings would -have to be properly represented.</p> - -<p>After about 1840 Turner only worked in water-colours for his own -pleasure and for that of a small circle of friends and admirers. The -drawings made for his own pleasure are now nearly all in the National -Gallery, where they have never been properly exhibited and where most of -them cannot be seen by the public. These formed part of the Turners -which the Trustees wanted to sell about a year ago. The drawings made -for his friends and admirers include the <i>Constance</i>, <i>Lucerne</i>, and -others of what have been called “The Epilogue” drawings. The public is -able to catch glimpses of these occasionally at loan exhibitions and in -auction rooms.</p> - -<h3><a name="JOHN_SELL_COTMAN" id="JOHN_SELL_COTMAN"></a>JOHN SELL COTMAN</h3> - -<p>[Born at Norwich, May 16, 1782; went to London, 1798; gained prize for a -drawing from the Society of Arts, 1800; returned to Norwich, 1806, and -opened a school for drawing and design; married, 1809; published a -series of etchings, 1811, and became president of the Norwich Society of -Artists; published “Norman and Gothic Architecture,” 1817, and -“Architectural Antiquities of Normandy,” 1822; Associate, Society of -Painters in Water-Colours, 1825; appointed Professor of Drawing at -King’s College, London, 1834, mainly through Turner’s influence; -published his “Liber Studiorum,” 1838; died July 24, 1842.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1800-’06; Associated Artists, 1810, ’11; -Society of Painters in Water-Colours, 1825, ’26, ’28-’39; Society -of British Artists, 1838; Norwich Society of Artists, 1807-’12, -’15, ’18, ’20, ’21, ’23, ’24; Norfolk and Suffolk Institution, -1828-’33.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery (an oil-painting); V. -and A. Museum (Water-Colours); British Museum; National Galleries -of Scotland and Ireland; Norwich Castle Museum; Manchester -Whitworth Institute, etc.<span class="pagenum"><a name="page_18" id="page_18">{18}</a></span></p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Memoir in catalogue of Norwich -Art Circle’s exhibition of Cotman’s works, July 1888; Laurence -Binyon’s “Crome and Cotman” (Portfolio Monograph), 1897, and -“Cotman” in “Masters of English Landscape Painting” (<span class="smcap">The Studio</span> -Summer Number, 1903).</p> - -<p><span class="smcap">Reproductions</span>: The three works cited above, and histories of -British water-colour painting by Monkhouse, Finberg, etc., already -cited.]</p></div> - -<p>Cotman is the greatest of all the English water-colour painters born -after Turner. He is the only one of them whose works can be put beside -Turner’s and judged on a footing of equality. When we compare Prout, -Cox, De Wint, and even Bonington, with Turner we feel that they must be -judged by some less exacting standard than that which we apply to -Turner. This is not the case with Cotman. He had not the width and -range, the abundance and all-conquering power of Turner, but within his -own limits he is every whit as unapproachable.</p> - -<p>Cotman was a member of Girtin’s sketching club, and it is evident that -Girtin’s influence counted for much in his early work. From Girtin he -learned to rely first and foremost upon full-bodied washes of colour -placed exactly where they were wanted and left to dry just as they had -flowed from the brush. Cotman’s quite early works can easily be mistaken -for poor drawings by Girtin or Francia. But in the drawings produced -between 1803 and 1817, we find that he was not satisfied to paint, like -the older men, in his studio upon an arbitrarily chosen formula of -colouring. In a letter written to Dawson Turner on Nov. 30, 1805, he -speaks of his summer sketching tour to York and Durham, and adds, “My -chief study has been colouring from Nature, many of which are close -copies of that full Dame.” We see one of the results of these studies in -what is perhaps his earliest masterpiece, the <i>Greta Bridge, Yorkshire</i> -(1806), now in the British Museum. Its colour-scheme is as original as -it is beautiful. The colouring is “natural,” but it is Nature simplified -to a system of harmoniously coloured spaces, in which light and shade -and modelling are suggested rather than rendered.</p> - -<p>The distinctive peculiarity of the workmanship of this, as indeed of all -Cotman’s drawings, is his reliance on the clear stain or rich blotting -of the colour on paper preserved in all its freshness. The aims of -representation are forced so much into the background that the artist -seems to be mainly intent on the discovery and display of “the beauty -native and congenial” to his materials. Mr. Binyon has drawn attention -to the unconscious similarity of Cotman’s methods and aims to those of -the great schools of China and Japan of more than a thousand years ago.</p> - -<p>Among the better-known of Cotman’s drawings of this period we may -mention the <i>Twickenham</i> (1807), <i>Trentham Church</i> (about 1809), -<i>Draining Mill, Lincolnshire</i> (1810), and <i>Mousehold Heath</i> (1810); -these are all reproduced in “Masters of English Landscape Painting” (<span class="smcap">The -Studio</span> Summer Number, 1903), in which Mr. Binyon’s illuminating essay -was published. The beautiful drawing of <i>Kirkham Abbey, Yorkshire</i>, here -reproduced (<a href="#plt_III">Plate III</a>) by the courtesy of Messrs. J. Palser & Sons, is<span class="pagenum"><a name="page_19" id="page_19">{19}</a></span> -an admirable example of Cotman’s wonderful mastery in the use of decided -washes of pure colour.</p> - -<p>In 1817 Cotman made his first visit to Normandy, and after this date his -colour becomes warmer, brighter, and more arbitrary. After about 1825 he -indulges himself freely in the use of the strong primary colours, -influenced probably by Turner’s daring chromatic experiments.</p> - -<h3><a name="DAVID_COX" id="DAVID_COX"></a>DAVID COX</h3> - -<p>[Born at Deritend, Birmingham, April 29, 1783; scene-painter in London, -1804; President of the “Associated Artists,” 1810; member of the Society -of Painters in Water-Colours, 1813; drawing-master at Hereford, -1814-1826; published “Treatise on Landscape Painting,” 1814, “Lessons in -Landscape,” 1816, “Young Artists’ Companion,” 1825, etc.; took lessons -in oil painting from W. J. Müller, 1839; removed to neighbourhood of -Birmingham, 1841, visiting Bettws-y-Coed yearly, 1844-1856; died June 7, -1859.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1805-’08; ’27-’29, ’43, ’44; Associated -Artists, 1809-’12; Society of Painters in Water-Colours, 1813-’16, -’18-’59; British Institution, 1814, ’28, ’43; Society of British -Artists, 1841, ’42.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum -(Water-Colours); British Museum; National Galleries of Scotland and -Ireland; Birmingham Art Gallery; Manchester Whitworth Institute; -Glasgow, Manchester, Bury, Nottingham Art Galleries, etc.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “Memoir of the Life of David -Cox,” by N. Neal Solly, 1875; Wedmore’s “Studies in English Art,” -2nd series.</p> - -<p><span class="smcap">Reproductions</span>: Solly’s “Memoir”; Masters of English Landscape -Painting (<span class="smcap">The Studio</span> Summer Number, 1903); “Drawings of David Cox” -(Newnes’s “Modern Master Draughtsmen” Series).]</p></div> - -<p>It was not till about 1840, when he was fifty-seven years of age, that -Cox managed to break free from the drudgery of teaching. This drudgery -during the greater part of his life undoubtedly exercised a mischievous -effect upon his art. Besides wasting so much of his time, and thus -preventing him from attempting works which required sustained efforts, -it forced him to develop a mechanical and facile dexterity of style. He -got into the habit of “slithering” over the individual forms of objects, -making his rocks and trees as rounded and shapeless as his clouds, in a -way that irritates any one who has learned to use his eyes. There is -some truth in John Brett’s remark that “the daubs and blots of that -famous sketcher (David Cox) were just definite enough to suggest ... the -most superficial aspects of things,” though it may have been prompted by -envy and exasperation.</p> - -<p>Cox’s reputation nowadays rests to a large extent on the drawings he -made after 1840. <i>Hayfield with Figures</i>, <i>The Young Anglers</i> (1847), -the <i>Welsh Funeral</i> (1850), <i>The Challenge</i> (1853), and <i>Snowden from -Capel Curig</i> (1858) were among the fine things produced by the grand old -artist during the last years of his life. Such moving and powerful -works<span class="pagenum"><a name="page_20" id="page_20">{20}</a></span> are stamped with the sincerity, simplicity, and rugged dignity of -David Cox’s own character.