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WATER

COLOUR

PAINTING

BY

ALFRED MEMBER

OF

W. THE

With

NEW

67

RICH

ENGLISH

ART

CLUB

Illustrations

PHILADELPHIA

J.

B. LONDON

COMPANY

LIPPINCOTT :

SEELEY,

SERVICE

1918

,"

CO.,

Ltd.

IhOSO

g)

TO

S,

Tj^ROM

^

"*-

"

^

but

enough,

Mr.

James and

great

kindness

them

for

heartiest "

Mr.

the

Wint,

de

of

^ J( V,

-4:

thanks shown

is due in

to

their

"

Victoria

David

Muirhead.

Miss

be

to

dealing

R.

included.

Museum. Mr. with

F. a

help And

Stanley somewhat

A.

B.

the

lastly, a for

exacting

adding

P. Wilson

Mr.

Mr.

whd

have

walls I

A.

my

Clifton, and

kind

very

my

ciation appreat

word

patience

author.

Miss

Castle, by

authorities

the

lent

tender

convey

A.

with

and

of Conisboro' to

whose

allowed

who

book,

also

Service

Rich,

b.a.,

their

my

to

another

thereby

those

Mr.

Lock,

I wish

and

and

Tonks,

from

splendid picture

politeness

Albert

To

quite

G. L. Behrend

Mr.

Cameron,

illustrating

Helen

her

Y.

familiar

friends

Henry

pictures

.my of

D.

kind

in

help

was

Mrs.

by

works,

Mr.

Mr.

allowed

who

their

was

friend

the

much

about

story

my

To

Pryde,

purpose "

talk

to

of my

thank

to

unhung

thanks

Tatlock Peter

that

as

gratefully.

very

.

^

well

as

telling

received

constantly helped

was

attraction, I have

McEvoy

'

of

have

I had

privilege of reproducing

Steer,

r

record

to

the rare

I

assistance

I want

a

"v

in this

I

What

method

HELPERS

"

friends

my

book.

the

and

valuable

me

this

writing

FRIENDS

of

many

matter,

"*"*

MY

he

the of

has

CONTENTS OHAPTEH

PA0B

I. II.

Paper, The

Board,

Easel

Colour

Box,

17

Materials

and

Generally

22 .

III. IV. V.

Drawing

28

Stoj,

Life

Method

32

Using

op

Water-Colours

36 ...

VI.

Composition

Landscape

in

53 ....

VII.

Some

Difficulties

How

and

Working

in

Meet

to

Nature,

from

Them

70 ....

VIII.

Clouds

IX.

Sussex

79

Kent

88

X. XI. XII.

Skies

and

Warwickshire Newbury

75

(Berks)

AND

Counties

Hungerford

to

WILTSHIRE

ACROSS

BACK

Neighbouring

the

and

and

TO

91

Devizes, 95

SALISBURY .

XIII.

The

Fens

Wolds

and

105

Lincolnshire

of

.

XIV. XV. XVI. XVII.

Richmond

.115

Yorkshire

Swaledale,

and

.

119

Shropshire Rye

125

Winchelsea

and

Castle

Corfe

and

its

132

Neighbourhood .

XVIII. XIX.

.

135

London The

Thames

Court XX.

.

Colchester

Bridge

London

from

to

Hampton

140

Oxford

and

.....

and

Mersea

148

Island .

ii

.

.

PAINTING

COLOUR

WATER

12

PAGE

CHAPTER

XXI.

XXII.

A

Visit

On

Chipping

to

Study

the

op

151

Gloucestershire

Campden,

Trees

156

Nature

from

.

.

XXIII.

A

Lesson

.168

Yorkshire

Richmond,

at

.

XXIV.

Water-Colour

Painters

Past

178

Present

and

.

XXV.

John

Constable

;

Richard David

Parkes

XXVII.

Other

Sell

Cotman

Bonington

;

;

Franoia

;

Prout

Samuel

;

210

Cox .

XXVI.

John

Artists

Pictures

;

to

be

.

the

.

Present

.

.

.

.

223

Generation .

Studied

and

those

to

be

238

Avoided .

XXVIII.

Emotion

Index

in

Art

244

249

LIST

OF

ILLUSTRATIONS

PLATE

I. The

TERRACE

Frontispiece

....

MOB

II.

A

Sussex

Church

Tower

38

....

III.

The

Effect

of

Heavy

a

Cloud

over

land Wood-

a

38 IV.

V.

VI.

Drawing

A

of

Common

a

Bridge

40

Inn

40

and

Commencing

Painting

a

in

Water-Colours

41 .

VII.

Piecing

Colours

together

42 ....

Vin.

A

Break

in

Clouds

the

42 ....

IX.

X.

Bray-on-the-Thames

46

Draining

Old

Windmill

50 ....

XI.

XII.

52

Florence

View

Distant

of

Lincoln

56 ....

XIII.

A

Drawing only

XIV.

XV.

in

by

Use

of

Sky

the

which

is

indicated

Paper

Low-Toned

60 .

Distant

View

Distant

View

of

Lincoln

of

Lincoln

"

Stage

I

.

.62 .

"

Stage

II

.62 .

XVI.

XVII.

Siddlesham

A

Cloud

64

Mill

76

Study 13

LIST

OF

ILLUSTRATIONS

15

PLATH

PAOB

XLII. XLIII.

Elm

Tube

Water-Colour Stage

XLIV.

Drawing

Drawing

Stage

XLIX.

Drawing

L. LI. LII.

LIX. LX. LXI.

:

of

Richmond,

Yorks

.

.

.

.

.

:

.176 .

Abbey

180

Church

Cattle

and

Windsor

and

from

.

the

.

.182

Playing 184

Bridgnorth

188

Abbey

Reevaulx View

in

A

LVIIL

Yorks

Fields

XIV.

LVII.

Richmond,

IV

College

Conisboro'

LVI.

of

Drawing

Landscape,

LIII.

LV.

:

174

Water-Colour

Eton

Richmond, Yorks

172

itiRKSTALL

XLVIII.

of

III

Stage XLVII.

;

II

Water-Colour

VI.

Yorks

170

Water-Colour

XLV.

Richmond,

of

I

Stage

XL

166

Road

the

in

Island

Rocky

192

Elba

of

.

.

.

Castle

196

Yorkshire

198 200

Castle

Knaresborough A

190

....

204

Landscape

Moel

Hebog

206

Lake

Scene

208

The Moor The

Baggage and

Water

Waggon

.214 .

.

.

.

Windmill

218

Mill

222

WATER

16

COLOUR

PAINTING PAGZ

PLATE

LXII.

LXIII.

LXIV.

LXV.

Durham

226

Cathbdbal

228

Kinfauns

Landscape

with

House,

Customs

230

Mill

234

Venice ....

LXVI.

LXVII.

The

Harlech

Haunted

House

Castle

236

240

WATEK

COLOUK

PAINTING

I

CHAPTER

PAPER, writing

IN

practical to

enable

to

the

advanced

every

student

trodden

elements.

the

ground

the

at

afford

may

but

elementary,

be

in

more

of well-

review

A

and

interest,

of

order

the

even

beginning.

in

adopted

is

plan

be

it is necessary

student,

This

most

begin

to

Art

shall

which

painting, the

to

way

simple only

not

water-colour

on

in

use

with

start

book

a

EASEL

BOARD,

some

way

helpful. It

is

is done

painting difficulties the

as

meet

in

given

All

his

used

moderately

be

present

surface.

which

better

for

beginner

of

one

within

moderately this

any

for

this

smooth, artist

are

than

Whatman,

student

limitation and

colourman

that

:

be

of

papers

experience

more

that

necessary

the

student

paper

time,

Arnold,

which

his

paper

taking to

the

present

make

able

examples

excellent

rough.

not to

capable will

or

and

washes

certain

white

many

the

at

and

doubt

pure

the

had

be

to

thg

a

Among

on,

as

here

peculiaritiesas possible.

any

use

lighter makes,

the

however,

always

must

colour

absolutely

few

as

without

said, that

papers

of

vanish

it is

few

as

mortification

the

which

in

manner

shall

work

later

said

be

efforts

colour

be

takes

paper

earliest

which

smooth

the

will

pitfallsand

as

difficulties, however,

water-colour

early

the

More

in the

it may

here

when

that

order

'

which

on

paper

difficulty is used

word

The

bewildering

these

but

be

paper

And

the

arise.

experience,

turn

in

considered,

well

may

way.

showing

gained,

be

much

every

eccentric

behave.

a

of

at

one

should

the

that

importance

great

possible

as

result

an

is

of

matter

a

a

in

with

a

water-

few

are

should

It is

more

own

choice, but

must

wash

supply.

be

factory, satis-

white,

easily, The

and

list

of

the

given at No. difficulty,

papers of

EASEL

BOARD,

PAPER,

18

end

this

of

being suitable

1

the

arranged in order beginner, and so on

certain

should

is

chapter for

in sequence. I will

consider

now

the

why by

reason

paper student.

in the

Tinted the papers study be avoided work to of bad because quality are they give an appearance Such it. have would which otherwise nothing to recommend not canthe use of body colour, which also likelyto induce are papers will of body colour The matter be too severely condemned. white is another later on. Michallet be duly considered paper its to but owing which is admirable for water-colour painting, earlier stages of

in

of substance,

want

this

is apt to be paper advanced students, David difficult to

although a

different

this

and

absorbent

Very

of

mastery

of

the

when

which

to

Before

been

acquired, has

on

dressed or

In

of the

the

endless

the

and

ceased

afford

becomes

real

any

of

matter

a

from

varieties

the

are

stance sub-

or

knowledge

in

advances

indeed

complete

a

surface,

to

in order

work to

on

owing

make

give them offending material

working

considered

a

such

good

will be

quality,tone,

is left to and

learn

surface

are

to

well

to

are

rendered

and

those

by best

With to

these

be used

which

inquiry suited

to

few

in the

should

and

and more

of manufacture.

quite workable, papers in bath cold water, when papers

that

point out finely prepared

this process

removed.

the best

in water-colours,

student

as

white

to

are

be

may

being very papers, to get the brilliant whiteness,

pure

order, however,

of what

quite

choose.

less difficult to

necessary the

then

leaving the subject,it

of

many

taste, and

is

work

until

avoided

be

to the difficulty painter. As the student and experience the particular paper used

individual

the

tion perfec-

the

that

so

dry.

when

assume

is necessary.

worked

medium

wash,

only

should

has

they

difficult to

colour

papers

technique

which

is obtained

use

For

beginner.

the

for

done,

be

to

in its substance, is beautiful paper first applied have when the washes that

is very

liftingof

no

as

from

paper

of effects in its direct

Cox

out

washing

is any

disappointing

work,

appearance

Moreover,

there

case

it is

only

most

of

remarks

early days

be

avoided,

experience which his requirements.

PAPER, Method

of

considered

Having

BOARD,

preparing

EASEL

19

Paper

the

Use

for

the kinds

of paper best suited to the of the water-colour student, it is now necessary to in the manner which paper should be prepared for use. in which

many ways method so

this

be done

can

there

is,in my

requirements explain Of

the

opinion,no

practicaland effective as strainingthe paper on a This is done by taking a sheet of paper, some board. two to two and a half inches largerthan the drawing board, damping it well, and then pinning with drawing pins the overlappingpaper to the back of the board, pullingand straining firmlyyet gently as the Having given it time to dry, the student will paper is fastened. obtain an even surface,which will not cockle as the painting proceeds. David Cox and others of the early school of water-

paintersused

colour

strained on a frame, paper at the back of it, thus be introduced

cloths could

continuallydamp

surface

as

their work

that

so

wet

preservinga

proceeded.

This

process

but reference is made to it here perfect, It is not a damp be severelycondemned. in order that it may paper which the student requiresto paint on, but an absolutely dry surface. More will be said on this point when the technique work is being considered. of our should be avoided if possibleis the article which Another drawing block," which is apt to get very bubbly as a drawing vaunted

much

has been

as

"

loose and useless. very often the later leaves become doubt they are, but the good student convenient no

and

progresses,

Very should

study

not

to possess

convenience, but rather take

mere

himself of

a

good

reliable surface of paper

The

with

comfort

consideration

painterwill for it in my explain,do

Although

and

In

The

Easel

trouble

upon

which

a drawing board, it selecting should be well made but not thick, as any extra weight of materials avoided. should be carefully when working from Nature Drawing pinsshould always be of good qualityand not too large.

to work

ease.

any

of this article in the

words, experienceand, for

need

not

this

but

few

is

I have

reasons

its

recommend

chapter

as

kit of

use

under

I will any

dealing simply with

materials for the student, some

reasons

must

water-colour

found

never

which

a

any

use

proceed to

circumstance. the

here be

necessary

given why

PAPER,

20

such

a

traditional

article

him.

The

in

for water-colour

use

this

truest way

so

the easel is set aside

as

better

board

it will become a

on

reason

at

it and once

than

let it rest

to

use

to

great that

so

explained,

self-denial must

much

of colour from

apparent that all the washes the

down

begin to run pools of colour

and tiring,

If an easel is fixed obtainingthem. water-colour painting is commenced,

a

full brush

one's knees.

on

this is very irksome and for this positionhas been

that

advantages will appear be faced in order to ensure a

no

drawing-boardto be placedwhen it is and to ensure slanting, purposes is slightly

the

with

of

as

for the

positionnothing is

It may be contended it is ; but when the

EASEL

BOARD,

surface

paper

and

to

work, or so far down the run of the colour lasts. At the same as time, the spot where the colour was intended to remain is denuded of material,

gather in

appears thin and givesso much charm to

and

so

lower

of the

at the

part of

the

entirelylackingin the substance a water-colour painting.

which

It is also

impossiblewhen working at an easel in this medium firm line, which is again an to get a sufficiently indispensable The also of water-colour easel in use a light a high wind quality. is most be a reason uncomfortable, and should, incidentally, On the other hand, the positionits use gives to againstits use. the artist in the eyes of the generalpublic is rather interesting. Some working in Sussex and excited the interest years ago I was of a very talkative little girl, she became who familiar as more also critical. After

became not

the

real artist like Mr.

a

county. the

reason

who

also

,

working

was

that

in that

I

was

part of

I very readilydisclaimed the honour, but on inquiring I found that it was the fact of my not using an easel

completelyput Having explained the

which

talk, she observed

some

so

of court.

out

me

why

easel

is not

suited to it is to out to the student work, point necessary an alternative method possessinggreater advantages. One fairly have small canvas is to frame a four legs,upon on good plan rest his drawing board, and thus work which the artist can with this and comfort. In the plan legsof the stand nearest great ease reason

an

water-colour

to the

worker

necessary

should

slant to the

be shorter than board.

The

the

one

arrangement is the lack of power which when rest givesto the worker leaningon

simple plan which the drawing board on

The rest

I have my

others,thus givingthe

serious drawback a

more or

over

or

less

to this

unsteady

it.

followed

knees.

for many years is,to This positiongives

great

PAPER,

and

power,

although

satisfactory allows and

in

the

should

stool

greatest

to

when

use

question have

of

given

It

in

found

to

should

be

The

it

used,

is

or

List

of

the

work

ought

not

to

be

the

then

by

hard

put

on

to

a

best

adapted

for

David

Canson,

I

Cox,

have

used

Creswick,

Burlington.

myself

:

Varley,

Thin

that

a

work,

so

side

one

thing should

because

Water-colour

Allenje,

Whatman,

Cartridge,

Van

be

result.

Painting

Those

dividual in-

motor-car

difficult.

Papers

to

be

motor-car

remember

accompanied

ever

open,

that

a

will

this

useful

method

comfort,

best

the

be

mind

should

always

must

it

good

appear

of

doubt

in

that

so

maximum no

in

may

and

with

dealing

it

that

camp

greater

me

working

borne

winds.

students

advantageous

most case,

however,

accomplishing

irksome

the

the and

be

given

In

hoping

high

of

most

when

required,

good-sized

has

nature.

however,

particular

afford

plan is

his

student,

worth any

should,

and

most

method

is

case

which

followed

experience,

own

This that

in

firm

stools

from be

to

firmness

the

prove

results.

nothing

j

flimsy

decide

must

followed

the

will

position

very

a

painting

my

reader.

that

best

any

of

amount

method

the

in

necessity see

the

21

it

tiring,

give

placed

out

absolute

than

amateurs

the

pointed

an

surprise

I

the

be

EASEL

and

and

end, to

be

is

irksome

board

ensures

It

the

BOARD,

Michallet,

Gelder,

White

II

CHAPTER

THE

of materials

subject

THE

interesting with

might

to

points

will

The but

the

be

of interest be

the

moist colours

decide

be

to

much

cleaner

hard

and have

great

of

worker be

chief

the

thoroughly

a

When

condition

registration

desiring the to

once

the

older and

must

therefore

same

time

There

for

one

strongly urged

entirely put

on

one

jot

for

immediate

be

desired,

be

can

and

that

the

side

in favour

dry

mean

fleeting

cake

give in

cases

flower-

as

This

should

of the

such

must

question

although

taste,

very

for

many

work.

the

a

no

down

utilized, such

studio

individual

itself

use

however,

kept

foremost

it is

nature

is

hand,

the

is in

to

be

can

other

favour,

then

There

they

as

which

are,

with

work

colours, and

the

hand

to

of still life and

remain

their

to

much

of colours

system

On

the

or

medium.

a

from

colours

moist.

all kinds

it is

it is

the

ready

whether

"

should

moist as

use,

working

leave

cakes

in

included

be

early masters,

colours,

for

some

material

dust.

points

colours

of the

the

cake

from

In

have

to

free

should

him

to

importance,

which

student

with

as

of the

many

ever-ready

advantage

before

but

None

most

a

it must

space

paramount

the

by

every

appeals

quite

recommendation.

painting,

of

these

of

type

used

as

well

as

in favour

said

the

which

and

colours

I think

which

being

way

cake

time,

a

colours

at

want

is

experienced

chapter.

the

discuss

to

himself

much

effects.

for

are

actual

the

colour. for

for

moist

an

one

colour-box

the

of

considering

it should

cake

alone

considered,

be

student

the

nature.

before

modern

of

of

use

But

book. limits

therefore

the

which

a

narrow

contents

it will

for

upon

write

ease

confined

practical

one

GENERALLY

MATERIALS

AND

COLOUR-BOX,

more

at

be

the

tried,

modern

medium. There which make

has should

been

much

diversity

furnish

the

his first venture

in

box

with

of

opinion

which

the

painting landscapes 22

as

young from

to

the

colours

student nature.

may

After

THE much

COLOUR-BOX

AND

MATERIALS

23

practicalexperience,it

five colours

is very stronglyadvised that these reliable for beginners: lightred, yellow

most

are

ochre,cyanine-blue, and burnt ivory-black, these

colours

beauty.

Light red is

work, and with

by

one

and

one a

pointout

permanent

lendingitselfreadilyto

the blue in this

sienna.

their

We

will take

and qualities

rare

colour,very brilliant, easy to association with others. Thus,

and the yellow,it makes list,

beautiful greys, suitable for cloud shadows,

series of most

a

those

buildings ready to take its part in buildings, cattle,or the drapery of foreground figures. If mixed with cyanine-bluealone, it produces a quiet purple which can safely be put into the hands of a beginner without fear of that any roads.

or

Used

purely,it

mauve distressing

on

is

colour

painfullyevident Yellow

or

ochre

in the

invadingthe whole work, landscapeof the amateur.

is, if possible,even

which

is

so

highly prized for its than lightred. With beauty and other qualities but little help from more brilliant yellowsit can be depended upon to supply all that is necessary in the landscape,where yellow is required. Quite permanent, it is also a most charming colour to use, and is capable of a most beautiful varietyof expressionwhen it is used, from a limpidwash of subtle palenessto its deepesttone. ful Beautiin the warmth of evening light, it is equallyresponsiveand effective when

used

to form

part

more

of the colour green, whether

for

fields,or foregroundherbage. foliage, Cyanine-blue,our third colour in this list,is quite equal in beauty to either of its companions, and is undoubtedly quite It is the best of this class of blue for durability, and necessary. at

as

time.

should

present manufactured

be found

to

stand

the

test

of

Whilst

the writing of this colour it is as well to warn student againstthe use of colours somewhat similar,viz. prussian and antwerp blues, the former being very unreliable. For the and clear blue of skies,distant hills,

the

greatestvalue.

consideration.

used

and

student

from

colour-box

strivingto get the

and

fourth

our Ivory-black,

in the

a

true

should

try patiently

partner in

green,

it is of

importance when greys are under with the two precedingcolours it is

common

to work, delightful

value

a

It is also of

In

when

as

also has its

a

to lightest

its

colour,is of far it is

than estimate

sit down

to obtain

range

of the

of

pression, ex-

strongesttone.

more

use,

and

generallycredited of qualities

quietlywith the

beautiful

most

a

this

of

In

pigment,

sheet of white

greatestvarietyof tones

greater

with.

paper

possible,

from

such

with

in

with

taken

be

well

as

as

by

one

beautiful

over

masses

colours,it makes

soft

a or

conjunction immensely

how

purely,it makes

used

When

it is.

in

cussion dis-

under

now

evident

transparent shadows

delightfuland generalshadow other

spot of jettyblack.

a

dealt with

and

one

it will become

ivory-black,when

useful

to

exercise,the other four colours

an

can

most

limpidtransparent wash

the most

After

or

COLOUR-BOX

THE

24

for clouds, Taken

landscape.

the

buildings, together

greens, browns, allow blue or red to

rich neutral

as we varying from cold to warm, predominate in our mixing. of a singlecolour The question of the range and possibilities suggeststo me a very good and useful exercise,from the practice of of which I have gained much experienceas to the vast amount varietythere is in what conventionallyis looked upon as a single or

greys,

colour.

The

more

I

am

familiar with

a

colour, the greateramount

producing those effects for which I strive. In these single-colour drawings it will be obvious to all that ivory-blackhas the greatest power, and that yellow ochre with the yellow there is a surprising has the least : and yet even of expression. In strivingto do in the way that it can amount of each separate colour, I find that get a knowledge by this means it will make the student very careful to avoid the scrubbing and washing out method, as such a process only tends to kill the used should never of a colour, which being once again brilliancy me

in

must

be

it will do for

of work

be disturbed. A word

of caution

given in

the

handlingit may become dense when appliedover and over again on the beauty is obtained when a wash, whether of the strongest, is applied to the paper, without being again touched disturbed. or with careless

We

now

come

to

the last of

our

five

for ivory-black, opaque, especially

of

case

and

spot. It's great

same

of the

faintest

very

allowed

and

colours,and

to

dry

or

in

certainlyits

clearlyshows, that in this list there is no first or last in order of merit, as they are all of such great excellence that the to make himself acquainted with their student only has seriously them all equally. Having thus striven to to appreciate qualities show the beauties of this our elementary colour list, and to used to explain how necessary for the student it is to become will proceed to add colour by colour until each one gradually, we the listis quitecomplete and made up as the writer would suggest. beauty

The

very

next, and

sixth, colour

to be

added

to

our

list must

not

be

AND

MATERIALS

GENERALLY

25

thoughtto possess any particularsuperiority its fellows now over into our coming palette,but simply is one of an additional five which are equallybeautiful. Our new friend is transparent green oxide of chromium, which for great brilliancy and charm of working easilybe surpassed.

cannot

Its

is in

foreground where it should be used with a most foliage, sparing and here and there,where spots of scintillation are required, hand, also be used, by admixture quite purely. It can with other colours,in making neutral greens in endless variety,and also great

use

herbageand

very useful purpose the student must take care, serves

in the creation

a

when

company

associated

parts should

component

reds have

as

with

this

be very

of greys. In this use way of seekingto part

a

colour, and

well mixed

and

therefore

the

the wash

used

quickly. In further

adding companion

welcome

sienna,which Admirable

in the

associated

used

in

pure of the

A and new

pure not

of

with other

more

no

family than

such

distinction.

a

be

applied,sympathetic rare beauty when worthy the affectionate

can

way well calculated

to

in the

assist him

a

a

colour

very

addition do

cannot

we

ultramarine

welcome

to

better than

include

in lieu of

this latter is used

;

only of

use

of the firmament

distance,and

the

as

is

the zenith is

apparent.

of greys,

making

a

beautiful

;

aureolin

is therefore

pigment, clean and

easy

in its

As

charming the

and

the

working

most

regard of

colours claim

allowed, for it is as

well

a

middle

masses,

its claim to sympathetic colour, and fullyjustifies the painter. As we are admitting to our company brilliant hue, a brightyellow certainlyhas a more consideration

it

were

approached,and

In tree

this is

list,

our

would be the blue selected ultramarine,which of course for its costliness, a full pan being pricedas high as 21s.

depth

raw

colours,possessinga

be

now

such

french

or

blue for skies it is full

merit

be,

masterpieces.

seekingfor

blue

it

which

painter,and

strong blue will in

with

ease

select

our

state, it is in every

a

creation

list,there is,or should

our

already very qualityto every

to

possesses

when

regard

to

as

of

to a

a

our

very

being a

callingfor component elements. greens are this colour for many years, and have always found

I

great help when have

used

very is as

useful in well not

colours action.

not

supplyinga good brightyellow when to

use

it with

either carmine

when being satisfactory

or

combined

it

required. It

crimson-lake, these

owing

to chemical

COLOUR-BOX

THE

26

It is necessary

to

againstthe

the student

warn

sparing way, as its effect if startlingand aggressive. Another bright and useful colour, which in any

but

addition to and a as

aidingin

Most

box.

our

the

pervadingthe

often

so

far too

the last of

will form

sense

;

very dangerous colour in the hands of the it is likelyto help in producingthe

colour

freelyis

good

a

silverygreys,

of sunset-time, it is nevertheless

tones

warm

used

it is in every beautiful in the making of

list of five,is rose-madder

second

our

a

of this colour

use

student, inexperienced depressingpurple-pink

of the

work

this

With

amateur.

warning it will be found helpful. Beyond this very complete list of colours, which should be few which are found sufficient for all practical a purposes, come colours are all added of supply. These given as an extra source beautiful in themselves, and are well known by experienceto me. They should, however, be for the use of those only who have

word

of

become

of their art.

masters

They shall

be

taken

as

they

come

begin with naplesyellow,which is a beautiful pale tone, rather opaque, and perfectly permanent. For use in sunny be found ; better colour can no landscapesand buildingmasses hand,

to

so

I

and

it is very admirable Another colour,with

which

is most of

masses

has

obtained be used

This colour is

herbage. from

a

trees

a

colours.

a

and

foreground

of mine,

great favourite

associated

and

very

pure state, but it is not advisable to mix it Indian red is another useful colour when

with blues.

beautiful, and

already reached

it

cannot

alone, in lightwashes, but is dense in substance, and

when

as

possibly be Emerald-green may

which of its own, mixture of other colours.

sparinglyin

other

used

the

painting of

foliage.

in it,is brown-pink,

a strong yellownature

in the

useful

effective in sunlit

strong character

a

with

and

can

Brown

and

be

included

purple-madder are in

our

unsafe useful

list,which

has

years of experience, range which, after many writer has found amply sufficient for all practicalpurposes.

