PAINTERS IN WATER COLOURS.
(1750--1875.)
Water-colour painting is in one sense the most ancient mode of pictorial
art. We find examples of it in the tombs of the Egyptians, in the Roman
catacombs, and in the houses of Pompeii. Oil painting is, in comparison,
a modern process, though the statement that it was only discovered by
the Van Eycks in the beginning of the fifteenth century, is now known to
be a mistake. The earliest pictures were produced with colours soluble
in water and mixed with certain ingredients necessary to fix them. In
this way wall paintings were executed in tempera, a process familiar to
us as _painting in distemper_. Raphael's cartoons are specimens of
tempera-painting on paper, and Mantegna's _Triumph of Caesar_ (Hampton
Court) furnish examples of the like process on canvas. The art of
water-colour painting was practised by the early Italian and German
artists, and by those of the Flemish and Dutch schools. In most of the
illuminations of missals, in this and other countries, water colours
were used, mixed extensively with body white. Such was the case with the
early miniature painters of England, who began by using opaque colours,
and gradually advanced to transparent pigments. Notwithstanding the
antiquity of painting in water colours, the creation of a School of
Water-Colour Art, in the sense in which that term is now understood,
belongs to this country. It was not to the tempera painter, nor to the
illuminator of missals, nor to the early miniaturist that we owe this
modern school. We must look for its germ in the practice of the
topographer, who drew ruins, buildings, and landscapes for the
antiquary. The earliest of such works were executed in outline with a
reed pen. Examples are to be seen in some small pictures by Albrecht
Duerer, in the British Museum. The pigments used were transparent, and
applied on paper. The earliest of these pictures are in monochrome,
black or grey; next, colour was added here and there, and the whole
effect was something like that of a coloured print. Such were "the
tinted," or "steyned" drawings in which our modern water-colour
paintings originated. The early method prevailed for a long time, as may
be seen in the historic collection of water-colour paintings at South
Kensington, but gradually the art developed, better pigments were used,
and, as early as 1790, a marked improvement accrued, which led to the
triumphs of Girtin and Turner, and the more brilliant examples of later
days. One great advantage belongs to the modern school of water
colours--it started from nature, untrammelled by conventional rules or
traditions. The early topographers were brought face to face with
nature; some of them, like Webber and Alexander, extended their
observations to foreign lands; others, finding out the beauties of their
own country, were content to copy nature. It remained to our artists
towards the end of the last, and early in the present century, to give a
new and higher character to water-colour art, which from obscure
beginnings has risen to be a purely national and original school.
Practised by a succession cf men of great genius, a distinct branch of
art has been created, taking rank with works in oil. More luminous, and
hardly less powerful than pictures in that medium, it has lent itself,
in skilled hands, to the fullest expression of nature, and perfect
rendering of the ideal.
PAUL SANDBY (1725--1809) has been called "the father of water-colour
art;" but as he never advanced beyond the tinted mode, and to the last
used Indian ink for shadows, and the pen for outlines, the title is
unmerited. Sandby was a native of Nottingham, and having served in the
Drawing Office in the Tower, he settled at Windsor in 1752, and became
instructor in drawing to the children of George III. He was one of the
original members of the Royal Academy in 1768, and at the same time was
made drawing master in the Military School at Woolwich. He painted many
scenes in the neighbourhood of Windsor, and for Sir Watkin W. Wynn and
Sir Joseph Banks landscapes in Wales. Specimens of his art in
body-colour and tinting are in the South Kensington collection,
including _An Ancient Beech Tree_, which is painted in body-colour; _The
Round Temple_ is in Indian ink, slightly tinted; _Landscape with Dog and
figures_, is in the fully tinted manner.