</p> - -<h3><a name="SAMUEL_PROUT" id="SAMUEL_PROUT"></a>SAMUEL PROUT</h3> - -<p>[Born at Plymouth, Sep. 17, 1783; settled in London, 1811; member of the -Society of Painters in Water-Colours, 1819; published “Rudiments of -Landscape,” etc., 1813, “A New Drawing Book for the Use of Beginners,” -1821, and other drawing books; published lithographs of his Continental -drawings, The Rhine, 1824, Flanders and Germany, 1833, France, -Switzerland, and Italy, about 1839; died at Denmark Hill, Feb. 1852.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1803-’05, ’08-’10, ’12-’14, ’17, ’26, -’27; British Institution, 1809-’11, ’16-’18; Associated Artists, -1811, ’12; Society of Painters in Water-Colours, 1815-’51.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum -(Water-Colours); British Museum; National Galleries of Scotland and -Ireland; Fitzwilliam and Ashmolean Museums; Manchester Whitworth -Institute; Birmingham, Manchester, Bury Art Galleries, etc.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Ruskin, in “Art Journal,” 1849, -“Modern Painters,” and “Notes on S. Prout and W. Hunt”; Roget’s -“History of the Old Water-Colour Society,” 1891; “D. N. B.,” -“Sketches by Samuel Prout” (<span class="smcap">The Studio</span> Winter Number, 1914-’15), -with text by E. G. Halton.</p> - -<p><span class="smcap">Reproductions</span>: Ruskin’s “Notes,” etc., 1879-’80; “Sketches by -Samuel Prout” (<span class="smcap">The Studio</span> Winter Number, 1914-’15).]</p></div> - -<p>Up to 1819 Prout’s work was confined to the making of English -topographical drawings and marine subjects. They show Girtin’s influence -mainly, and they are stolid, heavy-handed, and rather dull.</p> - -<p>In 1819 Prout went to France, and in 1821 to Belgium and the Rhine -provinces. The drawings made from his sketches appeared in the -exhibitions of the Society of Painters in Water-Colours and attracted a -great deal of interest and admiration, partly on account of their novel -subject-matter—for the public was beginning to weary of the numberless -views of Tintern Abbey, Harlech, Conway and Carnarvon Castles, and other -English subjects, with which it had been surfeited during the preceding -twenty years—and partly on account of Prout’s boldness of manner and -marked feeling for the picturesque. Having struck this successful vein -of subject-matter Prout continued to work it till the end of his life, -producing a great quantity of water-colours of Continental buildings, -all executed on the same general principles, and several series of -admirable lithographs from his sketches and drawings.</p> - -<p>Ruskin liked Prout and admired his work inordinately. In “Modern -Painters” he calls him “a very great man”—which is absurd—and says -that his rendering of the character of old buildings is “as perfect and -as heartfelt as I can conceive possible.” Some people may prefer the -buildings in Turner’s early drawings, in Cotman’s, Girtin’s, and -Bonington’s works. But Prout’s work is uniformly successful within its -own limitations; it is bold, workmanlike, and picturesque, and its -subject-matter is full of inexhaustible interest and delight.<span class="pagenum"><a name="page_21" id="page_21">{21}</a></span></p> - -<h3><a name="PETER_DE_WINT" id="PETER_DE_WINT"></a>PETER DE WINT</h3> - -<p>[Born at Stone, Staffordshire, Jan. 21, 1784; apprenticed to John -Raphael Smith, 1802; student R. A. Schools, 1809; Associate, Society of -Painters in Water-Colours, 1810, member, 1811, and 1825; died at 40 -Upper Gower Street, June 30, 1849.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1807, ’11, ’13-’15, ’19, ’20, ’28; -British Institution, 1808, ’13-’17, ’21, ’24; Associated Artists, -1808, ’09; Society of Painters in Water-Colours, 1810-’15, ’25-’49.</p> - -<p><span class="smcap">Works in Public Galleries</span>: V. and A. Museum (Oil and -Water-Colours); British Museum; National Galleries of Scotland and -Ireland; Manchester Whitworth Institute; Birmingham, Manchester, -Glasgow, Bury, Norwich, Nottingham Art Galleries, etc.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: Sir Walter Armstrong’s “Peter De -Wint,” 1888; Roget’s “History,” etc.; “D. N. B.”</p> - -<p><span class="smcap">Reproductions</span>: Armstrong’s “De Wint”; “Masters of English Landscape -Painting” (<span class="smcap">The Studio</span> Special Summer Number, 1903).]</p></div> - -<p>De Wint’s work may be described as a cross between that of Girtin and -Cotman. Girtin was his first source of inspiration. From him he learned -the value of breadth of effect and simplicity of design. From Cotman he -learned to distil his colour harmonies from Nature. As a draughtsman he -was less of a mannerist than Girtin, and he had not Cotman’s marvellous -feeling for the beauties of abstract design.</p> - -<p>De Wint had Dutch blood in his veins, and he had a good deal of the -Dutchman’s solidity of character and stolid realism. His drawings always -look like bits of real life. They are nearer to the common experience of -Nature than either Turner’s, Cozens’, Girtin’s, or Cotman’s works. But -his homely realism is always restrained by his respect for the medium he -worked in and by his innate sense of style.</p> - -<p>His work is well represented in the Victoria and Albert Museum by -drawings like <i>Bray on the Thames, from the Towing Path</i>, <i>Hayfield</i>, -<i>Yorkshire</i>, and <i>Westmoreland Hills, bordering the Ken</i>, all lent to -that Museum from the National Gallery; and of his famous works in -private collections we may mention <i>Cookham-on-Thames</i>, recently in the -Beecham Collection, <i>The Thames from Greenwich Hill</i>, once in the -collection of James Orrock, and <i>Near Lowther Castle</i>.</p> - -<p>For all his “objectivity,” his steadiness of poise, his calm strength of -character, De Wint’s work is intensely personal and original. The number -of admirers of his manly and felicitous work has steadily increased -since his death, and can only go on increasing as the public gets more -opportunities of seeing his noble works with their superb mosaic of -rich, deep, and harmonious colour.</p> - -<h3><a name="RICHARD_PARKES_BONINGTON" id="RICHARD_PARKES_BONINGTON"></a>RICHARD PARKES BONINGTON</h3> - -<p>[Born at Arnold, near Nottingham, October 25, 1802; received some -instruction from Francia at Calais, 1817; studied at the Louvre and -Institute, and under Baron Gros, at Paris; first exhibited at the -Salon,<span class="pagenum"><a name="page_22" id="page_22">{22}</a></span> 1822; made lithographs for Baron Taylor’s “Voyages Pittoresques -dans l’ancienne France,” “Vues Pittoresques de l’Ecosse” (1826) and -other works; visited England with Delacroix, 1825; died during a visit -to England, 1828.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Salon (Paris), 1822 (Water-Colours), ’24 -(Water-Colours), ’27 (Oils and Water-Colours); Royal Academy, 1827, -’28; British Institution, 1826-’29.</p> - -<p><span class="smcap">Works in Public Galleries</span>: Louvre; National Gallery; National -Portrait Gallery (a small drawing of himself); V. and A. Museum -(Oil and Water-Colours); British Museum; Wallace Collection; -Manchester Whitworth Institute; Nottingham, Birmingham, Manchester, -and Glasgow Art Galleries; National Gallery of Ireland.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “Annual Register” and -“Gentleman’s Magazine,” 1828; Cunningham’s “Lives,” etc.; -Redgrave’s “Dictionary”; <span class="smcap">The Studio</span>, Nov. 1904; Catalogue of -Bonington’s Lithographs, by Aglaüs Bonvenne (Paris), 1873; -“Influence de Bonington et de l’Ecole Anglaise sur la Peinture de -Paysage en France,” by A. Dubuisson (Walpole Society’s Vol. II.).</p> - -<p><span class="smcap">Reproductions</span>: “Series of Subjects from Bonington’s Works,” -lithographed by J. D. Harding (twenty-one plates), 1828; -Monkhouse’s and Hughes’s works cited above.]</p></div> - -<p>Bonington was the most brilliant of the later school of topographical -artists—those who used the full resources of water-colour for the -production of pictorial effects. The drawings he produced during his -short life—for he died at twenty-six, may be divided into purely -topographical subjects, like the <i>Street in Verona</i> (V. and A. Museum); -river and coast scenes, like the <i>Rouen</i> (Wallace Collection); and -figure subjects, in which historical costume played the chief part, like -the <i>Meditation</i> and several other drawings in the Wallace Collection.</p> - -<p>His drawings are amazingly dexterous, firm and large in handling, finely -composed, and wonderfully rich in tone and colour. His influence on -English artists was considerable, particularly on W. J. Müller, T. -Shotter Boys, and William Callow.