There

a

are, of course,

qualitywhich These

must

be

experiencethe

it has

left to

of great beauty and admirable to mention. found necessary

others

numerous

not

been

the individual

student, who

best suited to his taste, and

will find

by capable of

pigments as a painter. fullyhis feelings Reference must be made the great advantage there is to again in adhering firmlyto a limited palette, for the young especially the student, as affording greatest securityagainstpaintingin the

most expressing

AND florid

and

since

the

masters

unnatural

Coming we

flat

now

be

ferrules.

what

flat-ferruled

when as

be

can

Nos.

are

best

the

is

4, 8 and

drawn

of

red

For

all

three

brushes

are

be

to

sizes of brushes It is very

attention

springy,

arising with

colour

from

the

pigment

condition surest

of

Failing this, paint-box, for

the

if

in

all will be

when

india-rubber

the

best

dry,

of

a

the

have

been

burnt

list

:

are

rags,

the

the is

kept

but

few

should

doubt

in

mixing by the in good

other

the

that

constant

in the

painter.

This

annoyance use

colours

no

be

use.

asked

often

box

the

dipper

size, viz.

after

previous

is

sponge

purposes,

corner

use.

of the

requirements list will

The

for water,

be

pencil,and

added.

List

Primary

keep

red

sufficient,

brushes

prevent

There

water-colour linen

sponge,

to

with

moment

no

amply

dried

keeping

weather.

it is

as

for this purpose

question

of

There

well.

of

imperial

from

A

means

hot

and

brush

palette.

effecting this is a piece of damp

equipment

complete

the

is the

for work

way

left in on

is, which

student

them

and

rinsed

not

used

ordinary

that

necessary

round,

always

recommended

well

keep

half

beyond

brushes.

point,

matter

a

sidered, con-

themselves

I have is

of

in

latter

provide

black

be

must

subject

this

to

taste.

nature,

12.

the

round. or

individual

likely

which

on

kept perfectly clean, being will

followed

water-colour

early

quality obtainable,

instead

The

much

so

the

colour-box

of students

whether

is

been

by

student

number

from

in.

20

x

of

a

drawing

in.

16

the

left to

working no

advise

but

brushes,

adopted of the

part

brushes

has

27

from.

Attention

remarkable

and

which

colour

another

should

sable

of

departed to

GENERALLY

manner

scheme was

These

MATERIALS

of

Colours

cyanine-blue, yellow ochre, light red, ivory -black,

sienna.

Additional

list

:

french

ultramarine,

(transparent), emerald-green, madder,

brown-madder,

indian

naples

green

yellow,

red, vermilion.

oxide raw

of chromium

sienna,

rose-

III

CHAPTER

DRAWING

this

A LTHOUGH -tl.

water-colour

the

subject

been

called

is built, and

without

rightly

pictorial Art colour

becomes

a

more

is the

element

in

Art

at

to

once

work

should

his lack

by

is not the

be

from

working

relative

that

student

enable

Before

study

of

drawing

water-colour

in

such

a a

as

year." as

way

Drawing

of infinite

which

enables

most

a

flat

one

surface.

elementary

on

joy. to

To

put

student

such

It

advice

to

as

is

drawing

give

advice

such

which

ignorance,

a

the

being

should

and

be, few

Art

for

matter

a

yet such

consideration

and

words,

appearance the

begin 28

and

in

an

corrected.

study

it in

young

of

important

so

the

instruction

School

a

side

be

receive

be

lessons

requiring to

to

and

amateurs

attended

in its

it would

disinclination

student

may

reproduce

Now

offer

subject,

general

a

should

career

this

on

one

constant

his

begins is caused

progressive path,

all desire

aside

put

and

the

long

source

for

is ludicrous

this

be

must

artist, however

on

to

that

conscious.

where

to

amongst

probably

Now

schools

and

the

on

set

has

prevalent,

is very

error

he

to

picture,

a

experiences

made

details

thing

to

Drawing

student

becomes kind

of

correctly.

exists

usual

be

safe

a

remarks

painting

drawing,

will

into

go

he

all

judgment

young

it.

sense

in

such

by

which

charming

to

once

great

more

which

is the

"

various

see

to

at

of this

work

a

to

presence,

the

he

reference

expression.

its

first check

very

pass

upon

most

only

When

follow

few

a

It

it is

attempt

to

begin

to

perhaps

the

eye

make

students.

in

of

can

the we

well

as

of

the

Rather

will

scope

merits

taught.

and

of which

drawing, the

it the

meaningless

submitted. the

some

to

foundation

the

proclaims

eye,

nature,

of

within

the

which

critical

the

less

or

scarcely possible

making

without

drawing

of

subject

the

of

treat

to

it is

only,

painting

of

has

Drawing

is intended

book

case,

his

the

whole

drawing of

a

of

time is the

solid

it is evident

study

of the a

Art

object

that

drawing

the

by

DRAWING

working from copiesbe

solid object,and

a

made

from

29

under

flat

no

consideration

should

I have

drawings. taught many young the first lesson has been given from some people,and invariably familiar object. The child who beginsto study drawing in this and as more difficult objects way has taken the first step properly, are drawn, the preliminary stage is being dealt with which would lead

student

a

to

to the living antique cast, and, finally, figure. being read by a student who is desirous of learningsomething water-colour painting. For such a student this an

it may be that these words are has followed such a course, and who

Now

about

chapteris not intended, it is for

those who

are

more

or

less in the

the student stillin the earlystages as elementary stage. of drawing is concerned, it is as well to assure him that in studying from familiar objectshe is doing what all the great artists of the As

past have The with

a

done

before

far

him.

greatest help when making a study is to provide oneself which offers the greatest possibleinterest to the subject

student.

As

these

remarks

intended for those particularly are taking up the study of landscape paintingfrom nature in water-colours,it is proposed, as far as possible, the to make instruction on drawing practically apply to this branch of Art. With this end in view, it is stronglyadvised that wherever the student is painting from he should have with him nature a of notes and studies of fair size in which to make drawing-book strike him as being particularly interesting, any objectwhich may this construction. In of or as presentingsome difficulty way all the familiar objectsof nature pass under review and are subjected to a keen scrutiny. Details thus become well known, and through this knowledge labour should be This pleasant forciblyexpressedin one's work. of effective painting pursued with untiringeffort,as no amount hide shortcomingsin drawing ; and, on the other hand, good can other technical where drawing gives interest to a picture even to record drawings in which are qualities lacking. A notebook should be the constant companion of the student, and such small but gradually efforts will not only afford much strengthen pleasure, also be should attention his capacity in this direction. Much of the work by the great men devoted to the study of notebook drawings and notes, past, notably that of Constable, whose are

who

exhibited be

in Room

99

constantlystudied.

at the

Victoria and Albert Museum,

should

DRAWING

30

A very favourite in pen and ink colours

in

detail is to

thus

veritable water-colour

a

where

and

as

the

compositionswhere

a

subjectbuildings, of

greatest amount

is difficulty

of

maximum

a

local

impossibleto impress too stronglythe necessity study of drawing, as it is only by continual hard

It is

for the constant

in this direction that

work

making

ings draw-

to tint in the

then

studies it is best to select

obtained

be

highlydetailed

is to make

mine

colour outline,and

or

light washes,

drawing. For such shipping,or other present.

plan of

can

success

obtained.

be possibly

give a familiar illustration of the importance attached to the constant study of drawing by a great artist : A story is told of the an antique late Professor Legros,who being asked to recommend torso the by cast for the study of a student, suggested large had he that student Michael Angelo. To this advice the replied if And what drawn it three times already. you have," said the I

"

many

more."

study

of

to

one

the

it

over

done

work

in

a

life school

enables

drawing

difficulties experiencedwhen

the

meet

done

I have

subject. Thus

of

a

forty times, and hope to do it that the The student should always bear in mind particularkind of drawing helps with every class

"

Professor.

a

one

tree,

or

barge. I

was

student

a

spent only time

for many week in the

one

years

at

the

Slade

Antique Room,

being passed in the Life Room.

The

the

School, where remainder

years

thus

I

of my

spent in

culties objectof qualifyingfor the diffifrom with in paintinglandscapesin water-colours to be met class of work it was nature always my ambition ; for this particular On the other hand, it very frequentlyhappens that to pursue. in their previous the best students from the life are those who studies have only drawn from inanimate objects,but who have by such work arrived at great perfection.The great qualityto be aimed at is that of taking infinite pains which, once attained,

drawing from

should As

lead to has

to make

that

it

remarked

before, this book

is

on

water-colour

the

questionof drawing is only dealt with in order it clear to the student how important the subject is,and in such a light. In subshould always be looked upon sequent chapters this question of drawing will be constantly

emphasizedand to.

the

success.

been

painting,and

with

life were

Among

there is no

the works

all the instance

of the

artists whose of

one

who

great men work

of the

will be

has not evidenced

past referred

reproduced here by his paintings

DRAWING

his

devotion

irksome the means

to

is

nature

giants of

in

To

drawing.

the

expressing

entirely field

of

their

a

31

look

modern

Art

ideas.

this

upon

regarded

idea,

as

it

as

study all the

tends most

as

to

one

show

of

an

that

fascinating

IV

CHAPTER

STILL

found

HAVE

I

when

aversion in

of

life work

the For

fifty

than

more

various

Schools

still fife

subjects.

I have

as

owing

have

the

manner

of

it in

outline

mistress, to

painted. task,

laborious and

out

due

painting

and

which

next

which

friends of

Now

quality

every

merit, executed lives

in

Such

a

which

equally

but

the

the process

way

direful

a

and

method

the

on

still life

to

the

work

and

production was

was

and

is

a

make

it

even

to

a

the

brain

supplied

33

still

more

washingthe

course,

and

work,

a

dull

deadly

only the

certain

a

in

equally impressed.

are

that

is

Of

fine

so

or

condition

much

finished.

to

master

proper

colouring,

produced

it is that

sure

a

generally

proceeds the

by

in

as

of

is

student

criticisms

thing to

which

corrected

pronounced

having

goes

this

that

endless is

drawing,

as

their had

has

kind

the

finally passed

relatives

certainty

a

far

as

produced.

found

object

set, the

being

process,

at

and

of

group

is

after

is astonished

course

who

being duly

again,

The

a

subject

A

alterations

many

student

students

the

have,

been

have

entirely

rests

of

entirely lacked

have

numbers,

vast

the

two.

pencil,

again

in

fault

The

is this.

to

which

drawings,

Britain

and

matter, the

objected

be

of such

which

they

in

paintings

has, however,

which

by

This

produced

been

groups,

arranged,

method

the

taste.

confused

The

well

such

a

cause.

one

water-colour

of

of

study

of Great

public

on

in

not

homes

the

effect

The

dullness

utter

into

to

thousands

as

thing indispensable

a

to

have

there

years

Art

been

seen,

interest The

of

due

chiefly

is

artist

an

as

upon

objects

water-colours.

in

nature

looked

be

should

what

to

from

working

to

still life

of

study

the

students

by

made

objection

constant

recommended

I have

preliminary

and

great

LIFE

by

cause,

effort, lacking

hand

of

sooner

small

the

master or

or

art

student

if any,

power, the

of

thing

which

mistress.

later,

a

revolt

STILL

againstthe system.

This

LIFE

33

has come,

and

accordingly. Now havingattemptedto explainwhy such

"

stilllife

the modern

"

is hated

student

has

justifiable objectionto paintingfrom stilllife,I find it a very pleasanttask to talk about the better way of doing this class of work. I hope before I leave the subjectto have converted the reader to look upon this delightful and interesting study with my of my joy when pursuingit. own eyes, and to feel some The student should always bear in mind that his latest study a

should

be

clear statement

a

knowledge, so under

the

passedas

much

and

direction the work

of

of the

no a

and

extent

drawing done full of his knowledge, is much misapprehensionis

If,however,

more.

master,

and

of the student, then

limit of his Art a

to arise in the mind of such a student, and of others also. The likely earlydrawings should be done in line only,without any thought of the questionof lightand shade, which shall be dealt with as In this elementary under notice. difficult studies come more of drawings should be done, and in each case stage great numbers

the

effort

concentrated

most

capable. No

progress can each taken, and if possible artist whose opinion can in

achieved seek to

get

of

which

student

the

is

hoped for unless great painsare drawing should be corrected by the best be

be

drawing objectsin an

made

got. When outline

effect of construction

has proficiency

only,it is the by puttingin

best a

been

plan to

shadow

of

value

one

only. making studies

objectssuch as these, the greatestcare with accuracy. should be taken to preserve the shape of the shadow It is also most important to paint the shadow in one wash, the effect of this method being to get an appearance of great strength into the drawing. In order to keep up a keen interest in this kind a collection of any objects of study the student is advised to make of shape or colour likely which strike him as possessing qualities to make interesting groups. I myself,during the time that I was attention to this class of work, made a very large givingparticular Glass, collection of objectsof great varietyat a very small cost. and ancient china, metal-work, odd piecesof old wood-carving, and a thousand of every description, and arms modern armour and one other objectssuitable to draw and paint. that so much importance It may appear strange to the student to are consideringas a preliminary is placed on the study we In

paintingfrom c

nature.

of

It must

be borne

in

mind, however, that

LIFE

STILL

34

before

proceedingto

found

to

confront

deal with when

one

will be

great difficulties which

the

working

open, it is necessary technical knowledge of the in the

perfectas possiblein the in the chapter I have attempted to explainthis method medium. In order dealingwith the questionof how to use water-colours. than great found no better way to gain this knowledge, I have to

be

as

devotion

to

It is very charming to sit of objects,and, at leisure, interesting group with It is this struggling colour and values.

study of still life.

the

quietlyin front of an study their lines and difficulties which gives the importance it of great value to the artist. At no time should it be looked upon

and

still life work,

to

makes

as

of the

many

picturesof The

more

is

master, and which

given the

a

table

and

the

of

doer.

In order

many

advantages

and

are

armour

couragement enbeing so, how much such of in the a to follow steps

student

in this class of

with

ease

work

a

enchanting

most

arms

which

There

are

of great

we

to demonstrate

which

I

beauty,

in have

a

advantages

many

them

work, but amongst which

and

fame

ensure

from

ceivably very confor the

may

manner practical

derived

few

objects

few

place a

can

immediately begin a study

become

small moment,

stilllife ; this

attempt great things.

to be found

are

the

done

made

Vandyke

less than

greater than

are on

which

nor

thing of

a

objects at the best period of their work.

inanimate

studies

neither

greatest paintershave

as

of the

some

having devoted

study, I now give my personalexperience. As an instance, when beginning a paintingwhere the interest of the foreground is centred in a building,a knowledge of drawing and much

time

to this

Likewise, in working absolutelynecessary. in and occupiesa proma on compositionwhere shippingcomes inent position,a similar experienceis essential,as the details, and commonplace. unless made with accuracy, become tame the Another simple joy of working very important point is that when the painterfeels himself capable of is infinitely enhanced ing masteringdifficultieswhich appear to the inexperiencedeye nothbut a confused mass of details. Nothing has given me greater mastery

of detail is

satisfaction

in my in the task

expression.All will school

work

than

thus

to unravel

selected,and graduallyto

such

himself

delightcan to

the

be

necessary

great apparent

reduce

promised to toil,which

of pains and patience. As a reward infinity happy result is sure to follow. Very wonderful

it to

the

orderly

an

student

consists

for such is it to

fusion con-

who

of

an

the efforts, see

the halo

STILL

of

beauty

when

which

in

that

numbering the

to

if

observe a

make

continued

and

the

it

them, note

work a

greater

has

distinct sense

efforts.

commonplace

draughtsman

great

artist's

dating

corresponding yet

the

35

otherwise

an

found

series

means,

a

an

have

and

review

should

of

part I

this

by

mind

necessary

feel

surrounds

translated

borne

LIFE

a

of

study in

work,

good and

order

of

to

carefully

then

at

the

zealously

satisfaction,

end

his and

be

always

alive

keep

all

keep of

twelve

been

pursued, in

it

is

drawings

to

has

progress

advancement

let

masterly

plan

what been

and

;

object,

his

thusiasm. en-

studies, months

By

made. the

student

knowledge, encouragement

a

and

CHAPTER

METHOD

it clear

make

to

when

the

it is laid

should

rule

This of his

I will

Art.

difficulty,the the

even

of

first this

him

to

in

obvious, colour and

to as

produced

it

thus

in this

paper

having

a

considering out

but

the on

order

(in

have

place

of

it

hangs

get

been

no

the

is

whole

on

with

as

blot

a

When

hand,

The a

36

will

between

of

full brush,

is

ing dry-

applied

and

This

referred the

we

some

washing

pains. be

wash

shadow

and

atmosphere,, and

very

it is referred

if the

and

plate

our

colour

washes,

right tone)

difference

tention con-

does, and

dry in,

to

several

colour

will

made

colour, lacking all vitality, but

putting the

in

other

of labour

the

but

my

in

Tower

once

effect.

by

At

paper.

which

which

at

on

transparent

evidence

every

manner

to

opaque

an

the

produced

been

put

is allowed

on

the

evident

point clearly.

flat it dried

and

Now,

The

the

was

to

more

upon

shadow,

in

transparent

manner

had

instead

in its

a

bloom.

would

there

shadow

resting quite

paper

method.

demonstrate

to

as

simple illustration, drawing

very

a

side

one

the

subject,

of

upon

simple thing,

principle

is the

in order

demonstrate

to

applied

very

a

the

direct

a

with

this

forming

the

as

seen

to

with

begin

To

order

student

this

shown

master

looked

be

to

be

the

as

words.

foregoing

here

are

artist.

arranged

intended

should

attention

well

as

drawings, the

way

no

the

to

meant

is

(Illus. II)

in

that

exists. is here

of of

medium

our

his

gives

it become

series

a

are

seem

may

he

what

in

pictures, but

which

in

student

young

practical meaning

parts

manner

more

show

illustrations

These

the

guide

in

and

water-colour

the

of

the

first and

a

working

in

directness

aim

the

be

As

painted.

Art

that

down

should

effects

producing

this

of

and

since

interruption

any

attempt

practise

I

which

system

or

without

masters

great

general principle

mode

pursued

I will

using water-colours,

of

the

that

been

has

advocate time

method

the

WATER-COLOURS

USING

OF

considering

IN

V

to are

ing spongin no

again, bloom,

possessing question

to

again,

early

of

for

water-

METHOD

OF

USING

WATER-COLOURS

37

colour

painters,together with their followers,and the men who in this medium during the greaterpart of the nineteenth This of putting on colour in full washes century. simple method and then allowingit to dry in undisturbed, is the firstgreat point worked

which

the

examples

student

should

attention, or the dense

foliage always the "

filled brush

blot

simple

very

given to impressand emphasizethe point. always be borne in mind that the method is the same the silvery shadow on a bright white cloud claims

whether

brush

these

are

It must

our

Therefore

master.

and

full

same

then

shadow

on

of middle

mass

of colour

mass

allowed

a

dry

to

in

as

distance

appliedfrom blot.

a

well-

a

Take

large big a

a

filled to as

overflowing,and then on your paper flick as can, and without disturbingit let it dry. Look at

you

spot of colour It is the

full,transparent,and with

now,

fetish of the

water-colour

rich bloom

a

method

of

this

on

and

work,

it.

its

greatest beauty. The

student

British paintingsof this peculiarly great Galleries,public and private,in Great

most

of the

and

America.

from

which

can

see

Of

there

course

instruction

are

such

many

Art

in

Britain

treasure-houses

water-colour

be gathered; and be can inspiration also, that this scheme of applying water-colour in not peculiarto the mode of working by the old master, but has been followed since the art began.

Not

Thomas

it remembered "

blot

a

"

was

only did recognizeit

the

as

and

Girtin,John for

means

Sell Cotman

and

Peter de Wint and

gettingatmosphere

fullness of

as colour, but from their time to the present such men Bonington, Collier,Melville, and now Cox, Callow, Thomas Miiller,David artists adhere to it. P. W. Steer, H. Tonks, and other modern

is to try and take the I myself have followed.

intention

My road

which

student

with

along the

me

should make his drawing earlier stages the student in penciluntil,having satisfied himself that it is correct, carefully In

he

the

proceedwith

can

student

is

now

one,

will find

my

the care,

colouring. The so

although it is hoped

as

littletrouble

study shall be

that the

interest in it, as

some

accomplishthis study only the that

first

our

well

as

elementary a

very

advanced

more

the

firstfive colours

anxiety as possible may

and

less

or

more

mentary ele-

man work-

beginner.

To

used, in order

are

arise to confuse

the student. This

study

has been

line,values, and

selected

detail.

as

It is one,

a

very

simplecomposition,in

however, which

can

be found

ILLUSTRATION

A

A

full

II

Chukch

Sussex

of

description

this

Tower

is

drawing

ILLUSTRATION

The

Effect

A

full

description

V.

Woodland

Cloud over

a

of

Chapter

III

Heavy of

in

given

this

drawing

is

given

a

in

Chapter

V.

Illus. II

A

Sussex

Church

Tower

Illus. Ill

TWR

ETTfRCT

OF

A

HEAVY

CLOUD

OVER

A

WOODLAND

METHOD

OF

USING

WATER-COLOURS

39

ready to hand throughout the length and breadth of England, for the beginner to try his hand at, when puttingin practicethis first simple truth of the well-tried method I advocate. Many a like I have and drawing I hope to wrestle with, in more made, many to to add in attempt my my knowledge of paintingfrom nature water-colours. that

out

In these firstwords should

attempt

of advice it is as

be made

well to

point

begin a water-colour by or gettingwhat is called qualityinto the work the tones whole which be entirely hidden by washing over may not be thought, by subsequent laying on of colour. It must that of local colour is never to in however, a mass to be added parts. In the drawing of the Bridge (Illus. IV), the shadow on it to the left was the local colour was added when quite dry. This point show be added, but such an how a deeper tone can will serve to addition should never the local mass. The early entirelycover efforts of the student when should always paintingfrom nature be an attempt to express as far as possiblethe view he has selected as simply as he can. This aim is,however, almost entirely rather to be the student's neglected,and it appears object to no

to

tintingthe paper,

his efforts

make

Needless

to

nothing but

giving up

the

that such

say

is leadingto

of the

with

sound

basis it will lead to

One is as a

a

abilityof

tree

comes

different colour.

best way is to allow the wet colours in line of white

can

a

favourite

some

begin to study from disappointment,and sooner to

way

undertaken.

The

best, but

knowledge

of the

task is

a

master. nature or

hard

if commenced

later one, on

a

subjectproportionate

the student.

of colour a

sore

of

work

difficulties at

of the earliest

mass

when

endless

a

task

beset

to the

the

resemble

stumbling-blockswhich another

with

in touch

will be encountered of

a

different tone,

buildingor another tree of I have In such a case always found that the between to remain a thin line of the dry paper all is dry, the dividing juxtaposition.When in front

of

be filled in with

a

either colour.

is here meant. what distinctly hood there is a likeliOf course, this plan need only be adopted when of the colours running together. This plan of piecing to should be found very helpful togethera drawing from nature the student, and is one which I have often put in practice. how I begin been asked by pupilsto tell them I have frequently to paint a picture.To this question there is,accordingto my

This

illustration will show

very

ILLUSTRATION

IV

Bridge

Drawing

IN

this

colour

but

the

drawing

shadow

quite

was

such

a

of

to

deeper

a

;

should

addition an

local

the

when

was

thus

dry

added

left

the

added,

can

whole

the

entirely

never

be

tone

cover

mass.

ILLUSTRATION

V

Common

A

Inn

and

whole

THE

scheme

day,

of a

and

gave

only

grey

To

pond.

a

drawing of

blue

of

centre

added

interest.

the

Common

foreground

these

the was

Here

the

strip with

Inn,

the

were

cottages five

neutral

quiet of

sky

distance

the

and

white

and

road

which

trees

colours

still were

used. ones

this

cold

the

the

of

tone

warmer

of

the

Illus.

IV

A

Illus.

Bridge

v

A

Common

and

Inn

METHOD

belief,only or

is

such

OF

one

answer

USING :

on

mechanical

WATER-COLOURS

first wash paper, without any But from that point,how to go on

dry

process. different matter. However,

a

very somewhere

;

and

the water-colour

as

I write

student,

a

41

with the start

there must

be

beginning attemptingto help

objectof

a

shall be made.

the

is equally addressed to the plan herewith advocated youngest beginner, as to those who have travelled far on the road. Begin by drawing or paintingthe most interesting object, of the have chosen for or part subjectyou your study or picture. Now

"V%

Illus.

VI.