THOMAS HEARNE (1744--1817) came early from Wiltshire to London, and was
intended for trade. He was, however, apprenticed to Woollett, the
engraver. In 1771, he went to the Leeward Isles as draughtsman to the
Governor, and this new occupation induced him to abandon engraving for
topography. He tinted landscapes, with local colour largely used. His
_Village Alehouse_, _View of Richmond_, two shipping scenes after Van de
Velde, and _Caistor Castle_ are at South Kensington.
WILLIAM PAYNE, who at one time held a civil appointment in Plymouth
dockyard, came to London in 1790. He had previously exhibited tinted
pictures of Devonshire scenery, which attracted the notice of Reynolds.
He is best known as the introducer of a neutral colour, styled _Payne's
Grey_.
ALEXANDER COZENS (died 1786), a natural son of Peter the Great, was born
in Russia. After studying art in Italy he came to England in 1746, and
practised as a teacher of drawing. Gifted with a fine poetic feeling,
and having a noble sense of breadth, this artist made a deep impression
on those who followed him.
JOHN WEBBER (1752--1793) travelled in Italy, France, and Switzerland,
and made numerous drawings. He was draughtsman to Captain Cook in his
last voyage, and a witness of his death.
JOHN ROBERT COZENS (1752--1799), son of Alexander Cozens, was one of the
earliest who practised water-colour painting in the modern sense of the
term. His works in the tinted manner are full of poetic beauty, and
exhibit a marked improvement on those of his predecessors. At South
Kensington may be seen his _Chigi Palace near Albano_. Constable, who
was much impressed by Cozen's art, said that he was "the greatest genius
who ever touched landscape." He was the first to go beyond topography,
and to impart pathos to his pictures. Although he worked mainly in the
received method of tinting, there are signs in his pictures of a noble
progress, which was soon to become more marked.
JOHN SMITH (1749--1831), called "Warwick Smith," probably because he
travelled in Italy with the Earl of Warwick, or on his behalf. Six of
his Italian sketches are at South Kensington. Gainsborough said "he was
the first water-colour painter who carried his intention through." In
1816 he was President of the Society of Painters in Water Colours. We
must here briefly mention THOMAS ROWLANDSON (1756--1827), who is best
known by caricatures, including illustrations to "Doctor Syntax," "The
Dance of Death," and "Dance of Life."
WILLIAM ALEXANDER (1767--1816) accompanied Lord Macartney to China, in
1792, as draughtsman to the Mission. He was afterwards made Keeper of
Prints and Drawings in the British Museum. He illustrated many books of
travel.
JOSHUA CRISTALL (1767--1847), one of the foundation members of the
Water-Colour Society, of which he was more than once President. He
usually painted classic figures with landscape backgrounds, and genre
subjects. His _Young Fisher Boy_ and _Fish Market on Hastings Beach_ are
at South Kensington.
HENRY EDRIDGE, who made excellent drawings in Paris and in Normandy, we
have already mentioned among the miniature painters.
ROBERT HILLS (1769--1844) represented animal painting in water colours,
and may be styled the father of this branch of art. He frequently worked
in conjunction with other artists; as in _Deer in a Landscape_ (South
Kensington), where the deer are painted by Hills, and the landscape is
by Barret.
MICHAEL ANGELO ROOKER (1748--1801) originally practised as an engraver,
but, having been instructed in painting by Paul Sandby, forsook the
graver, and worked as a student at the Royal Academy. Subsequently, he
became principal scene-painter at the Haymarket Theatre. He used much
local colour in tinted drawings, as may be seen in _St. Botolph's
Priory_, and _Boxgrove Priory Church_ (South Kensington Collection).