</p> - -<p>As he worked mostly in Paris his best paintings and drawings are -generally to be found in the French private collections. That is -probably why he is better known and more warmly appreciated in France -than in England. An authoritative book on Bonington’s life and work is -much needed. Just before the war broke out it was rumoured that a work -of this kind, the joint production of Monsieur A. Dubuisson and Mr. C. -E. Hughes, was about to be published by Mr. John Lane. Such a work will -be doubly welcome, for it will help us to realize the amazing quantity -of work Bonington managed to produce in his short life, and its -wonderful quality; and it should benefit Bonington’s reputation by -drawing attention to the large number of drawings and paintings to -which, in our public and private collections, his name is wrongly and -ignorantly given.</p> - -<h3><a name="MYLES_BIRKET_FOSTER" id="MYLES_BIRKET_FOSTER"></a>MYLES BIRKET FOSTER</h3> - -<p>[Born at North Shields, February 4, 1825, of an old Quaker Family; -educated at the Quaker Academy at Hitchin, Herts, where he had <span class="pagenum"><a name="page_23" id="page_23">{23}</a></span>lessons -from Charles Parry, the drawing master; apprenticed to Ebenezer -Landells, the wood-engraver, 1841-1846; engaged chiefly on -book-illustration till 1858, after that time devoted mostly to painting; -Associate “Old” Water-Colour Society, 1860, member, 1862; painted in -oils 1869-1877, after which he abandoned it in favour of water-colours; -died at Weybridge, March 27, 1899.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1859, ’69-’77, ’81; Society of Painters -in Water-Colours, 1860-’99; Society of British Artists, 1876; Royal -Scottish Academy, 1871, ’75.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum -(Water-Colours); Birmingham, Manchester, and Bury Art Galleries.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “Art Annual,” 1890; “Athenæum,” -April 1, 1899; “D. N. B.” (Supplement); “Birket Foster,” by H. M. -Cundall, 1906.</p> - -<p><span class="smcap">Reproductions</span>: “Art Annual,” 1890; Cundall’s “Birket Foster.”]</p></div> - -<p>In his choice of subjects Birket Foster confined himself generally to -roadside and woodland scenes, and in these he sought prettiness rather -than the deeper and more profoundly poetical emotions. His work is neat -and extraordinarily accomplished, but his style being always the same -made its many merits seem mechanical and unfeeling. Unlike the older men -he avoided the use of broad washes of transparent colour, used -body-colour freely, and finished his work with elaborate stipplings.</p> - -<p>His standard of excessive finish, his general methods of work and choice -of subject-matter, were violently opposed to those of the younger men -who came after him. For this reason, and also because of the great -popularity he enjoyed, Birket Foster’s work has excited the animosity of -“superior persons” and æsthetes. But their cheap and easy sneers merely -mark the inevitable reaction which follows a period of indiscriminating -praise. Doubtless Birket Foster was not the great artist his -contemporaries thought him to be. But his work must figure in any -well-balanced history of British landscape painting, if only because it -expresses so fully and abundantly, and with so much technical success, -the artistic ideals of a large part of the nineteenth century. But it -also deserves consideration for other reasons. Birket Foster’s grace and -prettiness were the results of his sincere and unaffected love of the -orderliness and real beauty of the life of the English countryside. He -had a genuine affection for the themes he painted, and he painted them -in the way he thought best. Fashions in technical matters change, slowly -perhaps but inevitably, and I shall be very much surprised if the future -will not be readier than we are to-day to give Birket Foster’s work its -due meed of affectionate admiration.</p> - -<h3><a name="ALFRED_WILLIAM_HUNT" id="ALFRED_WILLIAM_HUNT"></a>ALFRED WILLIAM HUNT</h3> - -<p>[Born in Bold Street, Liverpool, Nov. 15, 1830; educated at Liverpool -Collegiate School and at Corpus Christi College, Oxford, which he -entered with a scholarship, 1848; a fellow of Corpus, 1853-1861; -Associate of Liverpool Academy, 1854, member, 1856; Associate Society of -Painters in Water-Colours, 1862, member, 1864; died May 3, 1896.<span class="pagenum"><a name="page_24" id="page_24">{24}</a></span></p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1854, ’56, ’57, ’59-’62, ’70-’75, ’77, -’79-’83, ’85-’88; Society of Painters in Water-Colours, 1860-’93; -Society of British Artists, 1846, ’59, ’60, ’70, ’73, ’74; -Grosvenor Gallery, 1882, ’87; New Gallery, 1888, ’90; Portland -Gallery, 1854-’56, ’60; Dudley Gallery (Oil), 1872.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; V. and A. Museum -(Water-Colours); Liverpool, Glasgow, and Birmingham Art Galleries.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “Athenæum,” May 9, 1896; -Catalogue B. F. A. Club’s Exhibition, 1897; “D. N. B.” -(Supplement); “One Way of Art,” by Violet Hunt, “St. George’s -Review,” June 1908.</p> - -<p><span class="smcap">Reproductions</span>: One in “The Old Water-Colour Society” (<span class="smcap">The Studio</span> -Spring Number, 1905).]</p></div> - -<p>Of all the artists influenced by Ruskin’s propaganda in favour of -Naturalism Alfred William Hunt was probably the most sensitive and the -most poetical. He was as ardent a student of “natural facts” as John -Brett, Holman Hunt, or any other of Ruskin’s protégés, but his work was -never, like so much of theirs, merely literal and tedious. His works -prove to demonstration how little artistic theories count in determining -the value of a work of art. We know Ruskin’s theories of realism were -all wrong, but the sensitiveness of Alfred Hunt’s nerves, the intensity -and rightness of his emotions, redeemed his work and gave it an -inevitable stamp of greatness.</p> - -<p>In the absorbingly interesting account of her father’s methods of work -contributed by Miss Violet Hunt to “St. George’s Review” (1908) the -demands made by his art on the nerves and character of the artist are -vividly described. His daughter tells us that she has seen “delicately -stained pieces of Whatman’s Imperial subjected to the most murderous -‘processes,’ and yet come out alive in the end.” Hunt “scrupled not to -‘work on the feelings of the paper,’ as his friend George Boughton used -to tell him, “He severely sponged it into submission; he savagely -scraped it into rawness and a fresh state of smarting receptivity. Yet -some of the drawings that have suffered <i>peine forte et dure</i> are among -the most cherished assets of certain private collectors, such as Mr. -Newall and the late Mr. Humphrey Roberts.”</p> - -<p>The “subtle finish and watchfulness of nature” which Ruskin praised in -Hunt’s work was only the raw material of his art. It was the fervour and -energy with which he subdued his facts to a genuinely poetic unity of -feeling and expression that make Hunt’s drawings so significant and -beautiful. To-day Hunt seems to be forgotten by all but a small number -of admirers, but works like his <i>Durham Misty with Colliery Smoke</i>, -<i>Bamborough from the Sands</i>, <i>Cloud March at Twilight</i>, and many others -as poignant and as beautiful, are sufficient guarantees that he will not -always be neglected.</p> - -<h3><a name="JAMES_ABBOTT_McNEILL_WHISTLER" id="JAMES_ABBOTT_McNEILL_WHISTLER"></a>JAMES ABBOTT McNEILL WHISTLER</h3> - -<p>[Born at Lowell, Massachusetts, July 10, 1834; lived in Russia, -1843-’49; studied at the Military Academy, West Point, 1851-1854; -engaged<span class="pagenum"><a name="page_25" id="page_25">{25}</a></span> on United States coast and geodetic survey for about a year; -went to Paris, 1855, and studied in Gleyre’s studio; published set of -thirteen etchings—“The French Set”—1858; settled in London, 1860; -published “The Thames” set of etchings, 1871; libel action against -Ruskin, 1878; bankrupt, 1879; “Ten-o’clock” lecture, 1884; portrait of -Carlyle bought for Glasgow, 1891; “Grand Prix” for painting, and another -for engraving, at Paris exhibition, 1900; died at 74 Cheyne Walk, July -17, 1903.</p> - -<div class="blockquot"><p><span class="smcap">Exhibited</span>: Royal Academy, 1859-’65, ’67, ’70, ’72, ’79; Society of -British Artists, 1884-’87; Grosvenor Gallery, 1877-’79, ’81-’84; -Dudley Gallery (Oil), 1871-’73, ’75; Dudley Gallery (Black and -White), 1872, ’79, ’80; Society of Portrait Painters, 1891-’93; -Royal Scottish Academy, 1899, 1901-’04.</p> - -<p><span class="smcap">Works in Public Galleries</span>: National Gallery; Glasgow Art Gallery.</p> - -<p><span class="smcap">Biographical and Critical Sources</span>: “The Art of Whistler,” by T. R. -Way and G. R. Dennis, 1903; “Life of Whistler,” by E. R. and J. -Pennell, 2 vols., 1908; “Memoirs of Whistler,” by T. R. Way, 1912; -Wedmore’s “Whistler’s Etchings”; “D. N. B.” (Supplement).</p> - -<p><span class="smcap">Reproductions</span>: The “Whistler Portfolio” (THE STUDIO Special -Publication, 1904); the monthly issues of <span class="smcap">The Studio</span>; in Way’s and -Pennells’ works cited above, etc.]