Commencing

a

Painting

in

Water-Colours

pictureis started. The beauty of the line of castle the brightmass of brilliant white cloud, and the crowd buildings, of trees in the middle foreground,all tend to make up a picture in line,colour, and value composition. These parts satisfactory the livingsoul of the thing,and being so, were to me were tered regisAnd but not without as only hurry. rapidly as possible, attention and without of atom with but rather centration conhurry, every I was of which capable. Before the sunlighthad passed from cloud or castle, and before the shadow had left the tree group, the spineof the work was completed,and all else to be done was ance, patientlyto go on with the details of secondaryimportstillfurther to increase the interest of and to seek by them Now

here

the heart Now

a

of the work.

it is in

doing these

middle

and

later

parts of

our

picture

VII

ILLUSTRATION

Piecing

/HEN

II

"

tone,

another,

one

remain

of

mass

different

"

into to

one

either

drawing the

in

road

of

high

dark

balance,

means

in

degree

under

a

of

composition

of

the

If

cloud would

the

to

the

light it

mass

be

would

bad.

bank

and

are

left

the

of

are

right. the

the

in

piece

of

Complement in

were

looked

ment comple-

tary complemen-

picture

foreground have

and

clouds,

bank

to

part

one

sunlit

a

and

cattle

herbage

part. the

with

trees

repeating

a

another

immediately such

or

cattle,

dark and

of

mass

a

group

tree

paper in

fill

59)

page

of

the

;

dry

Clouds

the

shows

group The

cloud

the

to

a

value.

the

to

and

given

foreground

and

dry

are

of

VIII

Break

here

line

thin

running

them

colour.

(See

THE

a

both

ILLUSTRATION

A

of

danger

a

allow

to

until

two

with

space

is

plan

the

is

there

of

another

with

touch

in

comes

that

best

between

intervening

colour

so

the

Colours

together

a

lesser

placed unsightly,

Illus. VII

Piecing

Colotjks

together

Illus. VIII

A

Break

in

the

Clouds

(See

p.

59)

METHOD that

success

OF

USING

failure may

or

WATER-COLOURS

step in

therefore

;

43 it becomes

lutely abso-

that the effort to achieve should be sustained necessary until the last brushful of colour has been used, and the artist leaves his work to the judgment of others. Words seem

inadequate

to

emotion, and express an towards this objectthe words

effort is directed pictorial

as

every be assumed

must

to have

done

their

best. In

this subject,a reallydifficult and complex selecting has been

might well

stumble

considered,and Yet

over.

which

one

the most

all that has been

position com-

experienced

written in reference

it is the same,

to

only enlargedand elaborated,as would be said simplestudy were being discussed. The drawing which

if a very shall be considered

is

now

of

one

and great simplicity,

suited to

the

beginner. (See page 40.) Landscapes of this simple type England and other countries,and hand of in

of the

student.

The

course

are

scattered

are

everywhere ready

of everyone

broadcast

in Art must

from simple to great things,and joy should progression, each stage, although necessarily the greater achievement

over

to

the

be

one

be felt will

afford the greater satisfaction. A very familiar difficulty which when as

a

a

largesurface of

mass

shadowed

has

woodland,

to a

constantlyis met with arises be covered, with varying colour, such heath or common or yet again,a ;

wall of different materials.

alters fresh additions

should

parti-coloured appearance narrow

a

made

to

be

given to change occurs,

very violent line of paper between

however,

be

In such

the tones

the

cases,

as

the colour

brush, and

so

the

objectpainted. When, then the rule of leavinga

the

should

be followed.

of mass which often happens, is when a difficulty, the In such a case, see that colour is obviouslytoo dark in tone. offendingpart is quite dry, and then put with the brush some clean water on it, and brisklyrub with a dry clean rag. Do not If deftlydone this givesa very charming put on too much water. Another

effect.

When

drawing

in

a

hand,

very clear the student

shadow should

a part passes over limits of its take note

of

the

;

and

completion of the work, when all the local colours are be run set and dry, it can in, and if done with care and judgment herself uses. the result should be a transparentveil such as Nature that a series of tricks It must not be thought from these remarks The exist in this lovelyart. is going to be divulged,as none show the student will clearly or failure of this cloud shadow success then

on

the

METHOD

44

WATER-COLOURS

USING

OF

the To epitomize, blot." grasped the questionof the is untiringdevotion method I suggest and believe in and practise, to drawing, a constant study of Nature and all her moods, and then emotional effort to registersuch an phases in a direct without relyingin the least on any set rule of thumb, manner, "

if he has

mechanical

or

aid.

having drawn attention to the method which I believe in the only one as capable of givingto water-colours their greatest I object to which beauty, it is necessary to mention those means the student. and againstwhich I want to warn Now

in order to trace the rise of the laboured and It is necessary, of painting in water-colours, less mechanical more manner or

anything like an exact than date for this transition is impossible, as the change took more seems for this gradual decadence account a generation. To very unless we take into consideration the great social changes difficult, had come Revolution which were then taking place. The French and gone, Europe was preparingfor her long rest after a hundred had begun, years of war, and a series of extraordinaryinventions which were destined to replacethe aristocracyof the land by a rulingclass,owing its creation to trade and manufacture. the sole The been for generations almost old nobility had patrons of Art, and they had dispensedtheir patronage with rare abilityand taste. The new order had to be educated in taste and culture ; but in the interim the Arts suffered,and that severely. As the new kind of buyer increased, it became evident that more so-called finish looked for in works of art as a speciesof was guarantee that much time and labour had been expended on their the part of the public on production. Unfortunatelythis demand met with a ready response, and even amongst artists of the to go back

nearlya

greatest distinction term

the

term

To

years.

fix

"

"

new

hundred

now

came

the

effect could

into vogue,

be

and

commonly applied to the laboriouslyover-detailed efforts which

seen

"

in their works.

Exhibition

works

A

"

was

completely finished the began to cover

and walls

of the

also hear of the emotional and great Galleries. We now spontaneous drawings (water-colour) being styled sketches "

which

term

was

slightthing and common as

use

does this

intended of not

there is not one.

referred to is

to

much one

the

convey account.

which

Doubtless

something less

conveys

it is intended

than

a

meaning Now

that

it

was

of all the terms

such to

"

mean

a

false

;

a

in

impression

that the effort

complete thing.

ILLUSTRATION

IX

Peter

Wint de

1782-1842

BRAY-ON-THE-THAMES

FROM

THE

TOWING

National

PATH

Gallery

"5b

^^

W CO

"j

ti-i

3

9"

METHOD

OF

USING

Every genuine effort of

WATER-COLOURS

in Art

is

47

It is the

complete.

expression

emotion, being such is finished. As an instance of what is here meant, let two water-colour drawings by Peter de Wint in the Victoria and Albert Museum be cited. They are both of Brayand

an

on-the-Thames.

The

highestqualityand laboured effort upon overdone Let

with

smaller

is

beauty,

rare

which

much

detail,and

very

direct emotional

a

and

the

other

work

and

of the

largerone

a

time and

thought have been spent, Exhibition work." evidentlyan "

the student

carefullystudy the two, and soon he will be convinced that the so-called sketch is the livingwork of art, and the other is well,it is something much less,and convinces not at all. These rather beside our remarks, which may seem subject,will, if the student considers of carefully them, appear reallygreat importance. It is as necessary to draw attention to that which should be avoided, as to point out the method which is advised. here make short Bearing directlyon this subject,I must a reference to the place in Art occupied by Turner. This greatest of all landscapepaintershas been to the student of water-colour work a cause of stumbling and disaster. This may sound a harsh the assertion statement, but a little explanation will make "

evident. Should

the learner confine himself

"

Period

of this

many

done

not

drawings, includingthose the

show

and and

as

been

It has

which

traversed. and

middle

been

his models

of Turner

in

study of

the

"

Middle

be well, but very unfortunately paintingsand water-colour

His

so.

sepia for

pure and direct method these the writer is never

help.

take

all would

great master

have

to the

here weary

the

"

Liber

Studiorum,"

recommended of

goingto

to

for

the fashion, however, for the

tion, admira-

inspiration student

to

styleand method those later poeticalefforts only possibleafter his former periodshad

of were

This

has

to water-colour

of the nineteenth

the

been

cause

of much

dividuall disaster in-

later

paintinggenerallyduring the

century.

The

attempt

to copy

the water-

later years has only resulted in utter failure, the best that has been achieved being a miserable colours executed

by

during his

Turner

imitation. The

student

must

begin his

work

from

the

first

beginning,at

to express his thoughts and emotions, using the simple means free from become then as his knowledge develops he may

restraint,and afterwards stand

alone to

justifyor

of his art, his work he has used. otherwise the means as

the master

and all

must

METHOD

48

Before

subjectis left,another

tMs

whose and

care,

towards

heavy,

a

qualityfar inferior to

that

be

must

whose

tioned men-

with

studied

great

became

work

comparatively distinguished

of his life over-laboured,

the later middle of

be

Sell Cotman,

is John

this master

master

great should

of work

entire range

and

WATER-COLOURS

USING

OF

which

to have during his earlier life. He appears brilliantly recognizedhis fault,as the work of his later years again had the it is so for which limpid beauty of wash and charming simplicity student confused much as a highly distinguished.I was young From and exercised when no looking at this master's work. have I but I the learned fortunately questioned painter more, of here Cotman referred to. The reader will see that I period am givingmy experiencesvery fully,hoping by it to encourage and stimulate inquiry and effort,and it is on this account this method has been written. It separate chapter on water-colour be quite understood, however, that I shall seek throughout must this book to keep the questionnow being considered ever present, it is,in my as opinion,the subject which should be the keynote of a technical work of this kind. It may be of further help and

him

so

interest

discuss

to

a

present day whose

study of with

method.

the

method

Thomas

work

here

whose

of their

worthy

J. S. Cotman

and

and

the

me

earliest to

greatest help in

are

with

closelywhenever

him

Peter

de

should Wint.

be linked Each

in their

paintingsthe greatest help to the and style. As acquire purity of method earlypart of the nineteenth century, no men

of these student we

have

William

on

consideration,

our

Muller.

Their

as

method

Richard and

Parkes

manner

equally

as

the a

occasion

an

effort to

claim

the

later on again mentioned cited as affordingadmirable be more less easilytraced or

be studied

seeinghis work,

the

will be

men

paintingscan working.

Girtin should

from

men

afforded

they

arises of

afford

has

All these

others, but

examples, in

little those

men

in his

break so

into

great

Bonington

are

and

fresh and

ever

full of

profound interest,and their work should become familiar who are studying,or who take a delightin watercolour painting. Later on there is Callow, who, althoughnot of the first order, very admirably carried on the pure system and traditions of his to

art.

all those

To

finish

helps Collier and

to

our

the

list of those

men

who

student, mention

Henry Tonks,

the

former

are

must

here be

of whom

given

made

as

cular parti-

of Thomas

worked

during

X

ILLUSTRATION

Sell

John

Cotman

i

1782-1842

OLD

DRAINING

WINDMILL

ILLUSTRATION

the

hand, admirable

in

in

order

fault.

drawing

are

building

the

The

left

the

stretches

very

beautiful,

all

None the

work

white, is

of

of

a

or

mortification his

heart.

and

of

is

good

after of

a

far

his curious

and

that is

his

less

men

able laborious

better

his

how

to

neutral

spots

and

was

in

face

he

the

be

the

of

die

to

and

had

race

only

his

was

kind

most

in

can

fine

delicate,

Cotman's

career,

a

showed

was

of

degree,

a

bright

extremely

succeed

that use

Cotman

him,

name,

to

it.

sky

head

delightful

that

character cheered

a

also

the

with

Cotman

fact

fortune

for

in

of

the

telling

introduce

line

Mill

in

than

pictures

feeling

a

most

what,

better

touch

and

is

of

part

in

introduced

being

knew

his

The

It

effect

white

the

of

the

head

break

reserved

Always

and

the

as

is

inkiness.

planked

the

piece

it, the

painters

red.

seeing

early broken

red,

refined,

little

of

lot,

use

the

by

there

but

manner

as'well

Mill,

white

it.

of

refinement,

Very

the

the

masterly

firm.

delicate

gentle.

while

with

profoundly very

in

portion

then

of

does

old

our

in

especially

such

no

all

the

of

is

pointed

be

has

black,

an

Mill

the

only

eliminates

complemented

back

black,

black,

although full

the

major

and

tones,

wsrk

of

is

which

of

drawing

very

excellence

part

also

Cotman

spots

result.

and

at

when

his

lower

the

hand, out

colour,

of

constructive

the^figure

of

light

darks

and

of

blacks

is

Cotman

black need

original

the

his

his

in

this

but

that

gets

atmosphere

plate

manner,

it clear

often

precision

The

inky

an

make

to

Cotman

always

to

rather

S.

the

masterly

and

firm

John

of

the

In

study.

to

usual

his

Windmill

Draining

picture

rendered out

Old

with

drawn

and

drawn,

Windmill

Draining

Old

FINELY

X

life, paratively com-

called

a

Illus. X

By permission of Mr.

Old

Draining

Windmill,

by

J.

S. Cotman

Palser

METHOD

late

the

middle

Works

of be

can

Mr.

productions

particular the

help

their

seek

oneself

so,

"

their

style all

Let

done,

of

the

taint

are

seeking

the

same

saying

that

is

will

make

to

the

brush such

a

in

said

this

all

end

way

well,

is

and

easily

it

the to

is

and

now

useless

close

and

the

credit

paying constant

of

the

said

"

Style

from

that

they

very

attention

study painter.

to

of

"

if he

free

tarred are

and have

then

quite

are

Critics

endured.

from

pupils

again

all

where

else, and is

;

told

all

and is

he

always

direct

thing.

ever,

into

have

my a

if

I

after

such

distinction

great

someone

but

of

suggestion,

introduce

work

although

assumes,

Everyone

affront

thing,

this

painter

a

plagiarism. tomimitate

existence

the

possess

lose,

to

this

as

And

pitfall.

style

no

do

they

refresh

to

will

fear

its

in

permanently,

at

constantly

"

such

no

mind

who ing look-

study

a

most

all

after

wherewith

may

if

advising

quality

does

eventually

of

has

last

very

that

fear

need

referred

constantly

man.

assured,

made

shudder

one

of

by

seen

myself,

to

the

on

they

another

always

am

student

a

the

quite

they

Nature,

of

that

rest

and

advised

is

"

what

at

aid

possession, any

affording

as

be

can

master,

work

let

not

EBrror

and an

as

the

pleasing Do

with

recoil

emotional

possession

common

particular

any

fixes

leisure.

at

there

as

the

mentioned

Britain,

frequently,

a

the

seeing

them,

studying

by

the

are

Great

of

of

is

of

with

working of

taken

here

men

student

course

a

being

the

have

drawing

Such

style.

and

I

aid.

the

at

the

galleries

public

than

is

work.

of

to

be

51

found

be

can

taken

master's

latter

the

should

advantage lessons

this

of

The

and

Tonks,

COLOURS

while

time,

opportunities

better

no

beauties

of

Victorian

Whenever

now.

us

WATER

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CHAPTER

VI

COMPOSITION

IN

LANDSCAPE

question of THEconnected with

composition

is the

the

of

making

of

marring

or

pictures, so

that

described

as

down

a

lay would

be

which

has

law

Middleharnis, should

rule

quiet

at

a

which

in

To

the

or

only

should

obtain

all

to

not

in

his

yet he

the

effect

result

the

work

the

trained

eye

can

get

to

gave

road

the

so

picture world

the

of

which

ideas

preconceived

and

be

this

effect

the

way

on

student

part of his work of critical

concensus

a

but

Hobbema,

opposition

To

colour.

and

unerringly guided

be

recognized,

achievement.

satisfaction

important

most

the

thing

is

could

most

correctly

be

can

of line, values artist

in

occur

which

that

see

the

The

mistakes

the

rests

one

treasures.

picture. the

we

Herein

picture.

a

Small

good composition,

a

composition, Now

do

which

went

of its greatest A

by to

work.

arrangement

impossible. led

the

seldom

grand

a

painting

matter

important

most

is to

opinion

will

look

good

only

at

in

otherwise.

be

of this

knowledge

pictures

those

in the

placed

has

looking

be

must

correct

a

when

produced

category

of

good compositions.

a~|iractical suggestion

As of a

mine, small

have

to

book

I have

subject

buildings,timber

:

in fact

with

nature.

but

to

labour.

rough

just

order

to

outdoor

if the

see

It is also

dated,

a

particular

interest. of

of such

studies

masses,

roads,

farm

which

I met

need

and

mind

good plan

drawings

in

landscape

such

not

be

then is

getting

for the

sepia 53

from

or

indian

plan

nature, ments arrange-

simple

this

In

conceivable

every

buildings, rivers, with

in any

in my

the

time

time

to

memory.

critical to

make

ink, others

verse con-

ated, elabor-

way

refresh

more

student

a

from

stpdies

my

just

for years

was

sufficiently to

down

be

of

studies

These noted

noted

everything

all and

should

notes

in

being

advised, and

pursuing

be

hundreds

shipping,

Such

me

as

me

made

when

could

in-which

struck

as

way

with

it is

referred

by

from not

such these over-

LANDSCAPE

IN

COMPOSITION

54

far to let the lines,general just sufficiently and values express themselves. of the pictures, masses the principalparts of the work, is meant By generalmasses of clouds, tree masses, such as distant hills, lightsand shadows be shunned, as Art rivers,and foreground. No labour must finished but

demands

carried

follow her

those who

from

a

very

service.

whole-hearted

happens that in seekingfor subjectswhich will increase and strengthenthe knowledge of compositionthere is very little of a time in which to seize a passingeffect. Thus heavy mass clouds may a very stronglyshadowed foreground,with the cause is often very fine. middle distance in brightlight: such a scheme has to be registered A rapidly passing effect of this nature the lit-up almost in a breath. Yet if the shape of the cloud mass, noted, enough will have been space and the dark foreground are finished drawing at the making of a more obtained to enable the study from such a note as this in leisure. It is wise to make It often

the studio, and such

as

of the

of

kind

former

in the

as

; or,

Stonemason's

The

possible,

as

seen

the memory. Compositions of great either be of a simple nature or

greatestqualitycan

A

effect has been

impressionsrapidlyfade from

complexity. The pictureare few, Gallery,by Crome "

after the

soon

as

"

where

are

Mousehold

again,the

same

parts of principal

National

paintingby

Canaletto

collection.

of the past appear to have aimed at the of interest on central point in their works, one

great

the

at the

Heath,"

wonderful

in the

Yard"

the

men

centrating con-

and

This lettingthe subsidiaryparts lead up to such a centre. plan,however, is not without exceptions,as, for instance,in the Transfiguration by Raphael, where two distinct schemes of compositionexist on one canvas, and yet, it is unnecessary to say, the whole thing appears right. Do not let it be thought that this reference to figurepaintings is in any way unhelpfulto the student of water-colour landscape, the same in all s hould be evident as art. The principles pictorial of the Dutch greater number landscapepaintersbase their compositions low for in their flat it on would a very skyline, country then "

"

be

a

scheme

which

would

be

ever

present to them

in their walks

abroad. In upon even

sources

referringto the Dutch now,

of

in

this school, it must masters

the

spiteof all the

be

British school modern

inspiration. Constable

and

remembered

that

is based, and

ideas, be de Wint

one

were

it is

should,

of the

chief

both

great

COMPOSITION students

of

the

influenced

much

IN

Dutch

LANDSCAPE

masters, and

them^the

if they bear Digressions,

55

through Constable,

Fontainebleau-Barbizon

who

school.

the

point at issue,can be forgiven; so the practical which it is the suggestions, of aim the writer to give,can be resumed. great A very important part in the making of a correctly balanced is played by the silhouette. No doubt most picture(composition) students know lot about this question of silhouette,so those a who do can skip this page, and leave the point to be discussed between readers and myself. my less advanced In walking down the narrow street of some charming old town, on

after this little one,

it does

not

where,

matter

to rise in the

mind

at

at home

call "

or

abroad

it will have

such

"

been

a

is

one

noticed

sure

there

that

affect the mind. The street in things which principally be in shadow,or shade may one questionmay entirely only cover are

two

side of it,whether side traces

or

is immaterial.

not

Now

where

the shadowed

its line of

irregularbuildingsagainstthe lit-upsky, street, ; and, again,if there is a lightside to our the sunlit buildingsshow white againstthe blue sky, and this side is also silhouetted in a reverse dark. lightversus way, This questionof silhouette must not be thought only to apply hard outlines when the of buildings are painted. Equally beautiful it is silhouetted

are

the effects when

outline

to

of shadowed

mass

background

a

purple heath

man

registeredin

Without

could

not

his

Stream

"

be looked

land,

have

did John

than let

or

brown

a

and

"

Bridge

Greta

No

washing

To "

The

out

or

effect

laboured with

the

of the

painteris

vincingly con-

all appear very the writer has often shown

difficult to

the

may

Let

shadowed

and

accomplished the miracle, but

givinga lesson to quitea beginner. under an arch for example, where the shadow is seen the principle beyond. In such a case and the subjectis of the simplest.

Again, the

"

this beautiful

method

transparent blot, the emotion

student, and yet

Sell Cotman.

at.

pure water-colour have been obtained.

expressed. This young when

their dark

oppose

againstthe last brightnessof a summer appreciated more fully,and certainlynone work more wonderfully and beautifullyhis

the

technique could direct and

down

of sunny

of the silhouette appreciation take two typicalexamples,

Shadowed

trees

rises sombre

No

sunset.

a

side of

a

tower

is

a

application bridgebe taken, opposes the light in its entirety, its

againsta lightcloud.

a to

o

ft "u

o

i

S

03

el

""

o

^

+J

""_oj

o

^j

"n

""-'

" 43

*i

"a

g

-s

(3

a

-a

0)

CO

.

cj

rC

o-a

" fc.

o

43

ft_+J

^

J-

sls^ll

P

so

J?

03

""

'd j-

el

* a H

~ n-(

t-2 1* H 'ft CO

f*

S

f"

5-S

3 1) co CO

O

O

'" 8

flj S

bg

"*

-a

CO

'O

O

*

CO

Q

J2

~

a

|

CIO

G

23

^

a

S3

T3

rf-gS -

3 CI -D

a a

C "U

u a

c

0)

m

"5.

3

c3

COMPOSITION As

in

drawing so

student, and

in

be

ever

IN

LANDSCAPE

the composition, adding to his

57

artist has of

store

ever

to remain

knowledge

a

in this

direction. As

a

I made works

helpin

this very

importantpart of paintingfrom

nature,

in my days a collection of engravings after the young of the Dutch and French schools. These very charming

engravings can be bought for a trifle at any old printshop, and afford great help to the beginner. The period when such works in were the middle of the seventeenth engraved began -century and continued the whole of the eighteenth. The works of during all the masters the of Dutch of the nearly school, and many great thus French, were reproduced. Great assistance can be got from such a study, and if a small collection is handy for reference, it will be found

settingout

for

collection.

You

The

student

which

helpful.I

most

work

a

tour

might

do

used

in the

stronglyappealsto him, but

void of interest.

Now

practiceall he knows,

this is a

case

it

a

to

country,

than

worse

will often find when

make

to

follow this

studyingfrom the

where where

before practice,

through example.

go

nature

a

my

view

foregroundis entirely

he must

lackingpart of what would make otherwise an interesting picture. Something be introduced and life into the must to put the absent vitality the composition,but how ? Suppose the vacant part which mars landscapeconsists of a quitetenantless meadow, with interesting and low-lyinghillsbeyond. The meadow groups of trees, buildings is the difficulty, which must be filledwith interest or the drawing will be a failure. A group of cattle,a few sheep,or a horse and cart will lend themselves admirably to brightenthe pictureand to givethe-necessary foregroundinterest. Now it is very easy to advise the placingof such a group as suggested,in order to put into the work, but the query naturallyarises as to where backbone such the

a

spot should

to

this blank

try and put in

overcome

Continual

find its home.

painterto place with unerringaccuracy

and

will practice the

enable

different interests

student of landscape work to is the young proceed? Again I must bring in my own experience,and by it I it has been found the In such a case hope to solve the difficulty. of his

best group

work, but how

suggest on a page of our study book the parts of the field,and then to decide in what

plan roughly in various

to

it looks most at home. position It is said of Corot,that when different groups

of

figuresor

he

was

animals

paintingfrom which

intruded

nature

the

themselves

LANDSCAPE

IN

COMPOSITION

58

all paintedin roughly, landscapehe was consideringwere satisfied that he had hit on the and painted out until he was of arrangement most suited to his picture. Of course, in the case water-colour a drawing, such indications of groups should be be very easily can the superfluousones when made in pencil, erased. I have often tried this plan and found it a very successful exercise. expedient,as well as a most interesting which will confront the beginner,and Another great difficulty which will continue during the whole time he paintsfrom nature, bewildering haste, one is the question of a cloudy sky. With into the

the arrangement of clouds succeeds the other, until the problem has is in despairwith the difficulty.However,

beautiful mind

with

to be faced

great determination

a

suggestionswhich

is essential when

execution nature

in water-colours.

fortifyhimself before

him.

nature

on

rest

to

such

failures,as

while

be

may

a

has

the

a

few

Rapidity in being painted from

task.

cloudy sky is This being the case, a

are

the

student

must

of repeated with the mortification up have who the experienceof all been gone

working from generallyfound that when cloudy day the best plan is to deal with the sky first, I have

work

may dealt with.

has been

helpful in

Here

put

the interest and

of the

to solve it.

energy come

on

are more

as

yet

at

their best.

when leisurely

once

All the the

sky

generalrule there is one part of the sky which is full of the lit-up portionof the clouds, so to this part the firstattention the salient part of the cloud should be paid, seeking to register of this central portion the less the consideration From group. prominent parts can be done at greater leisure. The whole scheme, the greaterpart of the passing when painting a sky,is to eliminate clouds, and to take into the pictureonly those which are needed to produce the general effect of the composition. The young alive absolute the to become student will very soon sity necesquite of making endless studies of clouds, in black and white, pencil,chalk, or charcoal. One very good plan is to indicate the shape of the cloud group and then stump in the shadows chosen for consideration in pencil, with the fingeror thumb. Excellent effects are thus got, and the time spent should be so small that quicklypassingeffects can be easilyregistered. If the student when making water-colour studies adheres to the approved method, he will soon begin to appreciatethe beautiful transparent shadows he can get by it. Now

as

a

,

COMPOSITION On

IN

the

LANDSCAPE

other hand, it will become ever more is lost if atmosphere entirely sponging out

59

clear to him

and

scrubbing are

the young student in his earlydays when find the question of sky too puzzlingand

working from

resorted

to.