Conspicuous among those artists who showed that the power and richness
which were supposed to belong to oil painting only, could be produced in
water colours, was--
THOMAS GIRTIN (1773--1802), who entirely revolutionised the technical
practice of his forerunners, by laying in a whole picture with the local
colours of its parts. Girtin found a friend and helper in Dr. Monro, who
possessed many fine drawings, and allowed the young painters of the day
free access to them. In the riverside scenery visible from the Doctor's
house at the Adelphi, Girtin found congenial subjects for his art, as
well as amid the old-world spots about Chelsea and Wandsworth. Later, he
extended his travels, choosing cathedral cities in England, and visiting
the Lake district, Scotland, and Wales. Girtin loved to depict scenes of
gloom and grandeur, such as the melancholy Cumberland hills, and the
sterner scenery of Scotland, whilst Turner, his friend and fellow-worker
at Dr. Monro's house, depicted light, even when treating similar
subjects to those which his friend affected. Girtin spent a great deal
of valuable time in painting a panorama of London, which was much
admired. He died at the age of twenty-nine, but he had lived long enough
to make a great advance in water-colour painting, and to add power of
effect, of colour, and of execution to the poetry with which Cozens had
invested it. Favourable specimens of Girtin's art may be seen in a _View
on the Wharfe_ and _Rievaulx Abbey_ (South Kensington).
GEORGE BARRET the younger (1774--1842) was one of the foundation members
of the Water-Colour Society. He especially delighted in sunset effects.
WILLIAM DE LA MOTTE (1780--1863) was originally a pupil of President
West, but abandoned oil for water colours. He painted landscapes in the
style of Girtin, but more chiefly architecture and marine pieces.
Of JOSEPH MALLORD WILLIAM TURNER (1775--1851), we shall speak hereafter
as a painter in oils; here we must describe his influence in
water-colour art, which was greater even than that of Girtin. "Many date
the perfect development of water-colour painting from Girtin, but it is
far more due to Turner, who, while he could paint in that medium with
the power and strength of Girtin, added to that strength, delicacy and
_quality_" (_Redgrave_). Turner is famous as a painter both in water
colour and in oil, and as the artist of "Southern Coast Scenery,"
"England and Wales," "Rivers of France," Roger's "Italy" and "Poems."
His _Liber Studiorum_ is a collection of valuable studies in monochrome,
now in the National Gallery. His etchings from them are very celebrated.
Mr. Redgrave 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._" _From a Drawing by_
TURNER.]
In spite of the marked progress of water-colour painting, there was as
yet no adequate accommodation for the exhibition of drawings produced
in that mode. The room assigned to works in water colour at the Royal
Academy exhibitions was described as "a condemned cell." The general
public still believed in the superiority of oil painting, and worshipped
a big, indifferent picture in that mode, whilst they allowed gems of art
to hang unnoticed in the water-colour room. To remedy this the
Water-Colour Society was founded on November 30th, 1804, the originators
being Hills, Pyne, Shelley, Wills, Glover and Varley. William Sawrey
Gilpin was the first President. This society gave 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, and maintained the
annual exhibition during a few years, with small success. Meanwhile, the
other members, in 1814, opened an exhibition in New Bond Street, and
invited contributions from British water-colour artists who belonged to
no other society. This effort failed. The original body styled itself
"The Society of Painters in Oil and Water Colours," for a time admitted
oil paintings, 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 formed, a body which two years
later changed 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 formed in the Dudley Gallery,
which has recently undergone a reorganization in its Committee of
Management.
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 time he found his true vocation in
landscape-painting with water colours. He was as we have seen, one of
the founders of the Water-Colour Society. His works are noteworthy for
simplicity and pathos, but his later productions, owing to the necessity
of working against time, are very slight. Varley chiefly painted Welsh
scenes, many of which are at South Kensington, _e.g._ _Beddgellert
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 mere topography, and in later works he adopted the
"sunny method" of Turner.
SAMUEL PROUT (1783--1852) is best known by his sketches of continental
scenery, _e.g._ _Wuerzburg_, the _Arch of Constantine at Rome_, and the
_Porch of Ratisbon Cathedral_ (South Kensington). 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 blacksmith, was born at Birmingham.