</p></div> - -<p>In Turner’s and Alfred Hunt’s works the multitudinous objects of Nature -are subdued to poetical and decorative purposes chiefly by the influence -of the atmosphere. But though subdued in the final result the facts were -always vividly present to the minds of these artists. With Whistler and -all those who like him were influenced by the theories of Impressionism, -such facts were less considered. They began with the study of values and -tones, and relied almost entirely on the justness with which these were -rendered, being content with a merely slight and grudging suggestion of -the objects which were veiled in their envelopment of atmosphere. The -difference, I admit, is only one of degree. But it accounts, I think, -for the difference between a drawing like Whistler’s water-colour of -<i>London Bridge</i> (reproduced in Mr. Way’s “The Art of James McNeill -Whistler,” p. 96) and, say, Alfred Hunt’s <i>Coast Scene near Whitby</i> -(1878).</p> - -<p>The advantage of Whistler’s method of approach is that it throws greater -emphasis on the decorative quality of the picture, the tones being -capable of treatment as a unity of colour harmonies—an advantage which -Whistler clearly realized and diligently exploited.</p> - -<p>It was not till about 1880 that Whistler took up water-colour painting. -The <i>London Bridge</i> referred to above was done soon after his return -from Venice. He then used this medium for some fine drawings made in the -Channel Islands, and from time to time in various places in England and -abroad, chiefly at St. Ives and Southend. It is almost unnecessary to -say that he used water-colour with the same unerring mastery he -displayed in his etchings and pastels. But the curious will notice the -use he made in nearly all his water-colours of the grey underpainting -which played such an important part in the drawings of the early -topographers. He did not, however, use this grey underpainting, as they<span class="pagenum"><a name="page_26" id="page_26">{26}</a></span> -did, merely to establish the broad division of light and shade. In his -bold and skilful hands it did more than this; it formed the unifying -element—the ground tone or harmony—which knit together the lovely -tones and colours which made his works so charming and delightful to the -eye.</p> - -<p>The influence of Whistler’s methods and ideals is clearly marked in the -works of men like J. Buxton Knight and C. E. Holloway, two artists who -produced a greater volume of fine work in water-colour than Whistler. We -might have chosen them on this account to take his place in our small -gallery of representative water-colour painters, but the quality of -Whistler’s work seemed to us of more consequence than their quantity. -And though both these men—especially Buxton Knight—urgently demand -fuller recognition than they have yet received, we are bound to admit -that Whistler was a greater genius than either; and that seems to settle -the matter.</p> - -<h2><a name="hd5_THE_WORK_OF_TO-DAY" id="hd5_THE_WORK_OF_TO-DAY"></a>(5) THE WORK OF TO-DAY</h2> - -<p class="nind">WE have now traced the development in the past of subject-matter and -technique in British landscape painting in water-colour, and we have -surveyed as well as our poor memories would enable us to do so—for the -Museums have long been closed and most private collections are -inaccessible, and it is therefore impossible either to verify or renew -our earlier impressions—the differing aims and diverse achievements of -a few of those who have made our national art so glorious and so -memorable. We have done this because the careful and attentive study of -the history of an art provides the best, and, indeed, the only, means by -which we can educate ourselves to value and appreciate it. Historical -studies enable us to enlarge our sympathies and discipline our tastes, -so that the man who knows best what has been done in the past will be -the first to appreciate the good work which is being done by living -artists. He will also be the most indulgent critic of a young artist’s -shortcomings, and the readiest to help and encourage him in his -difficult struggle toward self-expression and mastery over his -intractable material.</p> - -<p>It is not, however, our business on the present occasion to praise the -works with which this volume is enriched. In the first place, to do so -is quite unnecessary, because the works are here to speak for -themselves, or rather such excellent colour-reproductions of them that -almost all their charm and beauty have been preserved; and, in the -second place, to do so would be impertinent, because the fact that these -drawings have been selected by the Editor of THE STUDIO for publication -in this way is a sufficient guarantee of their merit and importance. I -shall, therefore, confine my remarks rather to the general character of -their subject-matter and treatment than to their individual excellences. -In this way the following observations may be taken as an attempt to -continue to the present day the survey of the past which occupied us in -a previous chapter.<span class="pagenum"><a name="page_27" id="page_27">{27}</a></span></p> - -<p>In tracing the development of subject-matter in the works of the artists -of the nineteenth century we have seen that they generally gave -prominence to the place represented, with all its historical and -literary associations. Whistler was the chief exception to this -tendency, as in his work the decorative and emotional elements of the -picture itself were most prominent. Whistler’s example has been followed -by many of the living artists. Men like Clausen and Mark Fisher are shy -of any suggestion of what has been called “literary subject” or -“guide-book” interest. But though the works of such artists, from their -absence of topographical interest, seem to claim classification as -poetical landscapes, yet, if we compare them with the earlier poetical -landscapes of men like Lambert, Zuccarelli, George Smith of Chichester, -and the elder Barret, we find they have undergone a very thorough change -of character. The older work owed more to the study and imitation of the -Old Masters than to the study and representation of Nature. In the place -of formulas and motives borrowed from Claude and Poussin the modern men -give us their own interpretations of what they have seen and felt in the -presence of Nature. So that if we take a drawing like Mark Fisher’s -<i>Landscape</i>, reproduced in the present volume (<a href="#plt_VI">Plate VI</a>), we find that -it is, or at any rate that it looks as though it is, the representation -of an actual place, though the place is unnamed and therefore devoid of -any historical or literary interest to the spectator. Such a drawing may -therefore very well be classed as topographical, though the -topographical matter is used in the service of other than strictly -topographical purposes.</p> - -<p>However, in the works of other distinguished living artists, like -Matthew Hale, Albert Goodwin—whose <i>Lincoln</i> is here reproduced (Plate -VIII), Hughes-Stanton, Lamorna Birch, Wilson Steer, Rich, Gere, etc., we -often find a similar use of topographical matter for the purposes of -poetical expression, but at the same time they show a marked preference -for the choice of subject-matter enriched by historical and literary -associations.</p> - -<p>The majority of drawings here reproduced are the outcome of their -painters’ loving and tireless effort to render the appearances of Nature -in their exact tones and colours. There is little of conscious artifice -or preoccupation with abstract design of form or colour in drawings like -C. M. Gere’s vivid presentment of light—<i>The Round House</i> (<a href="#plt_VII">Plate VII</a>), -Eyre Walker’s <i>Pool in the Woods</i> (<a href="#plt_XIII">Plate XIII</a>), R. W. Allan’s <i>Maple in -Autumn</i> (<a href="#plt_XV">Plate XV</a>), George Houston’s <i>Iona</i> (<a href="#plt_XX">Plate XX</a>), or in Mark -Fisher’s <i>Landscape</i>. But though their aims, broadly speaking, are the -same, viz. the truthful rendering of particular effects of light and -particular scenes, yet each work is different from each, and each is -personal and individual, because the artist has painted only what he -liked and knew best.