Should nature

let him In this

that

for

time

a

put it aside,and

then difficult,

do his studies without

skies.

it should be

clearlyshown that the sky is appreciated, and a proper proportionof a drawing paper left. Here is shown in which no sky was of the size correct attempted,only paper was it. Too taken of to should not be apportioned great advantage such a concession as this,as sooner later this most or important of the has to be dealt with. part Nevertheless,it is landscape better for the beginner to leave the sky entirely alone than to land himself in dishearteningdifficulties (seep. 60). east, Very often quitesmall flocks of clouds can be seen in the northlit up by the evening sun. is a very Such a cloud scheme and affords a healthy and not too difficult task interesting one, for those unaccustomed to such work. Unremitting effort should be accorded to sky painting, the beauty of the landscapemuch as depends on the way this part of a compositionis handled. should be The term which in paintingis one complement understood by the student,and which I will attempt now to make in a clear. It is a pointinteresting to consider, and its application to do with the making of a picture. The landscape has much trating of a drawing illusof explainingto a student by means difficulty is a artist the term the point is great, although to an case

"

homely

"

one.

42 shows mass a drawing given "opposite page clouds, and in the foreground a group of cattle,with a piece of road of high value. Now in this instance the

The

cattle and the dark

bank

trees

are

to the

complement to the cloud. left are also complementary to the

of sunlit bank

and

group of And again,

the dark

tree

ment herbage to the rightof the picture. In other words, compleof one balance, or a repeating means part of the picturein a lesser degree in another part. Again, the faculty of correctly into play,as if the lightforeground composing a subjectcomes have it would were placed immediately under the cloud mass and such a compositionwould be bad. looked unsightly, with The constant study of the work of great masters combined drawings made from nature will quickenthe sense of proportion, the subjectnow of expressing and this word is only one more way and

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P O

M H

P

COMPOSITION

being

considered.

in the

Whatever

of

manner

IN

LANDSCAPE

61

the

knowledge

planning a picturehas

writer

been

have

may

gained

in

this

way. And

let

now

consider the

us

subjectof

flat country

as

painting

a

I have

ground.

during my life had much advice as to where I in order to get good subjectsfor my penciland brush, go but never have I been told to seek a flat country. Always has the should

adviser

urged

tains. inspirations amongst hills and mounNeedless to say, such advice has always been very meekly listened to but never The taken, as it is bad beyond words. is a flat one, and art arose country where the landscapepainter's it is to flat country that the student should proceed in order to

to

me

get my

find the best fields for his labour. A flat country both

fine distances and

grand clouds,which are landscape painter'sart. A few examples,

means

essential in the

showing

the

kind

composition which is to be seen in a flat here given. district, are The first was painted near Bardeney, and in the distance is seen Lincoln Cathedral. In such a picture,the whole question of rests with the placingof the foregroundobjectsin their success to the distant cathedral. Not only has every care to relationship be taken with the drawing, but colour and values must be considered with an infinityof pains. Again and again a student passes by such a charming compositionas this with the remark of such a flat country. No doubt the that nothing could be made difficulties are great as againstthe old familiar compositionin which a lake, a mountain, and a foreground group of cattle were and theme. But difficulties have to be met the ever-recurring mastered,

so

let

of

continue

us

As the learner becomes in such open

county

a

land

grow hills and

amongst

as

on

more

a

deep valleys,where

expressingmy

being considered. Berkshire

and

ground, with Nothing I have

The

a

very there is

in

short no

the

mistaking my

no

moors,

time,

chance

oppressivethat be

working

or

of

to

be

seeing

flat open

meaning

class of country the

of

rollingdowns

now

of

happy huntingequallythe painter's

Cambridge or Lincolnshire. Holland, Belgium, and France. tryingto pointa moral in Composition

flats and

led away

must

Yorkshire

is said here about been

so

to

extraordinarybeauties

preferencefor the

Wiltshire,are the

accustomed

more

rapidly.In

him

far

in thus

and

Lincolnshire,the

distance, becomes country is craved forv There into

the task.

fens

of

XIV

ILLUSTRATION View

Distant

effectof

the

Stages showing

Two

I

Stage

the

I

giving

was

cathedral

carefully,and

by

successful

some

the

on

of the

if it would

asked

River

of their

be

distant

The of

morning

flat

the

I had

Witham.

suggested by

were

page

skyline

of the

I

studies.

result

the

end

the

this

Lincoln.

near

on

seen

are

valley

the

forms

facing

drawings

two

my

labours,

was

as

my

that

subject

the

painted

pupils had custom,

of

country

and

looking through them,

was

a

towers

selected

ting chatI

when

was

a strong foreground of possible to introduce look of the distant to emphasize the far-away

objects, so as cathedral. Wishing to interest my students, I add such foreground to the drawing I myself a varied

of

addition

and

the absence

strong foreground.

a

THElesson

Lincoln

of

I would

said

that

had

made.

XV

ILLUSTRATION II

Stage

to in the morning, in order position we had taken up of about fifty yards in front 1, was get the picture No. farm few stunted trees. Removing a buildings and my some between I backwards station brought fiftyyards or so, point in myself and the distant view the rough tree and cart, as shown illustration No. 2, and proceeded to paint these objects over my in strong warm colours. The work result, as will be seen, not only

THE

"

"

gave middle

an

interest

drawing,

near

When

I would

colours,

but

should

be

objects

part of

a

the

foreground,

meadows

distance

materially. rich

to

and

such

an

point

out

also

of

accurate

picture

can

the

addition

but

also

far

tended

this

make

buildings

distance as

to

is

attempted

the recede to

a

necessity not only of using strong that the paying particular attention in all their details, which, in the quite the

never

be overdone.

Illus. XIV

Distant

View

of

Lincoln

"

First

Stage

Illus. xv

Distant

View

of

Lincoln

"

Second

Stage

COMPOSITION to

intrude

on

the

IN

chapter which

LANDSCAPE will deal

63

with exclusively

the

placessuitable for work. The

picturehere reproducedis

next

which Selsey,

is situated in the middle

from

Worthing and then Selsey, of the

whole

westward. from

of Siddlesham

of those flats which

Probabjy between

Bognor

Mill,near

to West

stretch

Chichester

Witteringthe

flattest

and

part

Many friends who have shown great anxiety to keep me in the rightpath I should follow when paintingfrom nature have become quite pained and sorrowful when I have declared my intention of having another tripto the Selseycountry. To return to the question of Siddlesham For such a Mill. the clouds are of paramount importance, givingstrength picture to the foreground by their shadowing, and affordingby their the necessary silverymasses lightingto the picture. The lowlyingdistant downs lead one away as well as lend a feelingof repose and Another fact that

pointsin

district is found.

mystery.

low-lyingdistricts is the Few their way through them. its beauty than does the presence

feature in interesting slow-runningrivers find

a

landscapeadd

of water, whether

to

more

in the form

Experience will

teach

these

of rivers,lakes,or

ponds.

fullyto appreciatethe class to very lightlyhinted at, and the making of pictures.I could end to justify flat country as a

the student

of country which has here been learn how readilyit lends itselfto

proceed to give instances without study ground, but other matters must be dealt with, so this one must be reluctantly left. That part which incident plays in a pictureis to the young which troubles a student a difficulty of the first degree,and one painter to" the last. In order to make this point clear to the traction the various small disbeginner,let it be ^aid that incident means in detail which go to give a livinginterest to a picture. of Some of the greatest paintershave loved to put an infinity incident To

works, and have done so with great success. the horses and cart with their attendant illustration,

into their

give an

waggoner,

the ducks

the middle

distance

picture,may their justify

all be presence

passingalong foregroundpond,figures in the field road, cattle and sheep part of our on

the

incidents

by

in the

the admirable

same

way

and composition, in which

they may

all

be

introduced. Now

the

great scheme

of

a

good pictureshould

be

a

simplething,

+S

S"

09

o

rfl

O

T*""

a

4)

"

fi

c

"3 **

"

C

g

~

o 5 ** H

C3 c3

"

"a

S"H

^

""S

o

*s.a

3~

w 09 09

CO

09

H

g M

o I" I

H

"

a a

I in

p a M

CO

"iiitmiiitiii

COMPOSITION and

however incidents,

IN

LANDSCAPE should

numerous,

their'subordinate parts modestly,so

generalplan of

the

that

65

always be they

never

It is difficult to pass reference being made to the

design.

of incident without

made

to

disturb

play the

by this question grand Harvest "

by Rubens, in the Wallace Collection, excellent reproductionscan be had. This marvellous pictureis full of incident,and yet nothing in it distracts the mind in the slightest The degreefrom the quietgrandeur of its scheme. introduction of such detail into a picture,if successfully plished, accomis only within the provinceof the master. The student should seek simplethemes for his penciland brush, and strive to make them as as perfect possible.This reference to incident in a compositionwas in order to show that even made an abundance of detail need not of itself be hurtful to the picture, but rather tend to give it interest and sparkle. A very different class of subjectmust be considered,which now although not being strictly landscape,can very well be included in this chapter. Reference is here made to towns and buildings generally. Here, as in an open landscape,the central point of the attention, and interest should then the subsidiary engage should be painted to support and emphasize it. Nothing parts be can more deadly dull than the laboured and mechanical picturesand buildingswhich were produced in such vast quantities during the middle of the nineteenth century and onwards. And yet if this class of subjectis seen at its best, the charm of it is very evident and its possibilities ment are great. As an additional induceto the beginner,many be found in very simplepicturescan detached villagestreets,farm buildings, cottages,and work of a

Rainbow Landscape^with

"

of which

like nature. As work the

helps in compositionsof substantial

more

exterior

interiors.

of

The

this

assistance

buildings,and

kind, few

than

the

do

Dutch

afford in their

men

John

Sell Cotman

painterBosboom

of the latter artist is in his

work

being quiteperfect,

full of interest

branch of painting water-colour

for

particularway

poetic charm.

In this

I most being meant stronglyadvise againstlargedrawings being attempted, for it is deal with a work quiteimpossibleto make such a delicate medium have come to frightful beyond a certain size. Even the best men griefwhen they have attemptedto paintlargepicturesof buildings As an example,I refer the reader to the large in water-colours. "

pictureof

"

Lincoln

Cathedral

"

of

and

for

course

by .Peter

"

de Wint

in the Victoria

IN

COMPOSITION

66

and

Albert

but

the

two

would

begin

and

end

a

parts of it that

are

a

a

be

sitting, thing

at one

building the

elaborate

an

limit to the time

no

good,

are

generalruje it is

drawing

water-colour

of at the most ; but in case there need be impossible, so

such

on

to

there

course

it quite impossible. As

size makes

advisable or

Of

Museum.

LANDSCAPE

spent

subject.

drawing being completed,every effort should otherwise it will look patchy be made to paintit during one sitting, interest. As experienceaccumulatesand possess no emotional The

and

whole

of the

faculties become

the

selection of

the

a

alive to

more

the

almost

good composition becomes

in

beauties

an

nature, instinct.

happy condition is arrived at, let its possessor beware time have I in my he ignoresits subtle urgings. Many how a earlier days of work been very stronglydrawn to a subject,but included in such a scene have passed it by because there was some obviouslycommonplace and ugly object. is a grave mistake, as to shun a picturefor such a reason Now it would not have attracted. have been there, otherwise beauty must this

When

assured, that

Rest

increases,the

to

power

see

beautiful

the

commonplace objectsmay under certain conditions full of charm. Sunlightand shadow, atmosphere

most

become and

the

as

line,at times become

such potent factors,that their influence Some few years followingis an instance.

all-powerful.The in since, when working in the neighbourhood of a country town the south of England, I wasby what very forciblyattracted appeared to me a very sweet picture.At first I felt rather annoyed that such a subjecthad so stronglyappealed to me, the chief as objecton a river which formed the foreground was nothing lessmodern a very than, in itself, hideous, absolutelynew laundry^ of startling architectural peculiarities. Still feeling the attractiveness of the whole thing,but scarcelyknowing whence I it came, studied the whole anchored, and sittingquietlydown thing at leisure. As I gained a clearer perceptionof the values and tones, the reason obvious. why my attention had been arrested became The mass of ugly buildingbefore mentioned was entirelybathed in a delightful cold grey shadow, which obscured all practically its ugly detail.

is

And

now

namely, and

came

that

the

out

a

silhouette

its colour, influenced

charming

contrast

truth

which

of the

by

againstthe

the warm

I did

not

before

laundry was very made atmosphere, and

sunny

observe,

charming, an equally

downs

beyond.

COMPOSITION

LANDSCAPE

IN

Moreover, the silhouette of qualityin the river. Needless

the

67

building repeated say, the drawing was

to

its

shapely

done

with

great satisfaction. In this case, instinct at first called attention ; then reason objected to the building,which was known to be the silhouette which had not been observed) whollyugly (excepting and, finally,attentive inquiry explained why instinct had prompted. Such an experiencemakes it very evident that great care should be taken when working from nature not to miss opportunities through allowingprejudicesto influence one. Very seldom does it happen that the exact thing presents itself ; the good must

therefore be taken I do not

to

mean

with the intention have

may a

and

selected.

its presence

which

eliminated

whenever

the idea that a student convey of making drastic alterations in

it should picture,

that

the. bad

For without

may

have

necessary. should set out

a

view which

he

into instance,if a telegraph-post comes doubt be included,for it is quitelikely

givenjustthat

balance

to the

landscape

attracted.

Very justlymay alterations be effected in such a case as the much following. Painting in Surrey a few years since, I was attracted by a very beautiful picture-as I was walking along the banks of the River mood was Wey. My pensive (some folks would have called it ill-tempered), the as productive day so far had been unthe of work. and it with However, evening came, at once. something to paint,which was accordinglycommenced As the pictureproceeded,the presence of some rather peculiar, almost eccentric,details in the compositionbecame evident. The middle on

-a

distance

level with

objectswere

church

tower, which of elm

a

group justin line with

trees

was

to the

the upper

rather

to the

middle

right,and

part of

a

small

left,was these

footbridge

in the left foreground. Now

here is

a

case

where

the artist must

think,and arrange the

compositionby raisingor depressingthe objectsso as to give a Such tinually varietyof line and avoid monotony. points as this conwhen you are paintingfrom nature, and it is under occur such circumstances that alterations and adjustments are fully The student,as he gainsexperienceby his studies from justified. nature, will find that such alterations as those pointed out will It is,however, beeome quite easy and need little consideration. very dangerous to get into the habit of simplytakingthe pictorial objectin front of one and upon it to buijd a composition.Such

work

be left for the studio

must

LANDSCAPE

IN

COMPOSITION

68

it does

;

not

into the scope work, with the

enter

help in outdoor the when simpleexceptionof still life study. It is very peculiar, practical experienceof work is being unravelled, to find how one thing leads to another, with apparentlyvery little connection of this

between The

book, which

the

is intended

as

a

two.

pointjust considered, by

which

it is evident

that

alteration

forciblyto my mind the way and painted. To begin with, let a familiar objectsshould be seen it is^dmitted of cattle be taken as an example. Of course, group that cattle of all kinds have the usual complement of legsand feet, insists in demonstrating which student invariably fact the young in a very exact If attention, however, is carefully paid to way. of line has

the

to be

made, brings very

of these features, it will be appearance of cattle as it gets farther and farther into the

actual

seen

that

a

background convention. ever-increasing A group of such beasts in the foreground should be, if possible, as Cuyp paintedthem, furnished with the rightproportionof legs, objectsbe viewed as they recede, feet,horns, etc. But let the same and it will be noted that the evidence of how they are built becomes of coloured dots less and less,until they assume a mere appearance the landscape. Yet during all this gradual change they always on be mistaken for aught else. remain cattle,and could never Herein lies the difficulty, and also the necessity for indefatigable I earlyfound such study a labour, but a labour in observation. It was to try, as far as possible, one. highlyinteresting my custom of cattle,sheep, ploughing the exact to set down appearance ground teams, hay-making and harvestinggroups, etc., from the foredistance. Human to the extreme beings naturallycome rule should apply to all objectsin into such a category. The same A group of trees five miles away should be as evidently nature. of trees as if it were Details will a group a hundred yards away. graduallymerge, but the main characteristics should remain to proclaim their identity. This is rather a digressionfrom the questionof composition,but the composing and the points here group

becomes

touched

subjectto

lie very

upon

To return

the

near

effect of

to

one

an

another.

it must proper subject, that the questionas to what is a correct to

our

always be

borne

in mind

and

proper composition is of very wide interpretation.Without doubt, the young any student should adhere to certain fixed laws, which are apparent in the works

of great masters

of the

past and

the

present. Such

COMPOSITION

examples

ity,

should

and

his

Later

on,

venture

the

as

As

be

at

all

taught

me

of in

the

then

kind

very

Needless

such

works is

very

collections,

to

for

needful, whether

is, however,

and

therefore

just

study as

they

as

that

great and

habit

quite strongly

had

confirmation.

very

be

bad of

works

by

are

past

tions ques-

or

be

must

other

words, now

recommend

it has

visit

to

drawings

simple appealed but

it

to

the

be

found

present

me.

became into

fallen in

one

any

selection

admonition to

in

are

experience

taken An

pictures

and

unwittingly be

must

will

at,

exercise

I

do

strengthened, I

care

the

my

my

mind.

practical

(in

way

make

ideas

in

may

plan,

with

which

very

author^

speculation

no

was

and

my

evident

say,

In

It

he

student,

thing

pictures were

the

and

wbrks

arrangement

to

a

guide

in

new

It

for

his

learned,

are

help.

great

such

only

the the

collections,

of not

masters'

advantage.

picture

way

errors.

of

of

with

clearer

get

of

as

faculty

but

be

to

and

now

found

notebook

this

to

necessary,

great

my

In

begins

may

the

as

69

beginner

which

deal,

to

soon

composition)

as

schemes

have

LANDSCAPE

becomes

themselves.

we

avoided.

given

learner

unto

that

the

by executed

picture

law

a

held

paintings

on

fact

be

IN

of

in

this most

painters.

VII

CHAPTER

there

how

to

as

the

to

I will on

young

during

I

when

trip

a

will

has

doubt

and

planned

been

the

matters,

at

arise

once

is

work

day's

open,

embarked

are

which

incidents

met

the

in

technical

with

concerned

here

selves them-

I have

who

others

nature,

present

these, which

of

help

trivial

those

which

hindrances some

from

painting landscapes

of

no

not

am

with

simply

but

Of

they

as

like quest.

a

student.

experience

my

speak,

and

apparent,

ever

direct

produced

be

is to

checks

minor

is

difficulty, which

great

picture

a

many

are

with

the

from

APART

THEM

MEET

TO

HOW

AND

NATURE,

FROM

WORKING

IN

DIFFICULTIES

SOME

actually

started. I do

think

not

single obstacle wind.

with

the

calculated

so

because

morning

fit of

result.

likely

ill-temper sit in

To to

arise

from

superlativelyfine I have seek as

so

wind,

and

is to

be

possible

when

a

the

as

a

sheltered

engaged

probably

It

again absolutely

is

and

doing,

in

is

face

a

terrible

my

work

the

end

wind

with of my

at

only

be

to

reward

spot.

painting

Richmond,

of

by

an

extra 7o

had violent

my

high

a

panied accom-

So

never

bit.

a

result

At

of your factory satis-

nothing certain

that

a

will

inconvenience of if

something

heroism. the

all costs out

any

everything

horrid

that

in Yorkshire. and

with

of such

At

in

thought

general rule,

great resolution, labour

end

all the

plenty of heart-breaking difficulties without in your being uncomfortable surroundings. in

the

or

will

general disgust

a

wind

always found,

carefully for

about

sit in the

high

a

blown

try and

as

usually

clouds.

be

work

is of

way

likely to

being accomplished. vile

in the

are

afternoon's

or

of humour

out

one

atmosphere

of

incidents you

time, do not

same

put

to

condition

a

that

,oflandscape painting

years

many

charming

day

a

is such

Now

put off

after

be

best

You

adding

to

I remember I

will find them

by

painting

struggled through

virtue

gust

is to

comfortable

as

doors.

plan

of

rewarded wind

near

knocking

DIFFICULTIES board

up my

No

one

IN

and was

struggleto

This incident

under

FROM

NATURE

7i

upsettingsome near

graduallycleared I do

WORKING

up.

ing. drawmy very dirtywater over at the time, fortunately, matters so

me

However, I

secure

a

reminds

all conditions.

shy

never

at

a

windy day, but

fairlysheltered spot. to advise

me

Cows

are

a

well-secured

simple innocent

water-dipper creatures, but

do not

leave your paint-boxopen when from you absent yourself work for a time. I did so once, with the result that a cow or

your in the field where two

I

I had

been

but will doubtless

about

remain

made

with

working

and

after

inspecting paints. They are most animals, and I suppose paintsare a bit tasty. I inquisitive eat a good lot of them myself,but chieflybeing engrossedwith noticed ifItheytaste at all. subjectI have never my Some of my of pupilshave been quite alarmed at the number times I put my brush in my mouth. One lady besought me not to eat any- more paint,thinking,I suppose, that her instructions be brought to a sudden would stop by my untimely end. As a of gettinga pointto matter of fact, I find there is no better way brush than by putting it in my It is a bad habit, mouth. my what

was

a

meal

me

now.

came,

off my

Being out on a paintingtripreminds me that I have often come stool that my pupils to grief littlecamp through using the trifling very often affect. -Use a good-sizedstrong stool,as it is far more ence trouble to carry. Refercomfortable, although it is a little more to these triflesis important,since your work can-onlygain if when working from nature. you enjoy a certain degree of comfort paths and bypaths of England My tramps through the various, and how necessary it is to be very well-behaved have taught me full of courtesy when dealing with farmers and country folks to walk into a seem a trifling transgression generally. It may to paint a pictureof it without asking farmyard and sit down permission.Many farmers will not resent such an act, although Some, however, will they may feel it an intrusion all the same. roughly request the artist to leave their premisesas they are not for publicuse. I have had poured out to me by brother artists of farmers. tales of the gross incivility My experiencehas taught however, that they are good-naturedand anxious to do all in me, I have their power to help a visitor. always got on well with farmers for the simple reason that, when I have wished to use any The to do so. part of their premises,I have first asked permission result has been that not only has my request been conceded,

DIFFICULTIES

72 but

I have

been

told to go

NATURE

FROM

WORKING

IN

the farm

I liked about

where

or

its

buildings. My

attention The

and

not

has been

asked

to take

whole

class

in the best

regaledwith

was

and parlour,

been

occasion

one

my best the

fine strawberries and

very

bull,"

often

I have

upon

"

for the

out

barns.

rick-yardor

in the tea

look

ance. import-

of

matters

two

or

one

be closed, I must

gates must

smoke

ealled to

of advice whiclr I give a ^riece think most When they are working out in the evening necessary. light alone,let them be careful to avoid long walks in the failing to their hotel or apartments. The farm labourer is a good type It is the tramp of man but seldom worse. rough,very possibly, of

To

cream.

students

women

I

"

who

wanders

from

casual ward

one

to another

is to be

who

feared,

he is usuallya bad lot and often very brutal. There is,however, in a country in evidence another type of creature who is generally as

of the parish: in village.I refer to the silly-billy the local epileptic.If you cannot get, or do not care kind of barker then have a dog, or another "

sufficient confidence as seriously,

very

which

should

not

I

"

to am

use

it.

I

other for

certain it deals with

a

real

panion, com-

a

if you have to be taken

this advice

mean

words,

of

source

danger

be courted.

which is ever fully* difficulty present is our delightI am quite contented with it, although varying climate. I refer to this abused than the English climate. nothing is more common topic,as weather plays such a very important part in the life of one who paintsfrom nature. Do not be put off your to do something else if the day starts badly. work and arrange beautiful than the afterpartof a day No time is usuallymore The rainy month that began with frowns and tears. is generally the best month for painting. The clouds are usuallygood, and the air in between the rain is clear. I have painted much when the ground has been wet and the sky threatening" Have thing somefeet to not and do waterproof put your on, get chilled,and A

very

different

I have

all will be well. June

or

justbeen down.

after

October.

Work

usuallybeen

been

able to sit out

beyond

of notes

in the form

I have

seldom

which

before

or

I have

punished

made

if I have

much

these

before

dates

has

without

sitting

abandoned

this

rule.

During the months mpossible to paint "

another, work

can

I mention sometimes

be done.

there is at

When

one a

scarcelya day time,

and

triphas been

when

sometimes

planned

it is at

and

HOW

TO

MEET

the district to be painted decided

placeof work

for wet

days

73

try and arrange a suitable old church, some sheltered ruin,

an

"

THEM

on,

farm buildings.It interesting

or

gettinga

covered

is often difficult to manage this for work ; but do it,else many misera able

ground

hour is in store for you.

waitingand watching for I have often

had

find

one

you

can

took

thingsare more wretched weather to improve.

the

full share

my

pesteredme

thing to

Few

past of the doubt

the choice

to

as

in the

of

which

has

subject. The most fatal is quitepleasing, in order to a

do is to pass by a thing that stillbetter. If a view or effect has arrested your attention, in it. I safelyconclude that there is something special to learn

years

has cried halt to

this,and

subjectwhich not be thought that work is always charming localities. Very often a

It must

me.