He was a weakly child, and amused himself with drawing instead of the
rougher sports of his companions. Instructed by a local artist, he found
employment in painting lockets, and as a scene-painter at the theatre at
Birmingham and at Astley's Amphitheatre in Lambeth. Devoting himself to
landscape, and assisted by John Varley, Cox soon became one of the most
eminent artists of his school, remarkable for the truthfulness of his
colouring, the purity and brilliancy of the light in his pictures. He
was elected a member of the Water-Colour Society in 1813. His style may
be studied at South Kensington. His works are now highly prized.
THOMAS MILES RICHARDSON (1784--1848), a native of Newcastle-on-Tyne, is
said to have been seized with a desire to become a painter on seeing a
landscape by Cox. He began as apprentice to a cabinet-maker. Exchanging
this vocation for that of a schoolmaster, he finally accepted art as
his calling, and became a distinguished 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. From that time his success was
assured. During his life his works commanded very high prices. He was
elected President of the Water-Colour Society in 1831, and held that
office till his death. Fielding executed some excellent oil paintings.
"He delights in distances, extensive flats, and rolling downs. It is
true that while space is often obtained, the result is emptiness." An
example of this is _The South Downs, Devon_, at South Kensington. Marine
pieces are among Fielding's best works, but even these are mannered.
PETER DE WINT (1784--1849) was born in Staffordshire, and of Dutch
origin. A constant contributor to the Water-Colour Society, painting
scenes direct from nature, he chose the northern and eastern counties of
England. Corn-fields and hay-harvests are among his favourite subjects.
He is very largely 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
animals. Three of his works are at South Kensington.
THOMAS HEAPHY (1775--1835) was born in London, and having been, like
many other artists, apprenticed to an uncongenial 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 member in 1808. For a time he
accompanied the English army in the Peninsula, and found patrons among
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 most original as well as
the most versatile of the water-colour school. Starting as a landscape
painter, he, in later years, excelled in rustic figure subjects, whilst
as a painter of fruits and flowers he was without a rival. Hunt was a
pupil of Varley, and had the advantage of Dr. Monro's friendship. The
varied character of his art may be seen at South Kensington, in _Boy and
Goats_, and a _Brown Study_ (a negro boy puzzling over an addition sum),
which illustrate his figure subjects, whilst _Hawthorn Blossoms and
Bird's Nest_, _Primroses and Birds' Nests_, and _Plums_, are examples of
another side of Hunt's genius. 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 become a painter. At the age of fifteen he
was a pupil of Samuel Prout, and at first his works owed much to that
artist. Like his master he did not succeed in foliage. Harding gained
the silver medal of the Society of Arts for a water-colour drawing, and
became very popular as a drawing-master. He published many lesson books,
in which he called in lithography 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 him for the mediaeval and romantic
subjects in which he delighted 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 became tame. Among Cattermole's principal works are _Sir Walter
Raleigh witnessing the execution of Essex in the Tower_, _Hamilton of
Bothwellhaugh preparing to shoot the Regent 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 remarkable.
His _Nymwegen, in Holland_, is at South Kensington, where there is also
a series of sixteen of his drawings made in Portugal.
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 most often seen.
His paintings are chiefly pastoral scenes, treated in an ideal manner,
and display imaginative and poetic genius of a high order. He drew
inspirations for his paintings from the writings of Milton and Virgil,
with which 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. Samuel Palmer executed a few highly-prized etchings.
* * * * *
EDWARD HENRY WEHNERT (1813--1868), FRANCIS WILLIAM TOPHAM (1808--1877),
AARON EDWIN PENLEY (1806--1870), EDWARD DUNCAN (1803--1882), GEORGE
SHALDERS (1826--1873), GEORGE HAYDOCK DODGSON (1811--1880), were all
members of one or other of the Water-Colour Societies, and attained fame
in their various walks of art.
[Illustration: OLD ENGLISH HOSPITALITY. _By_ GEORGE CATTERMOLE. A.D.
1839.]
[Illustration]