</p> - -<p>In other cases, generally in the choice of subject-matter, one is often -reminded of the works of the older men, only to realize as the result -of<span class="pagenum"><a name="page_28" id="page_28">{28}</a></span> the comparisons thus provoked the important differences which -distinguish the new treatment and justify the repetition of the same -motives. Sir Ernest Waterlow’s <i>In Crowhurst Park</i> (<a href="#plt_XIV">Plate XIV</a>), for -instance, calls up memories of David Cox, of E. M. Wimperis, Tom Collier -and many others who have delighted in such wide surveys of rolling down -and moving cloud. But Sir Ernest’s work holds its own against all our -historical reminiscences; it is so vivid, so evidently the outcome of -the artist’s experiences, so freely and confidently set up. Robert -Little’s <i>Tidal Basin</i>, <i>Montrose</i> (<a href="#plt_X">Plate X</a>), Lamorna Birch’s <i>Environs -of Camborne</i> (<a href="#plt_V">Plate V</a>), and Murray Smith’s <i>On the Way to the South -Downs</i> (<a href="#plt_XXII">Plate XXII</a>), justify themselves in the same way. How easily, -too, can we imagine Girtin or Cozens painting the scene which Russell -Flint has portrayed so vividly in his <i>April Evening, Rydal Water</i> -(<a href="#plt_XIX">Plate XIX</a>). Yet how differently they would have painted it!</p> - -<p>In all this one sees the Naturalistic movement begun in the nineteenth -century still at work, with its inevitable tendency towards -Pantheism—its exaltation of Nature at the expense of man and the -individual. Moralists have dwelt upon its dangers in the deadening -effect it is supposed to produce upon the sense of individual -responsibility and freedom of will. But with results like these before -our eyes we are more inclined to dwell upon its advantages, its -enlargement of our sympathies and knowledge.</p> - -<p>But the tendency is not altogether in the direction of Pantheism. There -is a group of artists, among whom I will only mention D. Y. Cameron, A. -W. Rich, Albert Goodwin, and C. J. Holmes, which manfully upholds the -supremacy of the artist over Nature. The influence of the art of the -past has counted for more in works like Cameron’s <i>Autumn in Strath Tay</i> -(<a href="#plt_XVIII">Plate XVIII</a>), Rich’s <i>Swaledale</i> (<a href="#plt_XI">Plate XI</a>), Goodwin’s <i>Lincoln</i>, and -Holmes’s <i>Near Aisgill</i> (<a href="#plt_IX">Plate IX</a>), than Nature herself. In these -drawings the free-will of the individual triumphantly asserts itself. -They are what they are because their makers loved art and particular -forms of art first of all, and wanted to imitate them. Their inspiration -came from within (from human nature) and not from without (from physical -nature). But this is not to say that they are mere copies of other men’s -works, for obviously they are nothing of the kind. They are at least as -original and individual as any of the other drawings of which we have -spoken. And these artists, too, study Nature just as keenly and as -indefatigably as the realists, only their methods of study are -different. With works like those illustrated in this volume—so -different in aim and method, yet each so virile, sincere and -personal—it is evident that water-colour painting is still a distinctly -living art in this country. The British water-colour painters of to-day -are “keeping their end up” as well as our soldiers, sailors and workers -in other spheres, and, like them, they have earned the right to face the -future with hearts full of confidence and hope.</p> - -<div class="figcenter"> -<p><a name="plt_V" id="plt_V"></a></p> -<a href="images/plt_005.jpg"> -<img src="images/plt_005.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE V.</p> - -<p>“ENVIRONS OF CAMBORNE.” <span class="smcap">BY</span> S. J. LAMORNA BIRCH, R.W.S.</p> - -<p>(<i>In the possession of the Fine Art Society.</i>)</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_VI" id="plt_VI"></a></p> -<a href="images/plt_006.jpg"> -<img src="images/plt_006.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VI.</p> - -<p>(<i>In the possession of Messrs. Ernest Brown & Phillips, the Leicester -Galleries.</i>)</p> - -<p>LANDSCAPE. <span class="smcap">BY</span> MARK FISHER, A.R.A.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_VII" id="plt_VII"></a></p> -<a href="images/plt_007.jpg"> -<img src="images/plt_007.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VII.</p> - -<p>“THE ROUND HOUSE.” <span class="smcap">BY</span> CHARLES M. GERE.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_VIII" id="plt_VIII"></a></p> -<a href="images/plt_008.jpg"> -<img src="images/plt_008.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE VIII.</p> - -<p>(<i>In the possession of E. Weber, Esq.</i>)</p> - -<p>“LINCOLN.” <span class="smcap">BY</span> ALBERT GOODWIN, R.W.S.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_IX" id="plt_IX"></a></p> -<a href="images/plt_009.jpg"> -<img src="images/plt_009.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE IX.</p> - -<p>“NEAR AISGILL.” <span class="smcap">BY</span> C. J. HOLMES.</p> - -<p>(<i>In the possession of D. M. Carnegie, Esq.</i>)</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_X" id="plt_X"></a></p> -<a href="images/plt_010.jpg"> -<img src="images/plt_010.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE X.</p> - -<p>“TIDAL BASIN, MONTROSE.” <span class="smcap">BY</span> ROBERT LITTLE, R.W.S., R.S.W.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_XI" id="plt_XI"></a></p> -<a href="images/plt_011.jpg"> -<img src="images/plt_011.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XI.</p> - -<p>“SWALEDALE.” <span class="smcap">BY</span> ALFRED W. RICH.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_XII" id="plt_XII"></a></p> -<a href="images/plt_012.jpg"> -<img src="images/plt_012.jpg" height="600" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XII.</p> - -<p>“CAUGHT IN THE FROZEN PALMS OF SPRING.” <span class="smcap">BY</span> LIONEL SMYTHE, R.A., R.W.S.</p> - -<p>(<i>In the possession of W. Lawrence Smith, Esq.</i>)</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_XIII" id="plt_XIII"></a></p> -<a href="images/plt_013.jpg"> -<img src="images/plt_013.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIII.</p> - -<p>“A POOL IN THE WOODS.” <span class="smcap">BY</span> W. EYRE WALKER, R.W.S.</p></div> -</div> - -<div class="figcenter"> -<p><a name="plt_XIV" id="plt_XIV"></a></p> -<a href="images/plt_014.jpg"> -<img src="images/plt_014.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIV.</p> - -<p>“IN CROWHURST PARK, SUSSEX.” <span class="smcap">BY</span> SIR E. A. WATERLOW, R.A., R.W.S., -H.R.S.W.</p></div> -</div> - -<p><span class="pagenum"><a name="page_29" id="page_29">{29}</a></span></p> - -<h1><a name="THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_SCOTTISH" id="THE_DEVELOPMENT_OF_BRITISH_LANDSCAPE_PAINTING_IN_WATER-COLOURS_SCOTTISH"></a>THE DEVELOPMENT OF BRITISH<br /> LANDSCAPE PAINTING IN WATER-COLOURS: SCOTTISH -PAINTERS. BY<br /> E. A. TAYLOR</h1> - -<p class="nind"><span class="letra">T</span>O lift the veil enshrouding the past and, though but dimly, recall its -artists’ lives and works may appeal to a few only. The secrets of the -great are already known; their deeds, as modern times desire, will be -more rapidly found tabulated in any biographical dictionary; those whom -chance and fate have less favoured will serve no other purpose than that -of a poor remembrance. Nevertheless to separate those who followed the -ways of art in other than water-colour landscape painting, I must recall -some at least whose influence of mind and work aided to attain in -Scotland the important position it commands to-day. Amongst the first -connected with landscape painting the names of John and Robert Norie -cannot fairly be omitted. Carrying on a business in Edinburgh at the -beginning of the eighteenth century as house painters and decorators, it -was in their decorative schemes that landscape played the most -significant part, a form of decoration of considerable fashion in the -Scottish capital at that time, and applied in various ways to doors, -panels, mantelpieces, etc., of private houses; and apart from their -business, both father and sons painted some landscapes of no mean order. -It was in their workshops, too, that some afterwards notable artists, in -their early life, served as apprentices, famous amongst them being -Alexander Runciman (1736-1785), John Wilson (1774-1855), and James Howe -(1780-1836).