I

now

never

pass

found, even in the most long tramp is quite fruitless. This, however,

to be

as

than

the emotions

be

must

stirred,otherwise

by

a

cannot

helped,

be

little good ieTlikely to

result. There

is

student under

point I should beginner,which

and rather

off

you

The

fancy

mind

Never

been

has

I have let

mentioned a

hideous

the

before modern

it intrudes itself prominently

arrested

by something that

it there is good in it. No undue appointm disupon is not be felt when work easily found ;

depend

you,

should ah

to impresson especially

subject,because

a

into it. If your

such

I

different conditions.

buildingput

appealsto

like

one

experienceis

to

common

all,and

ever

will be.

friends by unprofessional is invariably bad. nothing about the Naturally they know and is likelyto tell the kind of country which cannot subject, supply subjects. I think I have been advised to paint Leith Hill, in Surrey,by most of my lay friends. It is usuallypointed out as suitable as a paintingground for the reason that such a vast most number I have

type of country recommended

of counties not

taken

lunch

or

can

it on

be

seen

yet, and

from

its summit.

trust I

Needless

to say

never

may. It is very ill-advised to work after a long walk or bicycle-ride. The finest subjectwill not appeal so fullyunder such conditions. cup of tea, and then all will be well. After long I stilladhere to my rule of doing without an umbrella. experience,

Have

I have

a

of a very hot day and nearly given elsewhere my experience gettingsunstroke ; but this was very unusual heat, and I did not neck. I the back of my take the precaution of protecting even like all the lightI can get, in spiteof rapidlydrying paints.

DIFFICULTIES

74

NATURE

FROM

WORKING

IN

caused by children is the nuisance villagesand towns sometimes to avoid working very great. It is quite necessary After these the schools close in the morning or afternoon. when in folks seem to pack themselves away specialperiodsthe young In

some

holes and

try and

to

They

take

corners,

and

tempt them your

money

the

student

leave

to

depart by offeringmoney

and

go for a few I have known

It is fatal

in peace.

so

for but

minutes,

so

doing. always

abroad of instances vastly reinforced. where policeprotectionhas been sought and procured quiteeasily, the authorities recognizethe fact that the artist and art student as I am of revenue to their town. means always are a considerable careful about hiring small boys to carry my boards and very summoned stool. "Upon one occasion' a friend of mine was camp before the magistratesto answer to appear a charge of decoying return

a

from school. child away I have found that in choosing a

the

greatest care

is necessary.

companion

The

for

get

nerves

a

a

paintingtrip bit

on

edge if

things do not go right,and then the meeting at meals or in the should the day have evening is likelyto be dull if not worse been productive of extra disappointments. I have generallygone alone, as I know myself and do not want to fall foul of friends. Friendships are more easilysnapped than made, and two of a it is dull spendtechnical. trade seldom I know ing agree on matters the evenings alone after a tiringday. It is a blessingto be a gotten. good sleeper,as extra bed does no harm, and troubles are forThe most well-chosen knew couple of friends I ever themselves to different studies. One used to paint,and devoted the other was an organistand spent her day in the parish church. both charming, and another's never They -were got in one way in the slightest degree. On seeing a place for the first time, it may be after a tiring railway journey, do not hastily conclude that it will not do. Take and then have a walk round, doing no work a good rest on the first day but merely exploring.I have known several occasions when first impressionshave been very erroneous indeed. I knew artist who took a dislike to a place at first sightand quitted it an the same evening he got there. Years afterwards he went to the town same again and had entirelyto alter his views of it. As a time and painted a number result,he remained a considerable of good things. "

"

CHAPTER

VIII

CLOUDS

and

HERE of

skies

worthy

changing As

years

and

in

shock

than

by,

to

get

way

the

another

or

student'

by

I will instead "

from

that

them

he

painting

on

Their

of

field

should

for

bits

copy

will

of

almost

resolutely, from

so

invariably a

Dojt direct.

as

be

condition

arduous

task.

a

always

so

pass

of the

first think

points give

me

there

I

I

him

to

seem

grasp to

culty. diffi-

of

terror

a

will

going

not

am

in the

hope

to

to

poor

crude

of

labour

aimed

in

any

the

student

as

early

an

it

I found

days trying

paint clouds

and

skies.

in

the

and

spend memory

a

to

complete

a

from

nature

be faced things. This must and experience inseparable

for

that

a

long

let your it will

time

aside.

put

be

work

only

be

will obtain.

you of the

shade

be

must

clouds,

of

study

the

but

may,

you

position

75

Nowhere

whole

repainting

that

light and

makes

this, that

beginning

at

skies)

failure.

skies

paint

When

of

court

is to

from

then

and

handbooks

treat

they

sit down,

To

student

a

of the the

task

experiences,

as

notes.

quickly,

effect

my

impossible.

of

Clouds

my

that

when

necessary

and washing out -badly and as crudely as

semblance

These

and

efforts

early

as

so

cloudy sky,

when

clouds,

thought

any

a

me

better

clouds

to

them

making

exercise

The

thing.

I

be

ever

useful

most

refer

with

is it

of nature

begin painting

task

a

dealing

from

painting

lifetime.

before

especially

nature,

ever-

something

irregularity (I

orderly plan

its

and

for

of my

some

afforded

has

sky

However,

up

well

subject

in nature

bit

a

subject

the

practical. speak disparagingly of those

I must

from

utter

wide

him

give

a

last

and

conjuring

them

I started

and

express.

will learn

Again, however,

would

better

bit here

A

accomplished.

one

that

on

the

since

ever

know

words

consider

Nothing

felt

much

was

I

I

few

a

contemplating

I have

here

but

themselves.

pleasure

go

be

never

all to

SKIES

scattered

clouds,

moods.

that

nature

I have

and

place

a

greater

me

there

AND

sun

scheme

and and

time the

of

day.

general

75 es

rS

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,3

o

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"

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wh

+J

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r!

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fl)

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J3

"D 03

a " o

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3

K

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S

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u

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a

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to

60.5

a

-5

^

'a,

T3

CO

p

u

t~\

.3

H

+"

M

O'S

3

co

S? -S ,3 60 pS!

"u

v

ft

CO

+3

-P

o

"

"a 8

+j

o

CF

co

S

1 -3

c

CLOUDS colour.

The

effect

an

AND

illustration here

can

quickestmethods

77

given 'Hullserve

obtained with

be

SKIES show

to

how

broad

little detail of work.

very

be those

The

the best for outdoor

sought for as spoilsa good effort by not knowing when to leave well alone. It is the best plan when paintinga at sunset time for the be contented with a landscape beginnerto plainsky. The lightest part of such a sky will be about a third up

painting.The

from

must

student

the horizon

point to the immediately

and

often

occupy

zenith

about

uppermost

or

third of the space from that part of the painting. Then

a

lightest period it gets darker tillthe skyline I always found this a comfortingway to proceed, is reached. scape. me as it gave plenty of time to think about the rest of the landable thoughtfullyto study the At the same time, I was colour and gradationsof such a sky, without having the extra Of course of clouds. a stormy sunset should not be difficulty the

for this exercise,but

chosen too

not

below

where

one

there

clouds

are

that

are

aggressive.

sky is often most lovelyat sunset time. It be is at such a time that comparativelysimple cloud masses can remain which Every advantage should seen fairlymotionless. with penciland brush be taken of these quiet times to register thus spread out. the attractions of nature Every opportunity fit to nature sees should be seized by the student to note it when displaya simplepileof beauty for our delectation. Clouds are curious thingsto study. At one time full of fairy-like and at another gatheringtogetherin appallingmasses qualities "

The

north-eastern

of stormy

in to be observed A very importantmatter is to avoid allowingthe darkest value to occupy

fierceness.

paintinga sky too largea portionof middle

values

forcibly. Nothing The

most

and

then

in nature

of

of wonder

transparency by

the lightsand

the darks

wants

so

overcast

firmament

to means

is me

so

how so

opaque full of charm. one

clumsy

can

and

be of the

masses

will

tenderly dealing with

it will become

transparency which

source

the chief

and

stormy

tenderly,otherwise

Let

the whole.

must

speak as

be

a

most

sky.

treated

lose all that

quality

It has

always been a ever hope to produce this washing and stippling "

"

as

thingsin nature. Truly has it been written, that in order to give to an to rest bf Nature, the clouds must sky that quietfalling horizontal kind. The rough drawing of a sunset which I the

evening be

here

of

a

give

CLOUDS

78

will a

explain

few

meaning

my

will

sentences

and

disturbed

the

beginning

of

the

quietly

ending

clouds

be

sleeping

lines

windless

day.

In

the

sunrise

is

lines. and

its

be

day a

way of

a

like

character

awakening

use

as

Nature

day

finish, kind,

and a

is

sunset

be

but

;

is

best

associated

and best is

equally

a

in

the

early

shown

in"

peaceful.

be

order

to

to

repose,

express

to

end

morning

rest

the the

by

the

quiet

at

seen

expressed with

sinking

fierce

The often

sinking

which

are

although

use,

can

may

and

awakes,

kind,

should

agitated

"

that

I

accompaniment.

an

windy

its

words

any

and

and

reposeful

of

SKIES

than

uprising

clouds

of

of

stormy

a

of

same

The

better

clouds

must

AND

of

sky horizontal-

of

Nature,

a

at

CHAPTER

THE

IX

WATER-COLOUR

PAINTER'S

COUNTRY

Sussex very THEStudent

many

and

years, and

student, with beset

here

artist.

my

path,

students. fellow

I have

I

Conscious I

However,

workers,

those

even

supplied

I conclude which

others

I

list

and

do

fellow

my interest

my

respect

and

may

with

look

the

have

save

wanderings

whom

to

the

the

difficulties

of these

some

have

before

address

to

which

take

experiences of beginner, the advancing

the

breath

of the

hesitate

is to

include

help

take

myself

scenes

pages to

to

stop

set

now

varied

intended

are

the

"

task

those through inspiration. These

with

me

pleasant

admiration.

thinking

When evident of

to

the

that

me

which must

kindly

there

will

talk

be

about

in

and

eight

and

guardians,

look

at

it to

be

great

are

but

I

with

that

good place very

with

soon

to

see

after

four

I resort

from

The visit

79

for

as

an

I visited

there

force

another

of

much

constant

the

by

better

appear to

Art

relevant ir-

water-

student. National

the

masterpieces

boys of older boy

an

to

suited

best

taken

Again,

highly polished

be

other

them. this

the

not

was

pictures, having heard a

land

these

and

otherwise

of age

years

writer.

necessary

might

visited

hand, but

pages,

may

the

through be

may

the

early beginning

nine

No,

went

to

a

very

consideration

wander

in

former

moment

to

very

a

and

Crome.

of

which

duly impressed

was

whims

considered

devoted

I made

subject

composition.

of great

remarks

chapter

a

between

Constable or

of

painting.

Gallery,

points

and

forewords

These by use. understanding

When

values

that

to

the

back

looking

method,

it seemed

devoted

be

to as

upon

constant

repetition,so

colour

related

looked

be

book

As we study. land, occasionally bypaths

only distantly

are

of this

for

suited

of the

parts

scheme

of it should

part

a

best

places

different

the

over

of Turner,

my

parents to

my

own

age

that

he

believed

so example was juvenile expedition

1 -I-S

8

1

s

8

L

IS

C

"a

"

12 .1

"

" _

S

so

* +"

S _-

c

"-,_"

S

O

fe

"

?.Q "* .

w

"

X

"'S 00

p 03 "

"S

pQ

o

"

o

""132

M~

H to " 5 J "3 "S -3

i,^3

5

S +j

fl

3s

*

-O

Jh

"

to

Tj

S

h "

H

PS

H

"

"

e

PS w

P

"u

"

3

"8

en

fi

J* "

O"

u

HP

oj

a"

P

"

a

+*

o

o

"d JS

I

"

"JS

"S 8

1 I

"

""

*

"

TS

_

oS

s

S

O

co

"

-g

i^J3

T3-

"

fi

"

S

CO CO

t" W

i

SUSSEX

planned,and

was

from

this time

was

to

study landscapedrawing

nature.

The

enthusiasm

of these

continues to "broaden that

I found

that which should

was

help to

that

nature

for brush a

autumn

form let

now

and

without

love of the South

And

earlyyears was strengthen. And

nothing but encouragement so evidentlymy great joy.

be treated from

work

to

it

81

and

Downs

my

undue

attempted was began, which was

was

love for that class of describe

those

pencilwhich

have

me

pressure,

intense,and still it here let it be recorded from

parents, in

earlyaspirations

Thus or

my

advice.

The

in Sussex, when to be

and lasting,

next

my was

country.

wanderings in quest of subjects

cluded lasted for many years and inand of delight. The first summer

great and varied land in the open country was

spent in the neighbourhoodof

This very fine ground is one of the most Pulborough,Sussex. varied in England, includingas it does the rollingDowns, the River Aran and its valley, beauteous the distant views of Arundel and Amberley, and stillfurther to the west the statelyspireof of the greatest, Chichester. This land has been paintedby some will its sweet its glories be exhausted, and never but never can enchantment grow less. To the student who is puttingto the test borough his early knowledge of composition,values, and colour, PulBridge, with the villagerisingbehind, is ready for his trial of skill. Again, if a walk is taken over Houghton Bridge and folds Park, the picturewhich unup the road to the north of Arundel of surpassing itself upon lookingsouth-east is one grandeur. the intense and this I remember well picture, painting very to the quesLet us get back for a moment tions pleasureit gave me. and composition,and then for a space this view of method shall be repainted. The time was gettingshort for so large a subject,yet the thing was so beautiful that it had to be done. the distance of the Downs, and beyond, the open miles There was all suffused with the lightof of flat country stretching to the sea In the middle the decliningsun. ground the statelypile of Arundel Castle,with the timber masses immediately surrounding outline stood out in it. The details of buildingand trees, whose strong silhouette againstthe distant lit-upland and sea and sky, were firmlydrawn in, showing finely.And now was carried out in the scheme of allowingthe carefully put in periodof light practice

distance to and

trees.

come

The

distance castle up to, but not touch, the middle woodland of near opposed great round masses

PAINTER'S

WATER-COLOUR

82

themselves

distance, and

the middle

to

COUNTRY in turn

were

kept

clear

by the thin line of dry paper which intervened. In the foreground was an undulating downland, sombre and vention, interstrong in the deepeningshades of evening,and then, glorious themselves the edge of the of deer introduced on a group foregrounddown and sparkledin white and red and black against of wood. the dense near masses Every plan I knew was requisitioned and each of the to facilitate my as work, picture part it finished Yet from under hand one was completely. passed my and

to themselves

thing did wait and that

of

their tiny zone interposed tone

and

values

the thin lines of white

was

which

safety and prevented the planes of

hopelesslymingling

from

paper

with

another.

one

Hastilyall was done, and yet each part had sufficient time allotted to its doing to prevent either hurry or carelessness. When all was filled in very carefully, perfectlydry, the little white lines were and the task was completed. Do not let the student be depressedor mortified,if the first time he ventures such an undertaking as this the result is bound to on the day end in a sad homebe distressing. Often and often must coming, out comes yet let it always be borne in mind that success of

and that it is those .who will apparent failure, succeed.

who

When

taken

not

admit

defeat

pleasantlands and shown those subjectswith which you will continually struggle and which will should love, never yet always forgetthat you you notebook must a constantlybe your companion. Pages rilled with all and everythingwhich attracts the attention to its beauty reminder to the student are of the fields of always an interesting his labour. Continual practice also strengthensthe technical well as trains the eye to seize on the salient points as experience, of a landscapewith ever-increasing correctness. For years I have never

been

a

are

of

very

unusual

student.

Much

bargescome

Such and

in many

work up

subjects as

these

through

notebook, and in these books

of subjectswhich infinity interest. The locality to

an

as

without

you

attracted

I have

recorded

possessingelements I am which now giving attention is and particularly suited to the young ways, be done along the banks can of the Arun,

some

distance from

river craft

tend by certainly of drawing. There is generallyto be most

and very often vessels of

a

as

its mouth

admirable

are

their

at

for

Littlehampton. picturemaking,

to strengthenthe difficulty

found

much

me

a

group

largerkind.

of

power

barges at Arundel, I was working

When

SUSSEX

83

in this part of Sussex, and had my headquartersat Pulborough, I used to plan day tripsto placesin the near neighbourhood. One

pretty and

trip can be taken to Amberley, interesting the north slopeof the Downs the marshes, across on called,the brooks. or, as these are locally Amberley Castle itself suppliessome very fine subjects,and there is also a charming view of Pulborough when half across the very which is

brooks.

v

As

an

added

attraction to these marshes

the cattle

are

of

Amberley, Sussex

Illus. XIX.

grazingcountry, and they are ever presentto add their colour to the picture. This was the locality series of cattle groups, beginning with I used to make where a and then graduallyincreasing those thirty or forty yards away of beasts picturedwas times somethe distance until the little crowd It is interesting to notice how three or four miles distant. great interest,for it is

details become

a

lost until

fine

a

group

of cattle three

or

four

miles

is spots of colour. And now only like so many appears away be for keen observation,as these spots must evident the necessity paintedwith the greatestcare, otherwise they will never resemble the

animals

for which

this when somethingjtike

they

are

intended.

I think

he referred to Turner

and

Ruskin

the

said

recording

of to

it is a very useful thing esting of it. I found this plan most inter-

bridgeat

various distances.

do, whoever

first thought

a

COUNTRY

PAINTER'S

WATER-COLOUR

84

However,

drawing^ariousthingsseen at different distances. Such practicegivesgood exercise in findingout the essential elements in

in

objects. Thus, for instance, if difficultto

it is very

them

to

get vanished

they are

as

see

a

group

the

of trees

masses

confused

of

with

subjectin hand,

is the

lightand

shadow

the detail.

Should

when we,

half a mile from the objectthe details will have through the and the construction be obvious

near

ever, how-

nearly

play

of

/^.kJ'^i Illus. XX.

Amberley,

Sussex

The villageand castle of Amberley are most lightand shade. charmingly situated,nestlingunder the Downs, which form a Brooks." I made a watergrand background when seen from the colour drawing of it from this positionone broilinghot day in July,when the white stone walls reflected the sun, and they looked silver for brightness, like burnished standingout againsta deep other good pointsin blue sky with jjrandeffect. There are many and around the place,but I liked this the best for a near picture, "

and

more

There

distant is

ones

shall be noted

in due

course.

pictureto be seen

the way from on particularly good the villageto the railway station. The castle is seen resting the with a good roadieadingto it which Downs, quietlyamongst h as cattle or people on it,and the whole thingis generally carts, a

SUSSEX

85

backed

up by the distant hills. I only givethese pointsas they suggested themselves to me, but doubtless many to be more are found, and better ones, too, for the matter of that. I did this

-

drawing of the castle again years after I spent the summer in the mornPulborough,having bicycledfrom Hurstpierpoint ing

sunny at

and

back

again in

remark

may

that

I

but longbicycle-ride, like

them, and

the

found

never

I have

believe

likelyto provoke any Houghton Bridge, over of Arundel

down

the

tried

to be

very

of

amount

the

I evening. Incidentally,

hand-shakingafter

any

never

them

and

north

cool of the

as motor-cycle,

a

bad

from

a

health

hand-shaking and here, is

Aran

Park, and

past it river here wanderings can

even

point

nerves.

the road

on

Chichester.

on

to

be

made, and much

to

Up

is to interesting and

be

XXI.

I did

seen.

since the time

Amberley

I did it have

variety of moods,

a

the and

that is

dWS

Illus.

a

I do not

rJ- #td

Church

small paintingof Bury Church, the same seen subjectin a great

over it, spread sunlightor shadow dressed it in different garbs. I must remember, however, this is not a book on Sussex, which has alreadybeen so well done by Mr. E. V. Lucas, but merely notes of what I found in the county, pleasantand helpfulfor a water-colour student to work

nature

as

and

at.

I must

hasten

worth, and named Common

so

on

to

than once, place,paintingthe Mill more here is a fine sandy rough place,full

colour and

well

in shadow the

so take the road to Fittlemy jottings, worked at the firstMidhurst. Constable

with

on

contrast

trudgeswith

so me

I believe. of

The

brightnessof

ground adapted for puttinginto practicea strong forewhen

a

break

in

a

showery evening sky

bewilderinglycharming. and

The

seeks to let his emotions

more

find

makes

the student in expression

his

work, the

COUNTRY

PAINTER'S

WATER-COLOUR

86

I

more,

clear to him

will it become

sure,

am

that

stippleand scrub in water-colour can other There are to satisfyhim. never many supply the means but these must be left for the investigation good thingsin this locality, I in the districts am of those who follow my footsteps pointing the method

and

of wash

out.

Midhurst

is

picturesit attention,

is,however, as

the

park is

I do not

know

how

be

seen

the visitor

who

those

love

street

old interesting many Castle and park that I direct are

subjects,and

full of fine timber

Constable

these studies should

for

there

Cowdray

to

castle is full of interest. and

and

pretty town,

affords attractions,as

It

houses.

a

drew

of the ruined

some

the

parts,

as possible, they~arevery fine. gets on at Cowdray Castle now, as

if

thingshave changed there of late years. But when I visited the place there was no objectionmade* to my painting,which I did, both inside and outside the building. If the student finds when doing a buildingcompositionthat he gets on well for a time, and to a great and and then comes expresses his intentions fairly, overwhelming stumbling-block,he should not hesitate to leave I do not for a moment the drawing unfinished. say that halffinished studies should be the order of the day, but under exceptional It tends to conditions this is the rightcourse to pursue. far less

and after all it is wise mortification,

to be too

far cast

plan from the very first days I had I did that part of a subjectwhich with nature. clearlyappealed It is a and left the rest if likelyto land me in a muddle. to me, but very bad plan to be always avoiding difficulties in this way, to resort to it as an exceptionI am sure is good. I spent in the country paintingfrom nature This first summer happened to be a very fine one for work, with a sufficient amount of broken weather to get clouds and atmosphere, and yet for the In those days there were main part brightand sunny. mills a few windin the district,which nice varietyof subject,and a gave students provided good drawing studies. I do not think many would use as rapidlyas I did, but always to keep up notebooks down.

one

at

I

always followed

not

hand

startingthe

cannot

this

be too with

much

insisted

on.

I remember

once

day doing nothing but and I finished up quick pencilstudies. It was very interesting, in the late evening with nearly seventy pages of my book filled. of them but they all had a scheme of Very slightmany were,

compositionin them,

the

and

determination

I

am

convinced

of

such

an

exercise

was

SUSSEX

good.

Large

bridges,

churches

Many

6nly that

back

to

me

of

Sussex,

varied,

as

took

occupied

any I

as

well

of

the

things being

no

minutes

"to

particularly

which is

included.

ten

took better to

of

be such

great

minutes. of

a

minutes. than

country seen

and

do,/

one

two

in

a

day's

interest.

village

trees,

were

than

more

write,

there

as

all

couple

a

of

groups

castles,

Ring,

this

as

and

as

Chanctonbury work

landscapes,

open

87

I

do

It

distant For

this

trudge

streets,

such

not

all

comes

view a

particular are

member re-

of

day's part

infinitely

X

CHAPTER

THE

COUNTRY

PAINTER'S

WATER-COLOUR

Kent

"VTOTHING

could than

journey

-"-'

afford

great stretches

to

interest

which

first

my

life of

with

acquaintance

it still preserves

times,

owes

my

the

interest

attention,

and

I have

worked

place

for

its freshness

second It

was

since

although there

many

I believe

and

me,

ling ming-

a

district.

manufacturing

attracted

now

painting

its chief

rolling downs, with ruined castles, and the

riverside

a

first

first

my

or

and

rivers, woods

the

Rochester

The

lowlands

of open

of

with

teems

second.

my

to

contrast

greater

a

ever

will. It is rather London

side

cathedral think

and

the

as

only

the

if I had

me

rather

which the

word

for

selected

such

an

delicious

the

of be

tall

the of

mass

are

well

as

for

a

The

in

can

certainty,

be and

the

an

old

shadows

quietly determined

painted

the

to

a

to

I do

Medway, in

situation.

who

I should

no

ships

variety,

sit

can

fear

it be

not

he

and

told find

need

which

I

I could,

way

friend

with

the

of

the

barges

at

seem

to

which

busy place.

hours

and

quietly

endless

Very interesting, as well bleaches object. The sun colours,

of

squat

help

student

subjects

I refer

best

thought

young

out

objects

in the that

he

endless

on.

other

in such-

Rochester

all

of the

keynote

beauty

the

on

the

which

years

chimneys,

was

them

late

of

the

keep,

bristlingmasts

painting.

thinking

studied

tides.

shapes

to

subject-moving

I have

the

for

there

here

naturally

come

tangled been

hours,

as

to

seems

added

been

from

approached

Norman

of recommendation

never

as

nervous,

anchor,

has

good place

a

down

(a spire

is

city

mighty

improvement), equally bristling mass

unravel

to

The

an

bustle

general had

is

rail.

by

tower

not

the

startling at first,as

without

barge resting quietly as

the

88

timbers

change on

the

difficult

a

hurry

so

hot

is the

drawing

into

the

slowly

that

cloudless

there

between

always

day must

of

most

their with be

KENT when

there

clouds. fleeting

89

is work

There

here for all to do, making his first efforts through all the

are

from

the young student stages of labour, to the finished craftsman. I did early work here, and have visited the place periodically for years. This is a rare place to tempt one to do the Victorian

water-colour, simply because the whole thing can look so brilliantly beautiful at times, with its brilliant skies,white and red sails,and full-laden hay-barges.But do not fall into the habit of "

making a pretty picture,"else I shall be sorry I ever took you to this entrancinglocality.A moment to show by the way, please, the kind of cold douche I had when working here some years since. The subjectsI had been working at were beautiful and so varied, that I was gettinga little puffed up, so that my fall was when very salutary,and left me thinking. As is very common is paintingnear one a populous town, people had stopped many to watch me working one day, and passed on with some trifling remark.

I became

attentive

more

aware,

however, that

the rest, and

than

one

young person was being comely and well-favoured

accordingto the giftsof nature, her presence At last,having watched for me attentively remarked very questioningly I painted,and to sell what

might

that

was

young found

which

friend

man

it

held

her

the

was

to be

conceit

my

chastened

spirit.

hour, she

suppose I ever replyingthat,curious

come

my

tried she

as

her response that she had a

way,

at all

rid of his efforts.

lover's

made

work

others, and

on

was

her

yet she

saving clause,that

However,

an

rude, but painted better than I did, but that he

who

she inflicted

there

wish

impossibleto get

she

wounds as

she did not

about

that she did not

upon my it,sales did sometimes

think

irksome.

not

was

The

estimation

indifferent

was

not

she did not" wish

cured, and

I

very

to

in the

brutal

to be rude.

pursued my

task

in

a

but as I trudgealong again for a long spell, recallingthe past and tellingwhat I know as to the beauties of ideas as to how these the country visited,as well as giving my I will not

break

off

should be dealt with, I find it difficult not to say

a

word

now

and

side of my wanderings. This was a splendid again of the human place for humanity, but I will stick to my last,and only talk the Strood Cement about such thingsas hay-barges,or better still, Works

across

the

water.

