Part 5 (2/2)
”England and Wales,” ”Rivers of France,” Roger's ”Italy” and ”Poems”
His _Liber Studiorum_ is a collection of valuable studies in s frorave says of him, ”If ever writer dipt his pen in poetry, surely Turner did his facile pencil, and was indeed one of nature's truest poets” His water-colour drawings are well represented in the National Gallery
[Illustration: EVENING--”_Datur hora quieti_” _Froress of water-colour painting, there was as yet no adequate accos produced in that ned to works in water colour at the Royal Acadeeneral public still believed in the superiority of oil painting, and worshi+pped a big, indifferent picture in thatunnoticed in the water-colour room To remedy this the Water-Colour Society was founded on Nove Hills, Pyne, Shelley, Wills, Glover and Varley Williaave new and increased vigour to water-colour art, and a second body, the associated Artists in Water Colours, was formed in 1808 The older society exhibited the works of members only, the new association was less exclusive: the career of the latter was brief The Water-Colour Society also lost popularity after a while, and in 1813 the members determined to dissolve it Twelve of their number, however, were averse to this course, anda few years, with small success Meanwhile, the other members, in 1814, opened an exhibition in New Bond Street, and invited contributions froed to no other society This effort failed The original body styled itself ”The Society of Painters in Oil and Water Colours,” for a tis, and made other alterations in its rules, but in 1821 returned to its original constitution In 1823 it was established in its present premises in Pall Mall East, since which date it has flourished
In 1881 it became The Royal Society of Painters in Water Colours
In 1831 The New Water-Colour Society was fored its title to that of The New Society of Painters in Water Colours In 1863 it became the Institute of Painters in Water Colours, a title it still retains The great increase in the numbers of artists of this class rendered the formation of the second society necessary A third exhibition of water colours was forone a reorganization in its Coement
JOHN VARLEY (1778--1842) was at first the assistant of a silversmith, then of a portrait painter, and subsequently of an architectural draughtsman After a ti ater colours He was as we have seen, one of the founders of the Water-Colour Society His works are noteworthy for si to the necessity of working against tiht Varley chiefly painted Welsh scenes, ellert Bridge_ and _Harlech Castle_
WILLIAM HAVELL (1782--1857), another of the foundation members of the Water-Colour Society, was a constant exhibitor till 1817, when he visited India On his return he chiefly contributed oil paintings to the Royal Academy Havell was one of those who aided to carry water-colour painting beyond raphy, and in later works he adopted the ”sunny method” of Turner
SAMUEL PROUT (1783--1852) is best known by his sketches of continental scenery, _eg_ _Wurzburg_, the _Arch of Constantine at Roton) He excelled as a painter of cottages and ancient ruins, but rarely succeeded with foliage He published drawing-books, containing studies from nature
DAVID cox (1783--1859), the son of a blacksham
He was a weakly child, and aher sports of his companions Instructed by a local artist, he found e lockets, and as a scene-painter at the theatre at Bir himself to landscape, and assisted by John Varley, cox soon became one of the most eminent artists of his school, re, the purity and brilliancy of the light in his pictures He was elected a member of the Water-Colour Society in 1813 His style hly prized
THOMAS MILES RICHARDSON (1784--1848), a native of Newcastle-on-Tyne, is said to have been seized with a desire to becoan as apprentice to a cabinet- this vocation for that of a school, and becauished landscape painter
[Illustration: THE TOMB OF THE SCALIGERS AT VERONA _By_ PROUT]
ANTHONY VANdyke COPLEY FIELDING (1787--1855) proved worthy of the names he bore He was a pupil of Varley, and contributed his first picture to the Water-Colour exhibition of 1810 Fro his life his works coh prices He was elected President of the Water-Colour Society in 1831, and held that office till his death Fielding executed sohts in distances, extensive flats, and rolling downs It is true that while space is often obtained, the result is emptiness” An exaton Marine pieces are a's best works, but even these are mannered
PETER DE WINT (1784--1849) was born in Staffordshi+re, and of Dutch origin A constant contributor to the Water-Colour Society, painting scenes direct froland Corn-fields and hay-harvests are aely represented in the South Kensington collection
GEORGE FENNEL ROBSON (1790--1833), after leaving his native Durham, exhibited many pictures at the Royal Academy, but his best works appeared at the exhibitions of the Water-Colour Society He illustrated many books, and painted in conjunction with Hills, who contributed aniton
THOMAS HEAPHY (1775--1835) was born in London, and having been, like enial craft, left it to pursue the art of an engraver This, however, gave place to painting, and he commenced with portraiture He exhibited at the Royal Academy for the first time in 1800, and was admitted an associate Exhibitor of the Water-Colour Society in 1807, and a lish ar the officers At South Kensington are two of his figure subjects, _Coast Scene, with figures_, and _The wounded Leg_
[Illustration: BERNCASTLE, ON THE MOSELLE _By_ HARDING]
WILLIAM HENRY HUNT (1790--1864) was one of the inal as well as theas a landscape painter, he, in later years, excelled in rustic figure subjects, whilst as a painter of fruits and flowers he ithout a rival Hunt was a pupil of Varley, and had the advantage of Dr Monro's friendshi+p The varied character of his art ton, in _Boy and Goats_, and a _Brown Study_ (a negro boy puzzling over an addition suure subjects, whilst _Hawthorn Blossoms and Bird's Nest_, _Primroses and Birds' Nests_, and _Pluenius His humorous pictures _The Attack_, _The Defeat_, _The Puzzled Politician_, and _The Barber's Shop_ are well known
JAMES DUFFIELD HARDING (1798--1863), the son of an artist, was intended for a lawyer, but chose to becoe of fifteen he was a pupil of Samuel Prout, and at first his works owed much to that artist Like his ained the silver , and beca-master He published raphy to his aid His visit to France and Italy resulted in numerous studies, which are embodied in _The Landscape Annual_ He is represented at South Kensington by _A Landscape with Hovels_ Harding is described as the first water-colour artist who used, to any extent, body-colour mixed with transparent tints His example was almost always injurious
[Illustration: THE VIEW FROM RICHMOND HILL _By_ DE WINT]
GEORGE CATTERMOLE (1800--1868) was a native of dickleburgh, Norfolk He started in life as a topographical draughtsman, and studied architectural antiquities This fitted hihted Brigands, robbers, and knights figure largely in his works His travels in Scotland bore fruit in illustrations to the Waverley novels His pictures were due to his memory, rather than to new inspirations, and as he advanced in years they beca Catter the execution of Essex in the Tower_, _Haent Murray_, _The Armourer's Tale_, _Cellini and the Robbers_, _Pirates at Cards_, which are all at South Kensington
JAMES HOLLAND (1800--1870) began as a flower painter and teacher of that branch of art He found a wider sphere, and is known as a painter of landscapes and sea subjects In his works high colouring is reen, in Holland_, is at South Kensington, where there is also a series of sixteen of his drawings al
SAMUEL PALMER (1805--1881) first exhibited, at the British Institution, in 1819 In 1843 he was elected an associate of the Water-Colour Society, and became a full member in 1855; and it was at the exhibitions of that society that his works were s are chiefly pastoral scenes, treated in an ideal h order He drew inspirations for his paintings froil, hich he was very familiar He was influenced in his art by the work of William Blake, and to some extent by that of his father-in-law, John Linnell Sas