</p> - -<p>Landscape painting, however, apart from such as was utilized in -decorative schemes, had little or no public appreciators. Portraits and -deeds of tragedy and valour seemed to occupy the artists’ minds; yet, -like the curlew’s haunting note on loch and mountain side, there was an -influence astir towards more peaceful scenes, a call that knew no -limited geography, no definite law. In Ayrshire, Robert Burns -(1759-1796) was weaving his nature songs; while Alexander Nasmyth -(1758-1840), in Midlothian, was preparing his palette to capture similar -themes in paint. But perhaps the greatest impetus given to a wider -public appreciation of the scenery of his own country was the -publication in 1810 of Sir Walter Scott’s “Lady of the Lake,” followed -in 1814 by his more distinguished “Waverley Novels.” Yet previous to -that universal awakening, in 1793 Alexander Nasmyth resigned his -portrait and figure work for that of landscape, and it is from that -period that this branch of painting in oils most vigorously commenced; -while apart from the use of water-colour by topographical artists, -perhaps the first few landscapes of importance were of a slightly -earlier date, by the renowned architect Robert Adam (1728-1792). Not,<span class="pagenum"><a name="page_30" id="page_30">{30}</a></span> -however, until the time of Hugh William Williams (1773-1829) did the art -become more pictorially practised. As Nasmyth has been credited with -being the father of Scottish landscape painting in oils, Hugh William -Williams might be more universally noted as, if not the father, at least -one of the principal pioneers of landscape painting in water-colours. -Taking a short extract from a criticism of an exhibition of his work in -that medium opened in Edinburgh in 1822, the writer states: “There is -room for more unqualified praise than in the works of any single artist -in landscape painting to which this country has yet given birth.” -Williams, however, was of Welsh parentage and born on board his father’s -ship when at sea, his early upbringing being entrusted to an Italian -grandfather in Edinburgh, where his name as an exhibitor and -water-colour painter became prominent in 1810. His successes at that -time enabled him to undertake a long sojourn in Italy and Greece, of -which he published an account in 1820 illustrated with engravings and -some of his own drawings, following it up with his exhibition in 1822 -almost entirely composed of work done during his continental travels. -Artistically his paintings are distinctly personal, and technically they -are treated with broad simple washes over delicately outlined -compositions. Another artist of the period remembered for his -water-colour work was Andrew Wilson, born in Edinburgh (1780-1848), who, -after a varied art life in Italy and England, occupied the post of -master in the Trustees Academy of his native city in 1818. It was during -this year that the remarkable David Roberts, who is said to have had a -week’s tuition under Wilson, started to exhibit his famed architectural -subjects; while a few years later Andrew Donaldson, whose work in the -style of Prout, and little known beyond Glasgow, contributed in no -slight degree to the advancement of water-colour painting in that city.</p> - -<p>It was not, however, until 1832 that the water-colour landscapes of -William Leighton Leitch began to make their public appearance, and -biographical records place this artist and Williams as the two most -prominent water-colour painters in Scotland in those days. From a -Glasgow weaver to house-painter and scene-painter, ultimately -instructing the Queen and other members of the Royal Household, Leitch’s -life was certainly inspiring to young enthusiasts, and his work being of -rather the “pretty” order was undoubtedly popular. But England claimed -the later and more important days of his life.</p> - -<p>To revive more distinctly local Scottish memories one must turn to the -name of Thomas Fairbairn (1821-1885). Originally a shop-lad with a firm -of dyers in Glasgow, Fairbairn had no rose-paved road to travel to -attain his desires, and it is by his sketches of old houses and -localities around Glasgow that he at first became known, and latterly by -his literal paintings of forest scenery. Attracted by the wealth of -subject at Cadzow, in Hamilton, it was there that in 1852 he met Sam -Bough,<span class="pagenum"><a name="page_31" id="page_31">{31}</a></span> who greatly influenced his further artistic outlook, as the -English borderer did that of many other painters, and who twenty-three -years later was lauded as being one of the most important figures in -Scottish art.</p> - -<p>Another prominent artist at the time was J. Crawford Wintour (1825-1882) -who, though chiefly concerned with oil painting, showed his rarest -artistic achievements in water-colour landscapes. To him and Bough the -credit is due for creating a greater interest in that medium and branch -of art than it had hitherto enjoyed. Nevertheless the various -exhibitions gave but scanty appreciation to the water-colour painters. -In their organizers’ minds the medium employed seemed to be rated higher -than a work of art, despite water-colour being the one almost entirely -employed by the supreme artists of China and Japan. Works in it were -exhibitionally a little less than ignored, with the result that in -Glasgow on December 21, 1877, ten enthusiasts held the first preliminary -meeting of the now important Royal Scottish Society of Painters in -Water-Colours. The only member of that faithful gathering now living is -the Society’s present Vice-President, A. K. Brown, R.S.A. It was not, -however, until two months later that the Society was definitely formed, -due to the proposition of Sir Francis Powell and seconded by William -McTaggart, Powell being elected its first president and the virile Sam -Bough vice-president on March 4, 1878. In November of the same year the -new Society held its first exhibition in which 172 pictures were shown; -and in February 1888, as the only representative art body of its kind in -Scotland, it was empowered to use the prefix “Royal.” Its present -membership numbers seventy-nine, of which eight are honorary, under the -presidency of E. A. Walton, R.S.A. That the Society has been the means -of promoting a wider public interest in water-colour painting in -Scotland has been clearly evinced, and of recent years its exhibitions -(now and again not entirely confined to the work of its members) have -unquestionably stimulated a general interest in the art. Yet the day -seems still far off when a more united appreciation will be based on a -picture as a work of art, regardless of the value placed upon the medium -in which it is produced.</p> - -<p>In comparison with the old water-colourists’ slightly tinted drawings, p -the chief elements most markedly notable in the modern development are -the more extensively varied methods employed, aided considerably by the -scientifically discovered greater range and assured permanency of -pigments and materials. Technically, I think, the art of painting is -closely allied to the art of acting; the actor utilizes voice and -make-up according to the emotions and character he wishes to express, in -the same way that the painter’s subject and thought to be fully -indicated call for a process and technique affinitive with them. Within -recent years it became the fashion amongst water-colour artists to -strain the medium beyond its limited powers, the result being heavily -framed works com<span class="pagenum"><a name="page_32" id="page_32">{32}</a></span>peting in a feeble way with oils, and subjects that -would certainly have been better rendered artistically had this medium -been employed.</p> - -<p>With the exception of the work of De Wint and Cox, the greatest -influence recognizable in the work of many of the Scottish -water-colourists is of Dutch origin and easily traced to such masters as -Anton Mauve, Josef Israëls, Bosboom and the Maris brothers; so much so -in fact that with certain artists it has been difficult to discern the -difference between many of their own paintings and those of the men by -whom they were so obviously inspired. The method employed was as -follows: after the drawing had been roughly suggested, the paper was -submitted to a tubbing and scrubbing, so that the colour ate its way in -until finally more direct and stronger touches were applied, desired -lighter portions being wiped out while wet, or slicked up with a little -body-colour. The method, though losing much that is inherently beautiful -in water-colour, is nevertheless one which most aptly suggests certain -phases of landscape dealing with poetic sentiment and mystery.</p> - -<p>The one perfect artist in Scotland who most originally adopted the -process was Arthur Melville (1855-1904). What good there was in it he -certainly extracted; Melville, too, seldom resorted to the aid of -body-colour. I have known him, if unsatisfied with any portion of his -painting, to deliberately cut it out and dexterously insert a fresh -piece of paper, and much trouble and experience went to bring about the -apparent ease with which his work appears to have been done.</p> - -<p>Another method extremely popular with some artists, though perhaps -practised more on the Continent, was the almost entire use of -body-colour on a tinted ground, a method which brings water-colour -painting into a closer relation to that of oils. In other than capable -hands it has a tendency to lack freshness, giving an opaque and chalky -quality to the work. But when used by a few artists in this country who -have fully realized its possibilities and limitations, some excellent -results have been achieved, pre-eminent amongst them being those by the -Newcastle artist, Joseph Crawhall, by whom his many Scottish associates -were inspired to a remarkable degree. His paintings, principally of -birds and animal life, in the various exhibitions were always -outstanding, and to-day there is little if any work of this character -being done that can surpass it.