These

cement

works

are

the

most

delightfulsight,and to me are an ever-presentjoy when I am to get everyworking in this neighbourhood. The cement seems

where,

only

not

but

covering

the

innumerable Now

and

the

seen

to

the

The

there

and

when

before

and this

amongst

the

beginner

should

grandly

Rooked

be

This

not

mine.

at,

the

each of

one

material must

and

be

left

it in

his

with

a

book

with own

in

for

view a

great of

way,

a

in

centres

field

and,

ventured

me

well

point

the

such

at

finished

a

man, work-

but

on,

magnitude, all

England

which The

as

hope,

with to

there

as

attraction

labour,

let

be

into is

which one

the

is

broken

looking of

distance,

no

Medway

river

short

itself.

to

of

when

change

us

the

is

into

it

can

advantage.

like

peculiar

of

There

not

it is

picture,

a

mind

may

entirely this

make

beauty,

brought

be

;

the

The

me.

Let

glory

revisits

silvery

to

I

first

he

as

river.

smoke,

one

any

when

their

Hill

Britain.

bear

with

only

working

my

for

Great

the

full

to

was

its

eke

with

objects of

the

go

picture

that

in

Windmill

up

and

I

as

is

Then

place

interest

marvellous

chimneys,

thing

is, the

is not and

such,

in

always

that

up

shines,

sun

sky.

sympathy

foreground

sundry

finest

be

in

side

the

the

fresh

gain

gained

tall

and

impossible

and

creeping

even

northern of

entirely

walk

is

blue

surely

Rochester

height

all

parts,

many

will

are

short

a

when

character

strong

Shipping,

us.

weird

being

the go

is

cold

the

Strood

on

subject

our

also

always

composition

and

place

believe, only

I

buildings,

the

student

from

are

is

the

this

culled

of

it

young

in

spot,

and

of

will,

the

cementy,

clothes

chimneys.

wonder

perfection

pictures

a

chief

all

their

and

workers

dust

tall

it, and

saw

its

backing

beauty.

the

making

with

the

COUNTRY

PAINTER'S

WATER-COLOUR

90

its

are

own.

could

find

student

others, in

it

is

supply

not

water-colour the

many

There

joy

to

late trans-

equal

to

CHAPTER

THE

WATER-COLOUR

PAINTER'S

Warwickshire first

MY

years

in

a

to

when

to

give

be

made

splendid furnish

to

pupils

for

some

mansion

me

with

It

student

have

kind, with

advantages the

various It

is

an

a

A

definite

garden paintings

Honyngton

strongly. deeply, as feeble

The

One

stuff

come

mass

from,

catalogue of such

well

a

To of

how

or

liken

firm,

usually

as

to

go

value

the

to

these

buyers

also

I did

pages

cut

would

be

making

to

to

merit

illustrated

an

of

at

such

rude

things since

admirable,

picture

are

miserable-

arrange

saying

me

very

such,

be

such

from

most a

of

for

several

into

gone

to

found

be

prints are

beyond

and

possessing no

case

galleriescan

greatest well, and

so

be

must

the

to

place appealed

claiming

see

tunity oppor-

of the

one

study,

the

as

this

old-fashioned

an

qualities.

the

great seedsman

some

profess

never

for

Hall,

where

them

of

compose attractive.

garden painting

any

fine

about

interest

materials

constructive

wonder

were

very

good

a

their

and

terrace-steps, is

pictures we

of

it afforded

words, in nearly every

may

exhibitions.

they

question

the

beyond

all.

of

and

anything

big garden

ground

subjects possessing

gardens

lessons,

said

charmingly

especially good at

have

gardens

and

so

terraced

the

thought

The

are

for

Hall,

Honyngton

was

The

actual

for me, happy time as very able also to find plenty of time not

I

student.

incidents

our

The

a

work.

lawns, terraces, to

efforts

about

of water-colour

stay

few

a

Shipston-on-Stour,

at

of

was

but

gained only

was

neighbourhood.

was

I

chat

a

go

Counties

in the

I need

painting.

and

subjects

and

apt,

district

Shipston.

near

the

lesson-giving incident, to

to

subject

result.

were

this

lessons

old

own

my

of

COUNTRY

Neighbouring

the

I had

the

pictures might my

and

knowledge

ago,

order

place

XI

a

botanical

specimen. I

am

journey

taking of

a

very

serious

investigation, and

interest feel I must 9i

in

companion

my say

a

few

homely

in

this

truths

to

o

J3 ""

"

J3

X

3 a

g

o =2

xi

13

"

"""

-a

i-S T3 S3 "e

" ^

13 S3

O

"

e

u

(S.g O i"

i

6-1

"

a

H

B

w s

H

B

rt

O

..3

'"si M O

"u

S"T3

WARWICKSHIRE about

the

manner silly

in which

goingto say painted,but I to apply to such rubbish. mind of

pictureare often is in

lightand

gardens are

often

reallycannot ; that Again, I will askihe

that the great natural

a

98

term

well, I

"

was

is too serious

student

to bear in

influences at work in the production shadow. Brightness of colour there

garden,but the finest type to be painted is the garden, where straightwalks, yew hedges, and terraces, the chief pointsof interest. Do not think from these remarks are that flowers in a garden are to be painted,because it is never with fine effect. possible to do them As a grand example Minister's Garden nothing could be better than the by Cecil Lawson, in the City Gallery,Manchester. Look at the beauty of handling in the way the hollyhocksare managed, and it is very evident that flowers in a garden can be made I found a in garden paintingin very noble monument. very

a

formal

"

water-colours

that

the

centre

"

of interest should

be

done

with

strength and precision, leavingthe subsidiaryparts to be dealt with more incidentally.There is in this neighbourhood Compton Winyates a mansion which has a statelygarden of great beauty. The castle affords many subjectsfor the student, and the whole with interest. Although I did not spend much place abounds time in the investigation of gardens when I was here, I feel little "

doubt this

that

should

the

student

would

direction,many

in the district. I shall not it is

as own

a

subjectwhich

can

be

wish

to

found,

as

again refer

prosecute his studies in there

to the

are

fine old houses

paintingof gardens,

be left to the student

in his

to pursue

individual

way. The character of the rest of this district is that of many and wooded parts of England. It is very finelyseen

road

from

on

the

Shipston-on-Stour.In fact,of its class it is amongst the grandest,the masses of foliage recedingin literal billows of woodland tillthey are lost in the distance and become blended with the sky. There is from Shipston a very interesting expeditionwhich can be taken to Chipping Campden, which is, I

Warwick

lating undu-

to

believe,a few miles When

interest. when

ChippingCampden

many

a

into Gloucestershire.

the border

stayingat Shipston I went this tripand found There is plenty of woodland scenery on the

those interested

days

over

town

is reached

charms, and here

way,

fine feast is laid before

and all

In those quitestatelytown. an imposingchurch at its end had for me I such a task is to be had to perfection.

in the beauties

street with

a

it full of

of

a

94

do

not

but

such

say

having

It

is, however,

form

the

fine

and

in

doing

be

do,

to

the

as

find

so

to

to

note

paint it,

to

me

it does.

long time before stately mansions

a

opportunity

fine

a

again tempt

never

it may

thing

afford

street

Canaletto,

such

many a

will

subject

a

done

COUNTRY

PAINTER'S

WATER-COLOUR

little

how

out

emulate

and

try

to

which

of

knows

one

drawing. It

be

may

interesting

this

that

town

one

was

of

the

in

the

/

residential of

West in

the

England

halt

a

the

the now

of

in

account comes

very

should

be the

coloured

;

the

In

and

should

Before

are

this it

from

one

on

this

a

the

lovely

if

of

colour

place

a

on

and

hereabouts,

no

castle

This

locality.

it

so

finished

white

efforts

should

usually and

workman,

in imitation bad.

All

therefore

the

is very

this

my leave

used, Which

be

must

are

and

In

nature.

advanced,

of

use

them.

part of the It is

summer's

country, mention

grand subject

a

the from

bridge

some

fairly

is the

here

to

from

far

master,

some

refer

studies

place, Chinese

the

points

It takes so, if

of

Castle.

other

this

in

to

place, such

presents itself from

many

it

have

not

Castle, the

landscapes I want

even

next

avoid

leaving

of Warwick it

into

making

first

for

are

I would

interests, makes

I

As

noted.

works

things

student

as

in the

choice

such

the

which

painting

particular thing

alone.

is bad

and

when papers the student,

opinion such

when

to

a

brighter rested,

all the

be

and' think.

me

digress

must

breath

Kenilworth

to

its other

to

beautifully

visited

back

came

refer

missed

be

to

Now

I

addition

take

I

will

talks

here

flourished

which

centuries.

of my

just to

place

a

unmeritioned.

which,

of

then

interested

were

Industry,

eighteenth

and

and

who

merchants

professionalpart

memory

left

the

Woolstapling

seventeenth

bit, but for

of

places

bridge which

has

evening time

to

possible, a lengthy trip the reward is great. managed

to

in the

it

always

for

remained and

advised,

There

admirably,

in my

enjoyed

made

picture, especially

seen

get acquainted it is

be

evening light. be

can

a

must

mind

as

and

this

saw

it profoundly.

painting with

I

but

country,

if this

can

be

CHAPTER

THE

WATER-COLOUR

Newbury

conclude

not

giving merely tempted

to

take

remarks

my

attracted

was

to

be

not on

was

to

its side.

to

The the

would

So

of

mine,

work

he

of

feel

should

them

for

out

point

soon

I had

disclosed

from I have

the

as

This

is all

I

Mr.

saw

It the

out

most

whole '

and

was

the

to

up

restored minister

heavenly 250 95

a

the

with

wonder miles

view of of my

beast

it

as

sloping down

(the

with

about

settling the

thing

poor

course,

reward,

my

to his normal

the

which

down.

animal that

beauty, trip to

that see

it

begin which state.

comfort was

its less

becoming

threw

to

and

friendly help

a

be

my

admiring

an

and, of to

peculiar

very

now

to

stand

Sheep

such

was

were

on

attention

my

wriggled

legs

leading

in order a

me

the

seemed of its

a

Thinking

animal

it could

reached to

its back,

down

worn

before

road.

ridden

and

in

watched

struggles

of two

in which

way

quietly jogging

was

sheep.

restfulness

faint

grass. as

me

sheep

hidden

should

accidental

and

on

the

The

hold

I

I walked

where

to

quiet

minutes

the

nibbling came

I

pair

one

anyone

and

behaving

was

other

the\air.

a

As

machine

amiss,

ridge) in

of the

about

thirty

or

caught

several

was

journeys

only

leaving Marlborough,

that

got off my

taken a

I

However,

after

floundered

legs flapping and less, and

on

If

general,

in

discovered.

sheep

a

I

of twenty

road

of work.

amount

having

extent.

illustration

Downs

and

struggled mob

and

of these

one

an

be

irregular way.

would

that

to

directions

is

can

the

across

way

on as

following

subjects

fine

experience,

is limited

large

a

and

starting-point,although the student that the place is uninteresting. I am

this

own

venture

of

joy,

much

me

gave

in all details.

himself The

from

my

seeing

my

eyes

the

at

salisbury

to

which

bicycle expedition addition, productive

Devizes

and

wiltshire

across

get anything

COUNTRY

Hungerford

to

a

in

not

must

back

was

was,

did

PAINTER'S

(Berkshire) and

THIS

XII

of

entirely

gladly it, and

"u o" 00 cj

g

J3

w 00

a

o I"

H

"

1

a W

.2

H en

P 1-3

a

M

to

-a.

3

bO

I

-a

H

BERKSHIRE such register the hunt sort

a

satisfy any add

him telling would

of

of the incident

help I

had

halt

next

by

pass

received

given his sheep,as died in

was

few

a

chosen

was

a

view

where

I

mellow

later

and

warm

he assured

road,and

the

on

hearty thanks me

the creature

I

spent

and great pleasure, incident

at

time

some

also

was

least. The

point

got a fine view of SilburyHill,which

bath of

beginningto

There go down. work, so 1 settled to

paintedthat

uncommon

uninteresting.Just to aroused in sheep, I may

SilburyHill,where

near

one

in appeared rising

I

a

zealously

minutes.

paintingwhich afforded me from one extraordinarily interesting

to do my to me as

as

his

a

I had

near

I may have shepherd a few minutes

the

surelyhave

My doing

how

how

interest which

that I met

for the

point we

97

I tellthis to show

prosecuted,and

be to the

may

WILTSHIRE

thingof loveliness; be

must

AND

the sun light, justthen was yet a good spellof time for me it quietly. It became very evident

I should

warm

find trouble

with

the

middle

foreground. To leave the turn lost in the

of the road

as

it went

downwards

and

became

interveningbetween me and the mellow hill beyond was quite impossible, yet how to not at all obvious. A man a relief was drivinga cow or manage well as a three girls two passed along,and two as or on bicycles, flock of sheep,but nothing was justright. It is at a time like this that it becomes very evident that to attempt a bit of design is such an invention would be sure to look next to impossible, as tame and not rightfor the particular spot. and As usual under such conditions,I began to get irritated, had almost given up hope that anything of interest would turn up, the when the unexpected happened. A large tilt-cart turned white coveringgave and the lightfalling its practically on corner, At I got it in and once me justthe spot of lightI was cravingfor. soon

very use

it

as

dense

shadow

labour

my well

as

of the woods

ended.

Now

possible.There

take

was

no

of my

one

washing out

secrets

of my

and dark

scrapingeither,for the carjb was paintedon a pieceof clean paper left ready for the righttenant if it turned up. it appears In this way as though my friend the cart had been the picture. plannedand thought of from the time I commenced of

mass

I had be

shadow,

settled where

asked,

turned

or

"

up ? picturewould

But "

the group would what

To have

to

be, and that

happen

questionI

which been

was

a

failure.

if that can

I may tilt-cart had not was

aH.

only reply,that

my

It is not it seemed I

me

to be

got comfortably to

and

but in this case objectis so essential, in quiteso aptly. so, and nothing else came Devizes, where I found pleasantquarters,

always that to

having

strained

COUNTRY

PAINTER'S

WATER-COLOUR

98

an

fresh paper,

rested

well,as

for my ride to Salisbury. Between there is work for a long summer, or even

paration necessary preDevizes and Newbury a

the best

part of

a

time, life-

for a hunting-ground for a simply prospecting of great most class. The next beautiful,with masses day was clouds, for there had been rain in the night and the weather fluffy seemed breaking. I rode on happily enough, but saw nothing to bring me to a halt of sufficient attractiveness to turn to artistic It is the greatest mistake to imagine that demonstrative account. efforts can for ever be occupying the painter. brilliant beyond words On this particular day the clouds were in their pure whiteness, and piled themselves up into the most and yet I did not want to paintthem, gorgeous heaps of loveliness, but only to look and admire. And always let it be remembered that observingnature in its various conditions should be a highly important task for the student, and for the matter of that every other sane Apart from the great joy of it,values can be person. thought out and compared, as well as the arrangement of lines and the generalplan of compositions. Drawing and paintingis not book, only learned when the head is bent over drawing board or notethe mind but also when is busy making attentive observations and storingthe brain with such knowledge. This cannot be insisted on, as trainingthe mind to be continuallyon too much the alert is of infinite value. This habit of mental picturedrawing and paintingis fascinating it is beyond words, and when once acquiredit is an ever-present joy. Every detail of picturemaking be practisedas the various aspects of a landscapepass under can

only

I

was

review. The

consideration

of

line,of values, and

weighed and decided on, and from place to place becomes

thus the whole

of

colour, can

time

we

are

all be

moving

This may long period of work. of gettinga knowledge of the various a seem very simpleway truths of nature as exemplifiedin painting. But it was years before I fullygrasped the advantage of mental drawing and painting. I was told to try such practical never observation,and so it to me I had once only came as very gradually. However, as soon tired of comparing the value of various never grasped it I was vision. I got rather too intent across objectsas they came my one

BERKSHIRE

AND

WILTSHIRE

99

occasion,and bicycledinto a herd of cows, which cost me five shillings before I pacified the drover, as I had damaged the of one shock would assured the nervous ear animal, and I was

upon

one

check

its

milkingfacultyfor a time. Although bred, so could not argue the point !

London

Many

time

a

I have

found

so

to interest

much

in

me

interest have

not

painter. The

a

owed

their subtle Plain

will

adjustment of

never

to some

to

I must say

spots I have colour

so

ever

much

seen as

to

get along or Salisbury

nothing of the rest of most interesting sky a

paint one Stonehenge. It happened

I did

little to

Hampshire

compositionor

values.

knotty begun a

at

this time

this few that

in progress, and this fact helpedme subject. The sky had been charming me for were

manoeuvres

get materials for

of

beautiful

be traversed, to

miles before I got to sort of

Weald

most

their charm

journey. particular some

The

was

a

point of values that I have unpacked my traps and analysisof a subject,which in itself afforded practical

Illus. XXIV.

I

born

Sussex

a

time, and the white road

as

it wound

across

the

quietly

M W H o CO

W

m Eh CO

W O

BERKSHIRE

undulatingland

was

to think

beautiful

my

lol

not interesting.These pointswere to satisfy me. However, as I was beginning eveningcloud sky would never be done, the

very

in themselves

enough

WILTSHIRE

AND

rightthing croppedup. The road in front of me took a turn which the station point for a finger-post. was And here were grouped two or three "avalry-men. It was all justright,and in a moment I was off my and was machine working at the group of figures, the key of the position. as they evidentlymarked The sky was full of joy,as the strong values of the figures now in fine relief againstthe clean brightnessof the eveninglight. were All went happily, in a hurry to be gone did not seem as the figures since they had managed to get something to drink which delayed them

and little,

a

so

time

me

gave

Salisburywas very" pleasant,as cloudy day, and very hot. I do people,but

the

to finish.

the

The

further ride into

evening was

clear after the

know

not

how

heat affects other

beginsto get low, a very melancholy excitement which also has in it a great feeling of pleasure. comes, I think this feelingmust be associated with the lovely colours which begin to wrap up nature as the nightis coming on. At this of the time, if one has any imaginationat all,a passionatesense charm and

to me,

of nature this I

As

of

at

mystery a

was

am

was

others

as

came

that

one

but

before

never

sadness.

Stonehenge

about,

In truth, common

for the first time.

In fact, I had

not

met

feelingof interest,however, left me seeking an entrance through the barbed wire demanded a policeman on duty, who politely It

too

was

machine quicklymounted my the class of sightseer who on This city possesses much

made

advice

leave

the student

is to

and

that

much

for my

rode into

me.

place

seen

I share in

I think

the

object on in front of

was

of feeling

seen

sunset-time,

All my

upon for admission. shilling

to

unusual

an

Stonehenge my

at

strong.

of

known

have

who

moved

so

very

aware

increased

apparentlyno

for miles.

moment,

was

this much

near,

often

very

effect,which depressing

most

with many There

I

knew

once

knowledge that

it had

I

arises.

sun

evening the influence wheeled along I was

horizon, and The

as

nerves

;

one any-

in

a

fence one

I

so

Salisbury, meditating

this necessary. but my is highly interesting,

such

a

scheme

as

the cathedral

alone, so far

as

and Turner be well left Constable can paintingit is concerned. with the glory of their achievements. As a distant object,of it comes grandly into the landscape,but as a near object course, the details

are

far too

bewildering.I

have

never

had

sufficient

"

13

to +"

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BERKSHIRE

try it,and do

to

courage

old interesting

very

to the student

into details

this

on

from interesting took

now

There

AND

me

not

I

suppose

103

shall.

ever

There

are

here, which buildings

will

who

work, but I will

is keen

subject. I

street

on

shall be

the old houses

givemuch

coming

point of

the Downs

across

WILTSHIRE

view

to towns

later

on.

some

ment amuse-

not

far

go

more

road

My

to Winchester.

happy thingsto be but nothingto low-lyinghills,

plainsof rolling call for particular attention tillwe Here during stormy weather the cathedral get near Winchester. be seen associated can grandly pictured. Dark woodland masses, with richlycoloured downs, in the midst of which the stately lines of the cathedral add a beauty and as complete a picturewhich to my knowledge has never yet been painted. Such a pictureis are

seen

these open

on

"

often seen, is fine,but not

not

the normal

as

few miles up the Downs It is the storm qualitywhich is

condition

a

so. superlatively I have wanted, and rough cloudy weather is not always at hand. this view, as I have attempted to describe it, once seen only, and then I had not even the back of an envelope with me, and did not Neither as was good then as it is now. memory my I possess the experience which makes it possibleto paint a thing a few hours after seeing it. It is this class of picture

which

is

seen

such

to

admiration

of the southern

the whole

over

counties.

proximity to

The

the

occasions, without

Channel

English

doubt, the gathering of great rain clouds, and inland by west

south-west

or

country. Afr least,I have kind in the southward east me

north-east.

or

when

always

found

counties than I note

I first observed

interest others also. I have than in the south

winds, break

this

I have

just as

it,and

so

never

seen

I

an

these, if driven

up in the hillydown effects of this far more in the Midlands

item

thought

which it

or

the

interested

might possibly

finer effects of storm

clouds

of

England. From Winchester to Southampton a very pretty and interesting part of the country is passed through, which increases in beauty the coast is approached. The character of the land the more as east we parts becomes go rises in bold downland, which in many Hills. Much work can be found here, headlands, as at Portsdown where

for many

weeks

I have

great pleasure.The water-ways affords much very

charm

of

shippingas

the

from

time

to

paintedwith land in irregular

time

breaking into the with the added that is interesting, least pleasingfeature. by no means

sea

WATER-COLOUR

104

Portchester

Castle

which

at

The

view

of

middle The

adds

have

an

unpleasant

of

other

of

it

There

for

brush

be

taken

must

finds

anyone

eastward

the

Chichester

are

district

which

painter.

as

and

I

look

it

in

the

as

a

very

a

Isle

will

villagesas

at

once

important

getting

In

get

on

on

workshop

I to

intend

a

still

further

for

of

the

and deal

to

part

jects sub-

painted

be

Portsmouth

between

later

for

which

should

Wight

this

upon

sentiment

personal of

plenty

be

to

locality

fashionable

Wight.

thinking,

my

me

far

moved

calling

without

very

but

to

of

never

to

I

the

as

Isle

was

appeared

Sussex

with.

town

the

and,

attractive.

with, I

separately,

is

and

towns

fallen

upon

and

sufficiently

small

but

wholly

This

such,

times,

paint

to

pencil.

or

in

of

dealt

the

restricted

too

be

taking

afford

Weald

to

bringing

always

England

"pretty-pretty"

work

three

or

found

the

when

away

two

place.

parts

rather

I

as

effects

further

visited

there,

work

this

and

of

should

Hill

northward

variety

a

building,

interesting

Portsdown

looking

cloud

distance, I

from in

found-fine

Isle

to

if

and

highly

repeatedly.

Portsmouth

Hampshire

generally

and

grand

a

painted

I

interest,

endless and

is

time

one

COUNTRY

PAINTER'S

with

England

landscape

CHAPTER

THE

WATER-COLOUR

The

is the

JOY

I

as

a

Fens

that

this

it from

but

before

I will

rain

whilst

In

one

The

miles

great

scattered

of

great agricultural and

and

numbers, been

has

kept

Search

only. from

east

give

a

to

the

county the

to

Lincolnshire

the

of the

time

In

"old

such

one

this

in

county

known

terrible

as

this was

no

the

to

from

my

north

in

this

abounded

Pilgrimage Henry

or

priory

being, in

and to

that

England

in great monastic

particular spot the

thing

one

south

to

stately abbey

and

105

a

rivers

pumping

mind

counties

to

with

course

continual

richest

umbrage

are

with

of

are

of the

"the

of

There

supplied

for

hatched

land

associated

reason

landscape,

were

religion"

gave

in it is found

this

ten

years.

and

of Lincolnshire

Reformation,

institutions, they extinction.

a

a

tion. direc-

mills, bridges,

there

thousand

interrupted un-

found

objects

of

objects

kept dry by

is

of

opposite

interest.

well

complete

you

the

whole

water-ways

nearly

was

round

pumping

is also

thing lacking,

one

west, and

charm

land

for

so

although

the

the

as

is, however,

There

at

Small

great water-ways.

endless

sheep,

neath, under-

miles

rendered

The

all other

district, which

in

seen

in

life and

of

and

of trees, and

groups

were

air

coming,

perfect playground

a

turning

the

having

was

thirty or forty

distinct.

objects

cattle

in

of

was

clear

was

I

as

weather

weather, and

worshipped of

the

weather

distances were

feeling

my

first time,

atmosphere

romped

clearness

with

numbers

the

be

extraordinarily

abounds

flatness

mean.

by simply

waiting

beautiful

away

Lincoln Broken

there

to

the

first visit

a

wonderful

and

for

exactly

clouds

direction

of vision

joy

I down

The

country, like

was

what

the

cloudy beauty.

perfection.

It

came

above

fully expressed

lovely county For

COUNTRY

Lincolnshire

of

which

London.

explain

the

Wolds

I know

produce joy.

to

said

of

word

only

to

PAINTER'S

and

approached

travelled

kind

XIII

doomed

rebellion

to to

utter

reinstate

of Grace."

