I have but lately returned from Holbrook, where I saw your last portrait
of Wilkinson. It is very capital, and gives my sister and all her
neighbours great satisfaction. Jane indeed can talk of nothing else. I
will say this however, with my usual ignorance and presumption, that I
think the last day's sitting made it a little heavier than when I left it
unfinished. Was it that the final glazing was somewhat too thick? I
only mention this as a very slight defect, which I should not have
observed had I not seen its penultimate state, and were I not a
crotchetty stickler for lightness and ease. But I hope and trust you
will now do all your future sketches in oil in the same way in which this
is done: the long brush, the wholesome distance between canvas, painter,
and sitter, and the few sittings. For myself, I have always been sure of
this: but I can assert it to you with more confidence now, seeing that
every one else seems to agree with me, if I may judge by the general
approval of this specimen of the long brush. Besides, such a method must
shorten your labour, preserve the freshness of your eye and spirit, and
also ensure the similitude of the sitter to himself by the very
speediness of the operation.
Mills was very much delighted at W.'s portrait. What will you say of me
when I tell you that I did not encourage him to have his wife painted by
you, as he seemed to purpose! You will pray heaven to deliver you from
your friends. But notwithstanding this, I am sure this last portrait
will bring you sitters from this part of the country. Perhaps you will
not find it easy to forgive me this. I must tell you that Mrs. Mills,
who sets up to be no judge of pictures, but who never is wrong about
anything, instantly pitched on your portrait of Coningham as the best in
the Exhibition, without seeing who it was by: and when she referred to
the Catalogue, called out to her husband 'Why this is by E. F. G.'s
friend Mr. Laurence.'
July 18. You see that all up to this was written a fortnight ago. I did
not finish, for I did not know where to direct. And now I shall finish
this portrait of my mind, you see, in a different aspect perhaps to that
with which I set out. On looking over what I wrote however, I stick to
all I said about the painting: as to Mrs. Mills, whose case seems to
require some extenuation on my part, I fancied she was one of those
persons' faces you would not take to: and so not succeed in. It is
rather a pretty face, without meaning, it seems to me: and yet she has
meaning in her. Mills has already had one portrait of her, which
discontents all, and therefore it was I would not advise any painter who
did not understand the art of _Millinery_ well: for if the face does not
wholly content, there is the dress to fall back on. I fancy Chalon would
do the business.
I hear you have been doing some brother or brother in law of Mrs.
Lumsden. Mind what I have told you. I may not be a good judge of
painting, but I can judge of what people in general like. . . .
_To John Allen_.
(About July 16, 1844 J. A.)