</p> - -<p>Water-colour, however, used direct without the assistance of scrubbing, -scraping and body-colour shows without question the medium at its best. -As a process used in what is termed the purist’s method, there certainly -is no other that can compete with it for affinitive landscapes, and what -has been done even experimentally in it, by other than water-colour -artists, represents, perhaps, the finest examples of genuine art they -have left us. With the exception of the short-lived George Manson -(1850-1876), Tom Scott, R.S.A., R. B. Nisbet, R.S.A., and Ewen Geddes, -R.S.W., one might safely say that all the Scottish water-<span class="pagenum"><a name="page_33" id="page_33">{33}</a></span>colourists are -equally conversant with oils, though in recent years Nisbet has been -devoting much of his time to the latter medium.</p> - -<p>Perhaps the first artist in Scotland to realize the brilliancy of Nature -in water-colour was the late William McTaggart (1835-1910); his -landscapes are all veritably untricked effects of the land’s and sea’s -sunlit and wind-swept moods in which his spontaneous and untrammelled -method aided to a considerable extent his ability to maintain the high -artistic quality of his pictures in oils.</p> - -<p>A less vivid outlook attracts the essentially water-colour artist, R. B. -Nisbet, his landscapes being almost exclusively low-toned aspects of -Nature, and technically similar to the works of the previously mentioned -Dutch masters. Universally his work has been vastly appreciated and -probably he can claim more official honours than any other Scottish -water-colour painter. Not a few of the younger men owe some of the rarer -qualities in their work to his sympathetic influence.</p> - -<p>In companionship with Nisbet, Tom Scott is probably now, with the -exception of Ewen Geddes, the only entirely water-colour painter in -Scotland. His <i>motifs</i>, however, being chiefly inspired by the glamour -surrounding the Borderland, are more of a figured historical nature, but -not the least emotional pleasure is derived from their distinctive -landscape settings.</p> - -<p>Incidentally humble crofts and lowland scenery attract the artist in -Ewen Geddes, and as a painter of snow landscapes, I doubt if there is -another water-colourist who as sensitively portrays the spirit of the -wintry day. But to pick and choose from amongst the many artists whose -work entitles them to be more than briefly mentioned, regardless of -individual precedence, one may not omit W. Y. MacGregor, A.R.S.A., whose -inspiring enthusiasm as father of the famed Glasgow School of Painters -is historically honoured, and whose latter-day charcoal and water-colour -landscapes are not the least distinctive expressions of genuine art; -while amongst younger men, prominently known, are the distinguished -exponent C. H. Mackie, R.S.A., R.S.W., whose work and ideas declared in -various mediums are extremely invigorating, and J. Hamilton Mackenzie, -R.S.W., A.R.E., who, as well as a painter in oils, pastellist and -etcher, is an admirable water-colourist. To further enumerate one must -include the names of such personal landscape artists as J. Whitelaw -Hamilton, A.R.S.A., R.S.W., Archibald Kay, A.R.S.A., R.S.W., T.M. Hay, -R.S.W., Alexander MacBride, R.I., R.S.W., Stanley Cursiter, R.S.W., -James Herald, and Stewart Orr.</p> - -<p>But to deal more minutely with the artists who are here represented, A. -K. Brown (<a href="#plt_XVI">Plate XVI</a>) must take precedence for his untiring services -rendered to the promotion of the delightful art of water-colour painting -in Scotland. Though born in Edinburgh in 1849, it has been in Glasgow -that the greater part of his life has been lived, and with the art -affairs of that city he has been most directly connected. His early<span class="pagenum"><a name="page_34" id="page_34">{34}</a></span> -years were spent there as a calico-print designer, the artistic -relationship of which soon led him to the higher ideal of landscape -painting, the hills and glens as seen from a moorland road or mountain -burn being the themes that most intimately allured him; yet not that -aspect of the rugged inhumanity of the hills, but where man has trod, -and where the shepherd’s whistle may be familiarly heard. It is, too, -that sensation of friendliness felt amongst the hills that pervades his -works. Treated with a methodical tenderness, they never exhibitionally -assert themselves, but must be seen singly to convey their full -attractiveness.</p> - -<p>In early association next to A. K. Brown would be R. W. Allan, born in -Glasgow in 1852 (<a href="#plt_XV">Plate XV</a>). In his young days, inspired by his father -who was a well-known lithographer in the city, he certainly had not the -usual students’ struggles to contend with, and was soon one of the few -Scottish painters in water-colour who fully realized the beauty of the -unsullied quality the medium possessed, by his broad decisive handling -in comparison with the prevalent minute finish indulged in. It is now, -however, about thirty-five years since he left his native city for -London, where he has not only become a distinguished painter in oils, -but also a prominent member of the “Old” Water-Colour Society.</p> - -<p>Two years later than R. W. Allan, James Paterson (<a href="#plt_XXI">Plate XXI</a>) was born in -Glasgow, and is noted there as one of the first artists energetically -active, with W. Y. MacGregor, in forming a bolder style of painting than -had been previously fashionable, and who, with the grouping of a few -other enthusiasts later, became known to the art world as the Glasgow -School of Painters. Their revolutionary aims and ideals influenced to a -remarkable extent artists and painting in general throughout Scotland. -Though equally well known as a painter of the figure and occasional -portraits, it is as a landscapist that Paterson’s reputation has been -most uniquely established, his present Dumfriesshire home providing him -extensively with subjects in harmony with his earlier technically broad -sympathies.</p> - -<p>Not so closely connected with the Glasgow School movement as James -Paterson, James Cadenhead, born in Aberdeen in 1858 (<a href="#plt_XVII">Plate XVII</a>), became -somewhat imbued with its views. Like the majority of now celebrated -water-colourists, oil painting claimed his first attention. Less -realistic in outlook than his brother artists, his work assumed a more -conceptionally decorative tendency and displayed a flat treatment, -technically similar to that which one associates with the landscape -artists of Japan. It was by such individual features that attention was -drawn to his work, and in 1893 he was elected a member of the Royal -Scottish Society of Painters in Water-Colours, and nine years later an -associate of the Royal Scottish Academy, where, in both exhibitions, his -work shares with that of other leading artists a distinctive admiration.</p> - -<p>Turning to the illustration <i>Suffolk Pastures</i>, by E. A. Walton (Plate<span class="pagenum"><a name="page_35" id="page_35">{35}</a></span> -XXIV), one finds the work of an artist whose ability as a painter is -unanimously respected amongst his fellows. Born in Renfrewshire in 1860, -he is also one who has been historically associated with the -revolutionary Glasgow School; originally a landscape artist, he is -nevertheless one of the leading Scottish portrait painters. But to -confine my appreciation to his landscape work, it is with a lingering -doubt whether it be his examples in oils or water-colours which are the -more enticing if a choice were demanded. It is probably to his work in -the gentler medium I would assign the talent of the man and the artist -as being most completely revealed, especially favouring those drawings -executed on a grey-brown millboard, or some other similarly tinted -paper, with which his skilful use of body-colour mingles and expresses -his prenurtured vision of design and colour harmonies for which he is so -greatly esteemed.</p> - -<p>Five years later than E. A. Walton, D. Y. Cameron was born in Glasgow -(<a href="#plt_XVIII">Plate XVIII</a>). With the exception of Muirhead Bone, there is no other -Scottish artist whose pre-eminence as an etcher is as universally -admitted. Within recent years his reputation as a painter has been -rapidly becoming as widely acknowledged. In his early etchings, oils, -and water-colours, though previous masters’ influences were easily -detected, his gift of selection and fitness placed his results on a -higher artistic plane than those by whom he had been evidently inspired, -and to-day his work is always amongst the most dignified and refined in -any exhibition. Technically he resorts to no fumbled trickery, nor does -he strain any of the means he uses beyond their own inherent powers. -Before his landscapes one feels the mood of time and place charmingly -interpreted, such moods of Nature, when the trivialities of the day have -passed, or only those remain which fittingly appeal, with their silent -ponderings.