This

VIII, that

he

break out-

issued

8*

42

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t

LINCOLNSHIRE a

"

decree that this in his

stunk

land of

should nostrils,

house, but that all should

107

vipers,this

hotbed

of

sedition,which

possess the remnants be utterlywiped out."

of

not

religious

a

And

thus

our

of

queenly beauty is robbed of this great charm, and no artist in recordinghis wanderings in it can add to his fame by paintingthe rich beauties of Bardney, Thornton-le-Wold, Crowwith which the county land, or a score of other abbeys and priories adorned. (It is true that, with the exceptionof a few single was walls here and there,these buildingswere cut clean to the ground, as though a scythe had been used to make completetheir county

destruction. But this

if for the work

the

respect,it is in truth

and perfection,

hold remains happy I did

the

as

painterhas in hand the county fails in its only shortcoming. All else is here in

charm

of Lincolnshire

lastingimpressionon

a

in the land I had

come

to, and

on

when

the mind. the

it has taken

once

I

at

was

evening 6f

once

arrival

my

drawing of a pumping mill on the River Witham. town, chieflyinhabited Spa is a pleasantmodern

Wood-

a

by the who go there to take the cure. It has, however, nothing patients for work. else to recommend that it makes a good centre it,save it Lincoln and Boston be visited with ease, as they are From can both on the direct railway line. Bardney is an interesting place it and at the latter many about half-wayto Lincoln, and between hall

fine views

can

be

seen

of the

cathedral.

I hesitate to

attempt

to my thoughts of this building.My give expression drawings,I hope, do better than my pen ; but as I feel I must say something about the places I painted,a record is here made. Certainlythe day I bicycledfrom Woodhall, with the intention of working my way over to Lincoln, left nothing to be desired in the of weather. It was beautifullycloudy,with an element of way storm hanging about to give a blueness in the distance, and now which might turn to rain at any and again a heaviness overhead I knew that I must moment. get the far side of Bardney from

in words

Woodhall where

I

to

before

I could

get the

cathedral

to

sit in my

requiredit.

sluggishstream winding among constantlyaffordinga pleasantforeground. It was

The and

River

in the river

Witham

a

is a

few miles out of Lincoln

quitesuddenly a beauty which

I

a

treasured

the Fens, at

a

turn

that the cathedral assumed

hope

may

ever

remain

north-east

possession.The blue-clouded the lovelycyanine,and againstit,bathed in sunlight,-

as

work

with was

me

of

a

cathedral

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03

LINCOLNSHIRE enthroned

sat

The and

109 "

in

statelymajesty a true Queen of the Fens." hill on which the cityis built rises abruptlyfrom the plain, the cathedral makes ings a fitting completionto the mass of buildwhich

"

cluster round

air in this district which to its interest.

it.

It is the wonderful

affords such

a

charm

clearness of the and

adds

much

so

paintingsuch a subjectthat the truth is brought honie to me that, by direct method, and by it alone,can such a picturebe achieved. This, my firstimpressionof Lincoln, only got stronger as I became more acquainted with the beauties of the place,and had opportunities of again and againpaintingit. The fine subjectsfor the city within its walls possesses many ating painter,as its hillystreets often show the cathedral as the culminpoint of interest in the composition. The

It is in

student

the beauties

with

of the

this introduction

placeat

to go into detail of the many

his

to Lincoln

for space will leisure,

pointsof city.

work

must

allow

not

interest I discovered

out me

in my

wanderings in and about the My next tripwas to Boston, which lies about sixteen miles in the opposite direction from Woodhall. Very different were my when I first from those I had I into this as town, came feelings, bold hill capped by a majestic there is no Lincoln. Here saw cathedral,but the whole place is on flat land. The church is, for landmark forms a striking however, very fine,and its tower Boston Stump," as it is called, thirtymiles in each direction. is looked upon with much prideby the inhabitants, and is a grand truncated example of what is known in Gothic architecture as a that it is a spirewhich is spire." This term of truncated means from cut off about twenty or thirtyfeet after it leaves the tower which it springs. The drawing of mine of Boston, which is here of the Stump." reproduced,shows clearly the appearance There are several such towers in the west of England, but this is "

'

"

the finest I had

ever

seen.

different from those I had when feelingswere much first I saw joy possessedme, as I Lincoln, but very soon had only changed one feast for another of an equallyimperial side which character. The richness of the subjects gatheron the riveris trulyastounding,and filledme with a fierce desire for work. pleasedthat their Very kind, too, are the Boston folks,who seem and that its interests is being made the subjectof .pictures, town so much are appreciated.This feelingof being made at home and happy is a great pointwith me, as I am convinced that my best I said that

my

111

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ft

o 3

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ra 4)

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8

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m

a to

",

","

"

LINCOLNSHIRE work

has

The

been

river

done

built up with baulks of timber.

least,or

it

so

appeared

for

enough

I feel

joyfuland

tented. con-

the town, and on either side the banks stone and brick, and held togetherwith great I think the rise and fall of the tide must be

are

at

placeswhere

through

runs

twenty feet

in those

111

to

and

me,

that

is

good landing-stages;

descriptive purposes. the warehouses, loadingand unloading of vessels,afforded endless pleasureto me as I wandered through the town and made fresh I had never discoveries at every turn. seen a placeof such interest in its particular way, and reflected lovinglyon the work in store for my brush and pencil. From parts of the town I found many the forming a fine interest as it rose above the neighbouring Stump I week and then mined deterbuildings. spent a working here, the water-way which runs to investigate out of Lincoln to the north-west. This is the Gainsborough Canal, which I found full of interest,as it is much used by certain barges which carry a largesquare sail,and form admirable subjectsfor painting.The foregroundswhich this barge traffic affords interested me greatly, and in the distance Lincoln, with its towers, constantlymade a "

All the details of

"

incident.

happy

search for

In my

subjeetmatter, neighbourhood of

than the

more

active life

much

busy,

which

to make

The

a

questionof

such

on

a

foreground are a

canal

as

a

for my

theme

and

the

brush.

in which locality

Rickmansworth, is very me,

as

The

it does not

come

There

water-way

another

that

which

always so subjectsfrom tion, considera-

has often afforded

was

Junction,

in the

I make

further reference

neighbourhood of this note as the place be made to it by can

into any of the localities I mention in this time I spent on the Gainsborough Canal was

book-(p.114). The as it introduced very profitable,

me

to this class of

very different from that which is found like the Medway at Rochester the Thames or even character

fact,it awakened

helpedme

is

canal I refer to is the Grand I worked

no

canal.

plentiful. being under

in Hertfordshire.

and interesting,

a

localitieshave

fieldfor work

I think it as well to mention a

few

in

me

to be able to charter

a

such

an

interest in canal

work. on

a

It is of

broad

at Oxford.

a

river In

that I hope life,

future time and live the life barge at some of a bargee for a spell. Such a tripwould be free beyond words, and possess also an element of charming simplicity. Should these words awake in anyone idea into practice, I a desire to put the

w

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8

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J

X

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3

rS'

LINCOLNSHIRE

113

"

conjurehim by

the

"

that he must gods to gang warily." I mean to the cleansing and fumigatingof any craft he gets see carefully hold of,else there willbe a terrible awakening. I could be more forcible, and say there would be no awakening, from the simple fact there would have been no goingto sleep.I have found much distress when paintingin the neighbourhood of barges from the attention to the

of certain active little creatures

navigatorsof

these craft and

who

attach themselves

their families.

Apart from this,I cannot conceive a more than might be pleasantpicnic-time It certainly would be inexpensivefor a spent in such a way. small party and give time for uninterrupted work as well- There is always the halting-time when locked, barges are being locked and unfor work to be done more or less quietly. The process of gettinga bargethrough a lock is not long,but it is enough if the worker is alert and employs his time well. As a detail of the subjectsfound on a canal, I would mention the different parts of a lock itself. The drawing of such a thing is time and found and I have spent much highlyinteresting, great pleasurein such a subject. The student must be fullyprepared for difficulties, and certainly in the drawing of a lock he will find meal. a good wholesome I did not

follow this canal many miles out of Lincoln, but the part of it I did paintafforded me many days'work, and it was only lack of time which been

preventedmy

said,however,

to show

of it.

seeingmore

the student

Enough

the class of work

has

in this

outlyingdistrict of Lincohvand how admirable it is. those rising led me to the Wolds on lands, My next expedition which in the old days were rough and uncultivated,not unlike the wildest of our southern heaths or commons. They are now being is wild put under cultivation,but their general Appearance enough. There are interesting places within easy distance of many "

Lincoln, Boston, to

interest him

and

Woodhall, where repay

and

in

much

no

more

way

to

about

the student of it

as

a

attempt

the beauties to

H

of

a

visit. It

of the district under

make of

a

guide to

is,however,

consideration

it. I could write

duced but having introLincolnshire,

it,and given my

reasons

for

thinkingso

I must country for the landscapepainter,

investigation.

own

to

will find much

the student

the trouble

objectto givea generalidea

my

his

or

well

leave it for

w

U o

15

o

w u

o

1-1

M B

M O

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1

X

X

1

t

i-u^Sd-I

i

CHAPTER

THE

WATER-COLOUR

Richmond

Nothing

could

running

Witham

be

is

its rocks

through

changed

when

wandered

just

work. of

It

was

to

correct.

which

will

things

I did

This

is

choice

my

It is the I

river

new

the

and

tired

never

in the

complaints little

very

a

when germ

create

serious and

a

others

carrier." of

to

charming, fit to

and

from

the

view,

and

from

hours

and

have

subjects

of

the

first

terrace.

fights,but

the

town

with

evening,

to

of

the

by Of

afforded

other

the

always

was moors

A

no

the

me

rocks cause

in

that

I

of

by

bridge.

something be

can

got in I heard

personally much

was

she, the-child, news

never

likely

was

heard

little creatures

of any

dancing

state

of nakedness

was

for those

complaints

which

It is marvellous 115

found

of mine

piece

this

beyond To

of the

spot, but

pupil a

down

go

riverside.

the

this

at

such

course,

to

side

little creature

one

the

among

this

as

compositions

them.

anyone.

make.

One

fine in many

subject

a

children

flutter, but

a

the

promise

gave

supply

a

town

yards along

difficultywith

annoyance

saw

this

the

informed

bit

such

Numerous

about

paddling about

very

at

hundred

few

few

a

forecast

my

sinking

light

castle

of

"

to

the

working

a

of the

of

slowly

from

after

severely.

was

sun

from

me.

horrified was

of

down

sunlight.

waning

paint

here

It is very

neutral

in it to fascinate

length

many had

the

great change

a

view

general subject.

all in the

deep

which

one

proved

find

draughtsmanship

when

was

pulled together backing

student

well-known

a

will

and

delightkwas great selecting likely spots for

and

me,

another.

to

My

torrent.

After-events

the

was

to

great change

a

beauty

the

than

Richmond

world

come.

his

test

roaring

a

about

The

of

swiftly moving boulders, and ready

and

new

one

is

Swale

into

very

a

hours

happy

been

the

kind

contrast

greater

and

Yorkshire

part of Yorkshire

from

only

in

COUNTRY

Swaledale,

this

to

of rain to be I

PAINTER'S

and

Lincolnshire FROM indeed, but it

moors

XIV

a

how

dense

some

people

WATER-COLOUR

116

PAINTER'S

COUNTRY

heard groups of reallylovelything. I have repeatedly selves little thingswho were sportingin the water and enjoyingthembeyond words referred to as ugly littlebrats. Through the woods which here rise very grandly from the river be found, at the end of which a fine view of the castle a path can and town is seen, with a glimpse of river and bridge. Those to students who like street and buildingwork will find here much is chieflyfine in other interest them, but the locality subjects. to Easby Abbey, the Barracks, Race-course, From the field-path will be found which will provide work for the West Fields, much the painter. There is no lack of subjectsin the immediate bourhood neighto

are

a

of the town, fine one

things.

Middleham

direction and

endless

joy

to

and

the

country for

many

miles is full of

Castle, Bolton

Greta those

Bridge and who

are

Castle, Wensley Dale in Catwick in the other, all afford

looking

for

the

beautiful

in

nature.

paintingtripsto Richmond, each of which was productiveof much work, and I hope that I may still of paintingthere in the future. Before have many opportunities moving on to another place,I should like to say a word or two about the old bridge and its many interesting pointsas a subject it the subjectof a great many for study. I made lessons,as well as painting it several times myself. The bridge itself,as it occupiesthe right-handforeground,varies continuallyduring the be said of any other object in nature, only day. The same may the changing lightmakes in this case effects. In very interesting the morning, about nine o'clock,the bridge,backed by the castle in shadow. when you are facingit,appears This, reflected in the effect,and tends to produce a wellstream, has a most fascinating balanced composition. As the sun draws round, bridge,castle, and the thing is at then, to me, everything is in sunlight, in such a condition once, and found its best. I paintedthe scene it a most of buildings charming task. All the details of the mass and the whole thing,when showed worked out as I did distinctly, it,appeared most elaborate. In this case, I made the drawing in pen and colour and tinted It was it with lightwashes for the local colours. very interesting, and I would recommend such a study to any student visiting the place. In stormy weather the bridge and castle shine bright in the morning light, with a dark north-east background of clouds which often intenselyblue. are Nearly every stretch of fifty I have

undertaken

"three

YORKSHIRE

yards to the

of the

west

which in its turn known

not

for my remark

any

brush

as

has

bridgepresents a afforded

subjectwhich this

that it is

117

much

me

has

each of composition, pleasureto do. I have

new

given me

so

much

employment

I do not wish it to be inferred from

one.

this

thing finer than others,but I do look upon it as being variety. As I am this subject,which has always appeared so full of on beauty, I feel compelled to say how seldom I have seen justice done to its attractions. I may speak more stronglythan this, and condemn which have heartilythe many hideous productions Castle and Bridge. masqueraded under the title of Richmond However, it is not my objectadverselyto criticize the works of others. From the gasworks side the bridge in the morning light is very work. This can be fine, and affords most interesting at this point painted from either bank, as the composing qualities are so good that subjects are readilyfound for study. I have dwelt at some of this theme, as I am length on the possibilities convinced of the advantage to be gained by the student if full is paid to it. Not attention only is the drawing complicated, a

full of interest and

but the local colour is most When ruins

working

in

a

attractive.

district of this kind where

of castles, abbeys, and

are

many

buildings,I have found great advantage in keeping the pen fullyemployed. Not only does it keep the mind alert and careful when dealingwith such an arbitrarything as a buildingis,but it also givesa very I have seen sympathetic line indicative of crumbling stonework. a drawing of Fountains Abbey, where the delicate beauty of the architectural details has been sought to be obtained by a medium looked very much which like charcoal. Many have found the greatest pleasurein the use of the pen when dealingwith ruined and buildings,

many

more

and

;

I have

ancient

will continue

practiceof filling my pen with buildingwhich is being drawn. to suit the taste

other

there

to

do

so.

I make

colour to suit the local tone

it

of the

be of any kind used indifferently sharp and broad The

pen

a

can

just nibs,

liked them

If the

equally. student wants help in

better than

seek out

and

make

this class of work, he cannot

himself acquainted with

pen

Sandby. I shall have much but I thought a reference to them would to say about these men, well justat this point. Anyone with a likingfor pen work come and its neighbourhood, could happilyspend a year in Richmond drawings of

Thomas

Girtin and

Paul

the

do

and,

strange

much

is

it

that whether of

of

by the

points but

it

It

happy

fit

to

considering

force

knowledge. have

in

back

to

experiences

their

but beauties.

I

other

introduction the

of

digression method

here.

I

could

not

with

begin fields

considered,

call

I

began off

breaking I

work.

my

again

range

technical

before

sure

help

the

on

was

felt

is

masses

by

limited

only

where

and

Richmond

hunting-ground, of

little

connected

question

every

This

draughtsman,

The

brush.

construction is

come

that

or

which

comfortably

wanderings

my

get

a

possibly

seems

recounting

now

gives

painter's might

the

the

mind

in

borne

always

proclaims

pencil,

pen,

emphasize

to

useful.

the

knowledge

water-colour be

must

which

point

the of

that

lines

strong

the

of

use

It

sojourn.

a

his

do

sound,

may

such

be

it

most

it

as

good

COUNTRY

PAINTER'S

WATER-COLOUR

118

considering me

to

give

and

could that my

CHAPTER

THE

XV

WATER-COLOUR

PAINTER'S

COUNTRY

Shropshire

TO

would

the

to

I

paint

can

and be

describe

it is

but

convey

added

charm

colour

class

it

well

as

I

if I

is, but

excellent

pupils

my

country

in

in

pleasant

are

there

is

rare

yet

the

A the

for

one

my

my

do.

There

pupil

from

be

in

this

Keen

The

student.

enough

in

be it

instance

and

I here had

was

the

of

are

a

type which

There stood

shown

by

light

were

got to

save

afford

and

of

one

excellent

A

decidedly

fine

feature

beauty. 119

of

the

to

these work

and this

objects excellent

make many

It

lady.

which

farmsteads

seek

to

goes

great variety of subjects makes

buildings

is

work

house,

simple compositions. In interesting and form good subjects

more

my

mildewed.

labours

own

my

water-

why

in this

interest

an

know

of this

store

to

not

Wint,

least

the

a

pleasure.

de

old

an

got from

that

then

Truly

of Peter

was

after

I do

much

me

going

I think

looking

was

ings wander-

satisfaction.

every

to

versa.

Severn.

so

during

places draw.

the

Even

farmsteads, for

pencil

landscape here is a continual help in the picture. Coming river, which distance, it is a thing of into the foreground or middle

brush.

either

to

I

giving

being

not

work,

such

with

little

the

a

consequence.

when

and

their

vice

paper

above

for all who

churches

on

drawings

good

a

associated studies

of

county,

devote

to

one

If, however,

me

surroundings

lessons

my

state,

rising ground

on

will afford

that

my

and

can,

working

charming

were

is

possibly

of

advantage in

in

happy

am

I had

of

lifetime

a

give.

neighbourhood.

in this

granddaughter

the

was

house

a

I

right thing

fact

county

bit

a

that

pleasure

the

this

only

of the

quite

was

happy,

very

was

met

it

as

known

well, in the

as

at

the

journey

my

since

first

Shrewsbury

of

I have

as

slightly all

all I have

beauties

impression only

an

there, this part of From

and

required,

subject

the

*

120

Distant

about

Harghmond

three

Abbey.

COUNTRY

PAINTER'S

WATER-COLOUR

miles from

Shrewsbury

rich meadows

The

the fine ruins of

are

which

surround

it and

feeding-groundfor fine herds of cattle which to me are always a happy sightas affordinghelpsin foregrounds. A fine point from which are seen the spiresof my stretch down

to the

river

are

the

the river-bank here. Shrewsbury from the town, is got from near its gracefulspiresnestles close by, with its clustering underneath

buildingsand complete a picturesweet kindly English scenery red brick

.

tiled roofs.

The

distant

cool blue

hills

charming simplicity.The dear found to greater perfection is nowhere the painting I executed When than this Welsh borderland. on from this spot,its qualityas a national type suggesteditselfto me had their which moved me very strongly. The pleasantemotions herds of cattle,the rich originin many things. The wholesome meadows, the town risingfrom this wealth of land, and beyond, all seemed to tell a tale of England. the low-lyingrange of hills, After spending a week two here, I began to feel how or great an had the the influence soothingnature of place upon me. rule when to my teaching of only givingone Keeping strictly work. three-hour lesson daily,I found ample time for my own Early evening is always a favourite time for me to begin painting. In my to this time of day is the experiencethe only drawback dew, which hinders the paintfrom drying. No better plan falling be found when this is the case than to leave a line,of dry paper can between the colour masses. Great care must be taken to keep the vantage adcolours separate, as explained in an earlier chapter. Much is found when working towards the evening from the fact that the masses of the landscape become distinct as the more details fade to young

out

of view.

in its

I do

students, as it is apt

experienced,who are able knowledge, the evening is

not

suggest this time, therefore,

to lead to carelessness.

To the

more

generalizeand suggest with greater attractive time to paint. To all a very I would say, beware of that most hideous colour purple. At any time this colour is likelyto be a dangerous stumbling-block, but it is never so insinuatingas at sunset. Amongst the many pretty tripsI have taken round Shrewsbury, back with more none comes pleasurableassociations than the one I took to Wenlock Abbey. Much Wenlock is the town to steer for, and once to the Abbey is simple.' you have arrived there,the way The buildingis one of the few monastic institutions of which a used as a private residence. At the time when I part is now to

"

SHROPSHIRE

121

painted the place it was occupiedby The Rt. Honble. James who afforded for pursuingmy Gaskell, me kindly facility every work in comfort. The day I was at Wenlock most was fully delightand the ruins full of The colour of the were light. sunny, stone of which the Abbey is built is very warm and the shadows of

were

allow

beautiful coolness.

a

work

to

me

for

Certainlythere would delightto employ my After another with

work much

before

Shropshire

did not

amongst such lovelysurroundings. been no lack of subjectsof great

or

so,

during which

saw

me

and

in

I

employed myself Having long

London.

to

Shrewsbury,

it

was

not

being this time my neighbourhood should find much

quarters. head-

again,Ludlow

students, as the work

great variety. Those

time

itself,I returned

material interesting This town

that time

only sorry

was

brush.

town

found

with

have

week

in the

week

a

I

to

be found

within

favour

its borders

is of

placemust skipthese pages, I shall give my experiences that is as far as drawing as very fully, in. and painting thrown are concerned, with a littlepicture-seeing I began with the castle,which is a very fine buildingof many such a traditional parts and large proportions. It has become bereft of all sentiment, habit to draw and paintbuildingsin a manner

'

who

that I shall try and in them. There

valid

is no

reason

know

show

why

the

the existence

such

of other

subjectsshould

possibilities

not

be full of

with the be very sick as a young man palsiedthingsI used to see in the so-called great exhibitions. To be fed on such stuff is enough to create the worst ideas as to the

great quality. I used

of this possibilities

charm

of Bosboom's

I cannot of

too

to

class of work.

work, and

stronglyurge

studying the work

now

Fortunately I that of latterly

the student

upon of both these

men

when

the he

have

felt the

Pryde. great advantage is engaged upon James

talkingabout. Their work shows the sparkle of the heavenly thing,and how marvellouslythe simple object of the gods. be dressed fit for the company can Ludlow Castle is a building of such size and so many parts in that it is well adapted to furnish material for pictures.When have a most strikingeffect. masses strong sunlight,the shadow and massive The openingsgive that deepset window masonry buildings. statelygrandeur which I find so attractive in Norman will I hope that many a happy day, and Here I have spent many find the opportunityof doing likewise. Apart from the castle the

theme

I

am

now

there these

few

near

I do

not

think

risingfrom a

objectswhich

a

are

it worth

the river

fine vantage

COUNTRY

PAINTER'S

WATER-COLOUR

122

ground

while

which

from

to

into detail.

go

oppositeside

the

on

afford interest,but about

may

from

cliff

The

affords

the town

the

the town, castle,and

to see

bridges. the cliffit is the centre object old bridgeis very fine. From is stormy, the when the weather fine features,especially of many and the interveningmaterial distant hills making a grand skyline, the castle interest. From in the composition teeming with readily be interestingseries of views can ramparts another two

The

which

seen,

the

word

should

in its

amusement

interest,and much The

afford the student

that

is

much

sense

newer

"

I

amusement. to

mean

a

use

twinkling

charming.

surrounding country

is full of work

for the

painter,and

explore,as after all my stay short. I had every opportunity,however, thanks at Ludlow was of gettingabout the of my pupilspossessed, to the car which one neighbourhood pretty freelyand of making myself acquainted in with its chief characteristics. I also had an opportunitywhen this locality of letting pupilsknow what I thought about the my The of photography to Art. quite question arose relationship in fact quiteas casuallyas the subjecthas crept into accidentally, this chapter. As photographyhas often been quoted to me as a great help to views about it. My the landscape painter,I will express my shall be the whipping-post. It Ludlow pupil and his camera happened that I was lookingat a drawing which included a part This study was the to drink. of the river where cattle often came work of the photographer in question. In lookingat the drawing, that much interest would have been added I remarked by the contains

much

group of supplyingthe means

presence as

that I had

of

a

no

cows.

time

The

to

camera

of gettingthe group

was

at

once

wanted.

suggested The

tunity oppor-

good one, and enabled me to chat a while to those who happened to be present,and to explainmy views. of photography as a help to the landscape painteris The use the reason entirelypernicious, being that a thing which is purely mechanical can only injure by its presence that which should be Granted that only the shapes of objectsare entirelyemotional. the influence of this mechanism used in a picture, is incorporated in the work, and its presence can be detected by the critical. However of is in a piece carefully photography copied, order to make was

a

SHROPSHIRE

123

it look like a and

thingtaken direct from nature, the hardness remains culty qualityis felt. I have never, found any diffiin detectingwhere details have been copiedfrom photographic studies. Objectsin nature are often merely so suggestive, excessive detail,which is sure of phototo follow the use graphy, destroyssuch suggestion, I have thought much about

the mechanical

that this from

subject,and $he conclusion I have come to this source is bad from beginning to end.

the effect

the work

on

of all those who

use

is that any help And being bad,

photographywill be

bad

also.

Photography has played its great and has been

of infinite of

or shilling

and

to the artist.