</p> - -<p>In 1869, at Dalry, Ayrshire, George Houston was born (<a href="#plt_XX">Plate XX</a>), and it -is as a painter of that part of Scotland that his name became most in -evidence before the Scottish art world in 1904 by a large-scaled canvas, -<i>An Ayrshire Landscape</i>, shown at the exhibition of the Glasgow Fine -Arts Institute. No little praise was bestowed upon it by artists and -public alike, resulting in its being purchased for the City’s permanent -collection. But memories recall other earlier and smaller works -creatively quite as important. To place Houston amongst the Scottish -artists is to do so individually, as his work is extremely personal, -both technically and compositionally. Late winter and early spring -landscapes attract him most, the time, too, when the earth is just -dappled with snow, and the atmosphere and undergrowth alive in all their -gentle colour-harmony. A keen lover of Nature, little escapes his -observation, and it is those qualities of his mind and outlook, so -carefully expressed in his oil paintings, that arrest admiring attention -in his water-colours of similar themes.<span class="pagenum"><a name="page_36" id="page_36">{36}</a></span></p> - -<p>By age, W. Russell Flint and D. Murray Smith belong to the group of -younger Scottish painters, and otherwise, similarly, both artists have -been resident in England for a considerable time. It is only within -recent years that their work has appeared, as it were, anew in the -Scottish exhibitions. W. Russell Flint (<a href="#plt_XIX">Plate XIX</a>) was born in Edinburgh -in 1880; originally studying in the art school there, he made his home -in London in 1900, where, after a short course at Heatherley’s Academy, -his name and work came rapidly into prominence. In 1913 he was awarded -the silver medal for his water-colours in the Salon des Artistes -Français. The following year he was elected an associate of the Royal -Society of Painters in Water-Colours, and a full member in 1917. As an -artist both figure and landscape equally reveal his versatile ability. -As an illustrator, too, he can claim no less distinctive recognition by -his charming imagery expressed in that phase of his talent in the -publications of the Riccardi Press. Thoroughly acquainted with the -medium of water-colour, he applies it with no special mannerism other -than the choice his vision dictates and the subjects of his mind most -emotionally demand.</p> - -<p>Though less varied paths tempt the outlook of D. Murray Smith (Plate -XXII), his spacious conceptions of landscapes are uncommonly -interesting. The admirable characteristics of largeness and freedom, -which earlier prophesied a coming artist in the Scottish capital where -he was born, have altered little. As an etcher of illustrative -landscapes in those days he gained no meagre reputation, which he has -vastly enhanced in England, where he settled some twenty-four years ago. -In all his works there pervades a strong affection for flat expanses of -Nature, unhampered in the composition by the human element, save for -friendly wayside cottages or distant villages. It is, however, those -examples where even such features are the least prominent, like his -unpeopled roads, that have a most abiding charm, manifesting at times a -vision and technical qualities akin to the rare landscapes by the old -Dutch and early English masters, and to the French in their Corotesque -and lyrical love of trees. And it is, perhaps, to the lyrical aspects of -Nature that water-colour is most closely allied, and in such of her -voiceless poems most expressively lives the spirit of the medium.<span class="pagenum"><a name="page_37" id="page_37">{37}</a></span></p> - -<div class="figcenter"> -<p><a name="plt_XV" id="plt_XV"></a></p> -<a href="images/plt_015.jpg"> -<img src="images/plt_015.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XV.</p> - -<p>“THE MAPLE IN AUTUMN.” <span class="smcap">BY</span> ROBERT W. ALLAN, R.W.S., R.S.W.</p></div> -</div> - -<p><span class="pagenum"><a name="page_38" id="page_38">{38}</a></span> </p> - -<p><span class="pagenum"><a name="page_39" id="page_39">{39}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XVI" id="plt_XVI"></a></p> -<a href="images/plt_016.jpg"> -<img src="images/plt_016.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVI.</p> - -<p>“BEN MORE.” <span class="smcap">BY</span> A. K. BROWN, R.S.A., R.S.W.</p> - -<p>(<i>In the possession of J. Whitelaw Hamilton, Esq., A.R.S.A.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_40" id="page_40">{40}</a></span> </p> - -<p><span class="pagenum"><a name="page_41" id="page_41">{41}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XVII" id="plt_XVII"></a></p> -<a href="images/plt_017.jpg"> -<img src="images/plt_017.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVII.</p> - -<p>“A MOORLAND.” <span class="smcap">BY</span> JAMES CADENHEAD, A.R.S.A., R.S.W.</p></div> -</div> - -<p><span class="pagenum"><a name="page_42" id="page_42">{42}</a></span> </p> - -<p><span class="pagenum"><a name="page_43" id="page_43">{43}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XVIII" id="plt_XVIII"></a></p> -<a href="images/plt_018.jpg"> -<img src="images/plt_018.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XVIII.</p> - -<p>“AUTUMN IN STRATH TAY.” <span class="smcap">BY</span> D. Y. CAMERON, A.R.A., R.S.A., R.W.S., R.S.W.</p> - -<p>(<i>In the possession of R. Skinner, Esq.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_44" id="page_44">{44}</a></span> </p> - -<p><span class="pagenum"><a name="page_45" id="page_45">{45}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XIX" id="plt_XIX"></a></p> -<a href="images/plt_019.jpg"> -<img src="images/plt_019.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XIX.</p> - -<p>“APRIL EVENING, RYDAL WATER.” <span class="smcap">BY</span> W. RUSSELL FLINT, R.W.S., R.S.W.</p> - -<p>(<i>In the possession of Messrs. Ernest Brown & Phillips, the Leicester -Galleries.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_46" id="page_46">{46}</a></span> </p> - -<p><span class="pagenum"><a name="page_47" id="page_47">{47}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XX" id="plt_XX"></a></p> -<a href="images/plt_020.jpg"> -<img src="images/plt_020.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XX.</p> - -<p>“IONA.” <span class="smcap">BY</span> GEORGE HOUSTON, A.R.S.A., R.S.W.</p></div> -</div> - -<p><span class="pagenum"><a name="page_48" id="page_48">{48}</a></span> </p> - -<p><span class="pagenum"><a name="page_49" id="page_49">{49}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XXI" id="plt_XXI"></a></p> -<a href="images/plt_021.jpg"> -<img src="images/plt_021.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXI.</p> - -<p>“FRENCHLAND TO QUEENSBERRY, MOFFAT DALE.” <span class="smcap">BY</span> JAMES PATERSON, R.S.A., -R.W.S., R.S.W.</p></div> -</div> - -<p><span class="pagenum"><a name="page_50" id="page_50">{50}</a></span> </p> - -<p><span class="pagenum"><a name="page_51" id="page_51">{51}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XXII" id="plt_XXII"></a></p> -<a href="images/plt_022.jpg"> -<img src="images/plt_022.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXII.</p> - -<p>“ON THE WAY TO THE SOUTH DOWNS.” <span class="smcap">BY</span> D. MURRAY SMITH, A.R.W.S.</p></div> -</div> - -<p><span class="pagenum"><a name="page_52" id="page_52">{52}</a></span> </p> - -<p><span class="pagenum"><a name="page_53" id="page_53">{53}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XXIII" id="plt_XXIII"></a></p> -<a href="images/plt_023.jpg"> -<img src="images/plt_023.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIII.</p> - -<p>“A BIT OF HIGH CORRIE.” <span class="smcap">BY</span> E. A. TAYLOR.</p> - -<p>(<i>In the possession of Charles Holme, Esq.</i>)</p></div> -</div> - -<p><span class="pagenum"><a name="page_54" id="page_54">{54}</a></span> </p> - -<p><span class="pagenum"><a name="page_55" id="page_55">{55}</a></span> </p> - -<div class="figcenter"> -<p><a name="plt_XXIV" id="plt_XXIV"></a></p> -<a href="images/plt_024.jpg"> -<img src="images/plt_024.jpg" width="95%" alt="[Image unavailable.]" /></a> -<div class="caption"><p>PLATE XXIV.</p> - -<p>“SUFFOLK PASTURES.” <span class="smcap">BY</span> E. A. WALTON, R.S.A., P. R.S.W.</p> - -<p>(<i>In the possession of John Tattersall, Esq.</i>)</p></div> -</div> - -<hr class="full" /> - - - - - - - -<pre> - - - - - -End of the Project Gutenberg EBook of The development of British landscape -painting in water-colours, by Alexander Joseph Finberg and E. A. 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