By

great drawing is providedfor

a

two

advantage

useful work

which

might otherwise

cost

a

its

in

Art, and

means

a

few

hundreds

production re-

pence or a of pounds,

be

beyond the reach of any but the very wealthy. In the enlargement of designsit is useful beyond words, whilst in book its effect has been a complete revolution of the art. illustrating But granting all this to photography,and much which I more have not enumerated, it can be a help to the landscape never the reverse. Now painterbut entirely having relieved my mind this and paint one on more subject,I will get back to Ludlow picturebefore I leave its lovelyhills and vales and trudge off to a so

different kind

very

One stormy

of

country.

afternoon

I had

been

wandering

about

seeking a fancy particular

subjectto paintbut

findingnothing to

of the moment, when "brow the of the on

suddenly arrested. I my attention was cliffs overlooking the river and town.

heavy

cloud

mass

was

suit my

was

A

overhead, and under it the distant hillswere

lit up with a beautiful pearly warmth, the town with its castle and trees being richlysombre distance. On the in the middle cliffy the

top of which formed little group of children,whose "

of the

foreground were gathered a bright attire justcaught the last in brilliant relief againstthe dark my

"

settingsun, and was This group occupiedthe left castle and woody middle distance. middle of my picture, and was the key of the situation. I worked able to finish completely before either the very quickly and was sky effect altered or the children had gone.

rays

picturein order to show the beginnerthat every in finding^a will again and again experience one great difficulty ment. discouragesubject,and that such a quandary should not cause but of I want to give a fair idea paintinglocalities, my 1 describe this

necessarily

many I

comment.

character

hand

PAINTER'S

WATER-COLOUR

124

of has

been

a

hope,

places given

happy however,

hunting-ground that

in

inspirations

where to

COUNTRY

the

student

of

must

what may

I

have be

landscape

be

left said

found,

painting.

without as

a

to

the

helping

CHAPTER

THE

WATER-COLOUR

PAINTER'S

Rye

With

to

much

and

Possibly the

that

been

resorted

rule

my

me

whilst

joy, and

a

found

I have Seldom

time

of

although

of my

sweetest

has

learner

lessons, leaving In

one

a

or

mutual

a

class

water-colour few

years

colour so

for

much my Before

to

who

had

to

from

gone

the

me

it

as

be.

whom

I

to

me,

begin

to

of this

that

talk about

I

a

should

short

wife, before this

after

when

about

I had had

I had

to

The

of

fortnight

labours

their

the

to

strong love

my

a

of

many

so

first

my

been

trip I

have

course

been,

not

with

I had

kind,

pupils. Many

my

spent

is

troublesome,

who

words

few

having

pictorial art.

had

giving help

my

that

time

these

nature.

first class, I selected I

my

Rye

seriously. During interest

work

life after

though

was

painting from previously with

work

with

to

teaching

happiest impression. such met a pupil

I say at

was

than

time

never

I have

instances seemed

rather

bore,

a

my

that

really been those

Not

compulsion.

of

of my

teach

find

teachers,

been

less

remains

associated

are

has

part

cause

has

anything

to

'and

interest

because

teaching with

it has

and

years,

two

pupil

I have

with

the

who

others.

to

or

limited

fact, however,

memories

come

been

helpful

very

many

instructing

a

teaching,

excellent

most

more

for

been

knowledge

under

to

have friends

being

them

to

a

energies

their

devoted

to

course

of

faculty

occupied with quite hard do very happy pictures,

I found

have

impart

have

may The

who

Sussex

and

a

my

only devoting

it irksome.

found

can

of

of others

helping

among to

remains

only

has

pupils

fallen short

have

fact

found

effort

Kent

of

lot to possess

I know

in their men

the

have

to

Coast

the

happy

very

COUNTRY

Winchelsea

and

of

work.

my

such

but

to

my

worry

that

part

further, in

me

a

been

ITandhas

XVI

taken

in

place

up

water-

painted, and

found

decide

upon

a

a

place

Rye. the 125

beauties

I found

here

to

employ

WATER-COLOUR

126

COUNTRY

PAINTER'S

penciland brush, I should like to say a word or two on fallacy. I refer to the often expressedopinion that ssuch

a

placehad

exhausted. own

Now

eyes, and

been

the

popular

such

one

with their

sees

artists of

quality

the result is two standpoint,

same

and

itsinterest has become

this is a terrible error, as every two peoplesee alike. If two no

subjectfrom

paint a

paintedthat

often

so

a

lutely abso-

different

pictures. The same objectis looked at, but the resultant pictureis the emotion of the individual, and no two brains think alike. Thus Rye may have been often painted,as it has, but the student visiting doubt the place for the first no time is going to translate it in his own way, and it only remains for him to see that his renderingis a good and interesting one. It is a very worrying idea this seekingfor fresh fields,so it is far better I

think

to

that

no

always feel quitehappy and

have

been

never

used

has

one

by any

paintedthem

ever

before,

that my eyes and my else,and therefore the

assured one

brain result

is

going to be my own entirely. Now having settled the point that Rye is a very hackneyed One more word I place,I will get on with tellingits beauties. will say, and that is,that of all the placesI know, never has one had its beauties so much abused by bad work as this delightful spot. Bad labelled old town

is a poor tame word to call the stuff which I have seen views of or views in or views near. Rye Approach the "

from

Winchelsea

on

a

evening, and

summer

there

is

something to be seen which will repay you. But this very simplelooking silhouette of the town, capped with its charming old church, is not going to be depictedeasily.Do it again and again, and stillit eludes your grasp, and the student knows, with sighs, that his drawing is wrong, his colour is bad, and that Rye from the Winchelsea road on a summer's evening stillremains to be conquered. Rye is one of those towns from which the sea has receded, leavingit high and dry about two miles inland. In the time of the Plantagenetsits walls were a sea-washed, and many rough it had the hands at of both French and experience Spanish. "

"

Between

the

from Saltings,

town

which

and the

coast

there

lies

a

flat land, called The

place can be seen to great advantage. Small craft can get up the river (Rother),and these vessels give added interest to this localityof many an The charms. town streets being built on a bold bluff of land, it is full of narrow paved with cobbles, and thus provides for the student of such

KENT views

AND

SUSSEX

127

Street is particularly charming subjects.Mermaid has afforded me much pleasurein past days. To the placefor the first time, a month of hard work visiting many

beautiful,and one

will do

little

and how

chief

my

keeping it

distance.

chief

to

are

delightfultime

much

there is to be

done,

working round

object,either

this remark be

how

to hand.

of interest in

source

the

as

From

views

near

show

are readily, subjects

I found and

than

more

it must

in the

the town, middle or far

be inferred that

not

quite

lightlypassed by. I have had many paintingby the river and quite near

when

a

the

walls. old

The

gates

be certainly

Ypres gate

made

The

accurate.

more

of the

day

once

in

;

interest,which

church

I have

fact, I think that

should

painted the times

seven

tower, standing at the head a

very If wet

is well chosen.

the church providesmany itself,

fine

one

if the subject,especially

weather

very

of

is

fine

happens to as subjects,

intrude

it is

large

full of interest.

and As to

of

source

subjectof drawings.

streets, makes

narrow

of

time

the than

more

another

are

a

suggestion,which

try and

windows

get

I would

fine views

some

the

to

access

church

might

it would

recommend, be

tower,

got. If

as

from

be wise its upper

steps were certainly prospect this my

ever

age vantagain directed to Rye, I should most to interest me. ground with good hopes of finding much remark I may that much Incidentally, golfis played here, as the to be most attractive. I am but I links seem not a golfplayer,

know or

that

should

artists

most

be,

a,

fond

are

great drain

on

of innocent the

nervous

spprt. Art work is, system, and outdoor

salutarycorrective. The air of Rye is also very good, and the place is pleasantto live in for a time. I have always found, when working in this neighbourhood,that it one's headquarters. From Rye is the best place to make Winchelsea can be easily worked, as well as Pevensey and Romney. of the finest church is merely a fragment of one Winchelsea fine drawing ecclesiastical buildingsin England, and makes a active exercise acts

from Few

several

as

a

very

points.

remains

of

the,town

sacked and repeatedly by French and Spanish,and apparentlynever rebuilt. The

exist,as it was

during Plantagenet times of these burnings it was after one old gate on the Hastings road is very charming, and is well The flat marsh looking at country towards Pevensey is burnt

worth of the

3 1.3

s "

cd

S"ftl 8 -3 -BJ8 "" "

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X!

KENT kind which

AND

should be called

"

SUSSEX

painters'land," as

spaciousclear land, and

the skies in

of

joy.

come

as

no

Let the student

better

place can

believe -the

Romney

eighty or variety of

hundred

a

colour

different from I cannot

it affords

cloudy weather

are

a

fine full

ever

here for the

study of cattle groups, found in England for such subjects. I Pevensey marshes afford pasture for

be and

thousand

in the

head

beasts

the monotonous

insist too

129

of cattle.

is most

the

here

the

beatttiful, being quite

black and white

stronglyon

And

of the Dutch

cattle.

necessityfor studying very

closelycattle

groups in an open landscape. No time is wasted is devoted to such work. In time the student becomes so

that

used to the appearance of distant groups, that his cattle,however small,become real things. This capacityis the outcome of knowing

exactly the drawing able to when

seize

the

on

of the

essential

objectsrepresented,and being only spots parts, which become

the

drawn distant. time I spent much are groups very in this study,and Always found it most edifying. Quite large studies

should in

borne

be

made

mind, that unless

sheep, showing its possibleto do the same or

a

essentials are The

more

evident

that

mastered

of all kinds do

of cattle, as

it must

be

good drawing of a cow construction it will never be correctly, object in the distance,where only the one

can

a

observable.

landscapework an

exact

is

pursued, the

knowledge

in all its details.

And

of the

it becomes

more

object depictedmust

then, when

be

this exact

knowledge gained, the picturepainted must be suggestiveonly of such cognizance. Witness the beautiful truthfulness in the tiny cattle

is

groups colour of

of Peter

de

Wint, yet who

livingand moving Romney and Pevensey are

with

are

infinite interest.

The

can

creatures.

wandered

skies

doubt The over

here, when

that these

these marshes

more

the

spots of

more

clouds

are

they

teem

about,

are

the less pregnant with beauty joy,and they are none in the evening of a clear hot summer day. these marshy lands The drowsy mists creeping slowly over when the heat of day has gone give an air of mystery and charm whiqh can only be painted (now and then),as there are no words is more to express its beauty. I think this land of the marshes thoroughly the landscape painter'sthan any other. The lowlying land, the great expanse of sky, a few farm buildingsand a have a picturesimple in group of middle distance cattle,and we made a thing of infinitequality theme, but which can be possibly a

constant

WATER-COLOUR

130

and as

charm.

I must

better

no

counties.

I

write

found

are

COUNTRY

PAINTER'S

think

which

those

than

doubt

without

buildings,

these old farm

little about

a

in the

abound

Kent,

southern

Sussex, Hampshire,

pre-eminentlythe counties of the old farmstead and the old farm buildings. I have travelled so the south, mid and east, that I much about England, especially there is can speak with authority when I say this. Of course plenty of corrugatediron coming into existence, and this stuff is not half bad if the time of day is well chosen and the silhouette good. This questionof farm buildings found its way in very well here, I cannot do better than say a few more words on the subject so and give an illustration or two. Where farm buildingsexist

Dorsetshire

there. beasts

are

are

certain to be beasts

about, and

where

there

are

there will

for than

To

Wiltshire

almost

is life and better

and

and possibly there so probably be men women, It is a nd activity, subjectsfor the painter. infinitely the student to sit down and paint or draw a good farmyard if there church is at the end of it. a village a street,even

begin with,

he

will find greater difficultiesin the former, and I have students seen looking so wretchedly

less convention. miserable

when

and

villagestreet

a

subjectunder

consideration, that I

work

willingly.I have never paintingsof villagestreets piece of experiencein order done, unless it is

seen

and

a

church

feeble art

churches.

try and

to

suggest such

never

such

have

tower

I

a

prevent

efforts

any

the

pieceof as

just mention

fine villagewith superlatively

a

been

the

this

being

more

church

and

all

else in

keeping. The first thing I do when lookinground a neighbourhood is to inspectthe farm premises,and when doing so I am certain to find something of great interest. Few peopleknow how extraordinarily fine many is of the barns in an English farm are. The woodwork often of a most elaborate kind, and was possiblybuilt two hundred^ and fiftyor three hundred added interest,I years since. As an mention that many barn is built of old ships'timbers, a may which be seen can by the bolt-holes and other marks of ship construction. To

break

picture,I

away

would

I have in

them,

equallyso.

I

a

littlefrom

refer to the

found

and

for

in

other

the country I

am

now

tryingto

ings farm buildhighlyinteresting is very rich Buckinghamshire. Amersham towns and villageson the Chiltern Hills

put in this

note

many

as

this

county does

not

come

into

KENT my

littleworld

get

back

In

where

to Sussex

SUSSEX

ANP

work

is to be

181

looked for,so generally

I will

again.

this

county I have

time

than

elsewhere.

from

my

found

evidences

of

bygone smock-frock, the shepherd's crook, and the flail for threshing,still lingerin some of the villages in Sussex. Old country dames still use the pattens and the clogs, and until quite latelyteams of black oxen did the arduous draft work of the hillyfarms of the South Downs. I do get a bit away last,as

at

more

a

The

present, but my

be that

must

excuse

I have

Art so deadly dull,that I want on always found handbooks to volume this if I brighten possiblycan. The stockyardsare another stead. part of the farmvery interesting In them groups of cattle can be quietlystudied and the leaves of notebooks colour in many rich,and- when

filled with

work

of the most

useful kind.

The

of these

is often very delightful groups of buildings the brightnessof a few beasts is added, the picture becomes yard very complete. The pig is another denizen of the farmwhich provides a most interesting subject. I have always had an affection for these creatures, findingthe drawing of them difficult but most entertaining.Change of work I always find most helpful,and the greater the change the better. Employ the of morning in making studies in a farmyard, and the maximum will be felt for the open latter part of the day.

landscapewhich

zest

effort should

Every interest cease

being taken

to

be

taken

inevitablyresult. day

and

end

with

made

in all work in hand

with

It is better

to

the

ensure

attempted.

greatest possible soon

keenness, then

for the student

doing nothing

he

no

enthusiasm.

As

than

to

in the

work

to wander

attempt

subjects

as

bad

a

must

about

all

subjectin

always made it my rule only to do a thing I felt real pleasurein attempting. Should I have been wandering about for a whole morning, and then hit on something which has pleased me about lunch time, then lunch was forgottenand the work got on with. Therefore it is bad to which

feels

be

is dealt with

I have

unless you are allowed you are painting, of my friends are alive to do exactly as you think fit. So many in this respect,that I find little difficulty when to my peculiarity visiting.This little piece of moralizingcan be the finish of our

stay with

friends when

chapteron Rye, Winchelsea, I hope has the pleasurein afforded

me.

and the Sussex store

.

Marshes, which district

for others which

it has

always

XVII

CHAPTER

WATER-COLOUR

THE

Corfe

that

to

of

ruins

of

great

interest.

the

and

a

I

was

without

select with

impressed mile

it

is

the

as

never

seen

With

the

the

loneliness the

impressive

most

varying

in

the

so

of

the

place.

It

fear

no

the

as

I

Corfe,

to

particularly

was

from

seen

Most'

places

such

seen

point

a

constantly

are

cloud, but- 1

to

phases

many

does

as

therefore,

this

previously done,

own.

When

out

leave

to

of

place

point

went

been

sunlight

remains,

it, and

to

better

exception of the large painting by Public I know Gallery, Johannesburg,

picture

like

which

ruin, especially when

solemn.

assume

here,

attempt

had

the

sky changesTrom

anything

only

saw

is

if everyone

that

of

There

it is far

as

village.

and

north

ruins

first I

work

not

I think work

when

find

will

I

found,

of

is

e

these

I arrived.

subjects entirely their

from

two

or

after

mind.

knowledge

any

would

they

a

individual

it stands

of the

Corf

about

place

failingto

best

are

but

common,

the

so

great

one

own.

subjects.

pictures

the

to

or

student

with

teems

the

their

fortresses

The

the

supply

Ludlow,

or

loneliness

with

hour

an

fastidious

simply

and

interested

work

most

place

bareness

a

in

village.

and

place

Richmond The

features

peculiarly

most to

where

is

whole

both.

particularway

Dorsetshire

lovely

the

its

equal-in

charm

with

to

many

charm

began

dominate

Compared

There

have

the

castle

Neighbourhood

its

this

is

Sussex,

have

west

itself.

and

full of

in contrast

boldly

out

Castle

different, but

VERY

COUNTRY

PAINTER'S

of a

no

Castle.

Corfe

Wilson

have

Steer

now

really good still to

place

be

won.

I found

where

greatest

it is associated

appealed building are

the

most

to

me

is most

charm with

especially brilliant,

luminous,

in

and

large

a

towards the

as

of

some

a

of the

near

mass

of

sunset. stones

132

trees.

At

of which

lovely colour.

views, especially such

This a

time

point the

it is constructed

I will here

say

that

DORSETSHIRE the

paintingof

from

the street in the

villagestreet the church

near

earlytwilight. and

success,

again to this Seen

the

in

133

is

is a

I have

shall make

the castle seen as justified, ally very charming object,especi-

tried it

another

once

attempt if my

and light,the church shadow, and, beyond, the castle looms in a the sky, and has a most sweet silhouette. dozens of such ways of seeingthe place,but can

I

be well

steps take

street

a

came

across,

from

seen

the

and

it

was

this is distant,and

Corfe

mellow

mass

There this

are

the

was

of Poole

deep against probably only one

The

country also lies

Castle

only shows it as a small thing. this point,however, as there .

to

the

on

the road

eastward.

to

and

in such

and

Wareham,

I remember

It is well worth

a

of the distant town

paintingtrip some

years

make

a

most

kind

views

many

in

of can

pression vividlythese imthe pleasureof working of colour I speak about

soil,which affects heather When this country of dunes looking across Poole Harbour, the brightgreen-blueof the houses

rough rich

very

hope that I shall again have charming country. This richness marked in this locality, and I think

is very by the colour of the

castle

Harbour, but

is much looking at it from Corfe and Poole Harbour, heathery country between colour, and producing fine foregrounds. This same

seen

me

in

are

beautiful.

most

neighbourhood

Illus. XXXIII.

be

out with-

place.

such

of its kind

twice but

or

must

and

be occasioned other

growth. stretchingtowards with

the sunny interesting picture.On sea

since, I bicycled from

Weymouth

through full

Wareham

of

desire

to

is

It

the

spend

some

result

of

whole,

the

when

at

Poole

is

coast

fine

in

the

for

cliffs*in

it

order

should

village material found

of

be

for fresh

too

which

I

could

be

recommend

landscape

the

I

thought.

short,

and

had

found

passed the work.

of

much here

beauties

are

which

it

regrets

of

the

I

left

the

very

to

shows these district.

and

provide

castle

to

and Castle

was

in

Months

happily..

seeking

of

always

neighbourhood

I

the

plenty

Corfe

and any

never

this

affords

it

at

stay

advantage, place

in

repeatedly,

me

occupy

great

My

have

mention

the

joins

drawn it.

I are

as

provide

attempted

interesting,

very

have in

I

this

on

and

parts,

have

dental inci-

things

work.

interests

care,

with

in

I

great

to

tent,

affords

interest

great

of

with

many

at

one's

and

those

engrossing.

bridge

interest

with

of

little

the

building The

all

kind

the

varied

studied

points

this

most

how

subjects.

fine

many

show

to

on

weather

wet

pitch

to

interesting

but

become

may

think,

Dorsetshire

much

and

point

like

who

the

Wareham,

shipping,

very

painting,

views

near

are

from

at

Another

which

did.

contemplated.

got of

of

which

I

headquarters

my

whole

in

place

is

way

those

cliff

that

me

work

fix

although

and

good

a

port.

cliffs,

much

is

shall The

sunny,

easily

the

small

a

subjects

done

far

is

interest to

The

of

Harbour

much

to

bout

I

again

I

keen

a

later

years

giving.

now

country

with

me

few

a

am

central.

and it

I

the

filled

that

which

visit

here

more

times,

serious

a

Corfe,

at

later

stay

bright

very

with

is met

this

ride

this

found

and

Harbour,

was

time

being

as

is

It

I

when

Wareham, coast

Poole

and charms.

many

COUNTRY

PAINTER'S

WATER-COLOUR

134

heartily

can

a

field

for

CHAPTER

THE

XVIII

WATER-COLOUR

PAINTER'S

COUNTRY

London DID

I

begin

not

painter

of

Working

at

given

the

me

never

I

will

In

with

begin

which

pure

and

dealing

with

the

than

district

The

for the

whole

of labour

shipping when

this

looking for

the

when

east

charm

of

making

the

various

atmosphere this

district

in

finding

some

of the

new

way. fresh beauty the

shipping

to

the I

well it had

effect

I feel for to

paint,

with

a

here

so

between

as

to

my

this

keen

ebb

from

and

always

was

desire

first visit here

mind. and the to

Time

has

the

beauties

I

first

district

of

record

quaint and nautical, the and Ship Hotel

that the 135

when

painting out with-

long

the

line

park alive

of

the

or

with

a

procession

irresistiblycalls

child

a

of

increased

see

in it.

London

impressions

my

The

beautiful.

as

only

halting

ever

flow, the

the

or

necessary

Greenwich

which

my

Greenwich

is

seen

a

remember on

the

either

and

The

me.

And

described.

visited

light,

on

loved.

poor

which

delight

beauty

Thames

to be

stately pageant, register a thing so grandly

moves

painter

can

Whether

own.

of the

have

hospital,either every

district

very

never

to

of

in all material

of loveliness

source

a

place

which

constantly changing

grandeur

are

me

locality on

wealth

a

the

indeed

river, is splendid under of

the

other

any

with

make

I have

stately buildings of its

to

afforded

is Greenwich,

The

wealthy picture. Words

a

than

is alive

field of labour,

always

place

exhaust.

enough

beauties

a

has

This

it is

is in itself

glory all

a

of

not

wide

very

which

district

is added

west,

or

this

painter

cannot

life is in itself

to

principally

am

and

simple,

other.

any

attractions

years

I

buildings. building composition has, nevertheless, always zeal for such work will greatest joy, and I hope my

less.

greater Thames.

the

because

fine

greater pleasure has

London

landscape

a

grow

with

which

Trafalgar, it

on

the

affection

When

of it.

walking

six, and

the

I

began

I visited

Everything the

would

river seem

is

front

only

natural

to

meet

COUNTRY

PAINTER'S

WATER-COLOUR

136

shipped

had

who

seamen

Benbow

with

Sir

or

such ancients, there is to meet But failing CloudesleyShovel. is seen. in what material to charm Lumbering oil or plentiful cattle boats creepingcautiously up the river to seek their berths from and dischargethe cargo which is to help to keep London darkness or starvation, followed by a little snorting gadfly of a

tug with its tail of barges which

have

effects of lightand startling like truthfullywould sound more from such a prosaicutterance one

and

see,

bless the

page from on as a book drew

to

I have

seen

describe

to

a

which

page

that

shadow

such

and

lost the tide.

them

fairytale

a

Rather

Art.

notice

your

than go

such

a

world of charms. The hospitalitself'will supply endless tions suggesimmortal become for picturesof a kind which have by the brush The

and

pencilof

whole

year

James

Pryde.

round, the river,the park, the palaceare

full of

the I have seen particulartime. peculiarto its own shippinghuddled togetheralong the wharves, snowy and snowed And-again, glowing pink in the lightof a January sunset. upon, 'has after the sultryheat of a July day the last flush of light caught the river and lit it up in a way no words can paint. These are just ordinary things which can be written about ; all else be left to the seeingeye, or to a pen more must apt than mine. It must from not be concluded what I have said that this neighbourhood is unsuited As to the student a or beginner. young I found the riverside workman of objects plenty study amongst which are here in plenty. At low tide there are always barges and small craft left high and dry which provide fine subjects interest

for careful black In

time

my

and

white

there

were

work.

ship-breakingyards, where seventeenth and eighteenthcentury

also old

abounded from figure-heads ships,as well as anchors and such

amongst

coming

treasures, and

across

Again, in

I had the

clutter.

got

a

"

park

separate studies,and

bitten

off

more

will be found the tamest

than trees

I found

fit of the

object of peculiarbeauty

an

that

other often

of

of deer, which

when, covered dis-

drawing, I

I could

which

great joy

blues

can are

a

swallow

!"

be taken

as

relief after

studying cows, sheep,and pigs in the Sussex farmyards. The Observatory,too, is a quaint building,which becomes, however, when associated with the park trees, a highlyinteresting object. It is from

things can

the hill here that be

seen.

I have

most

of the

found

fine up

and

down

river

great delightin gettingon

ILLUSTRATION

XXXIV

William

Exhibited

ST.

1761-1771

PAUL'S

Victoria

James

CATHEDRAL

and

Albert

Museum

2 "**

1

a

a

s-o s

a

-M

"

.-e

""

""

*"

So

S

"

fi

-

8-s s

eS

O

)

"3,"-a

?fS

i

:

a

"

'

I

~

O

"

f si g o

2 X X X

'O

4"

53

"

*

5aJa

=3

*"

55

"

-H

rf

C

m

%

O

"

s^

^

.fc S

**

"

3

"

"

H

B

a

a

0S.B

MO

fl

3

= t

* 5

"

O

fl

C -

g

H

"

2 r

s

5

"

""$-s 1

-S

"3

2

^

s

H en

"

h^^^

'sjs

s

tn

.5

""

" 1 "3

2-s^^

"S J"

"

s

*

-3 g

"

as

"

"

a

"

"

S

-S -3 .H

e

3 S 3 5a

5 T Z Tbjs

-a

'3"t3fl""ujav. "

s

a

u *"

K

JS

."

*

B

O

p -

Hi

^

""

S

3

^

S

.yS ^ S O

w

o

*j

*

*

^

a ",

f:

Pi

a

a

3

H

2 ^.."w wi"o

a -

-2

J?

^

O u

H2*

Jj

"

ftF^S

C3 _o

S"*

O *

JS

us

"" ^

nut)

O

e

o

CO

m " 1-5

3

0

a

o

1-1

"4

EC

X X X

LONDON

anchored

barges,

viewed in

from

their

all

craft,

in

his

critic

is

the

alive

crew

busily,

away hav"

is,

taken but

down On

others, side,

north

and

few,

object

is

point

to

bpok.

Neither

sought

and

student

own

leave out

do found

experiences in

his

quest

I

to

for

of

type

I

fields

is

a

spars

the

do

wherein

of

best

to

labour.

south tions, attrac-

own

write

to

districts

hoping

and

the

in

just

student,

the

all

takes.

mentioned

attempt the

river

on

their

have

to

not

town

Lower

Tilbury,

down

as

a

where

to

my

guideI

have It

England.

thereby

I

joke.

exist.

Wapping,

I

work

riverside

the

have

seems

men

and

not

turn

all

giving,

the

a

or

member

vessel

song

Lower

tarring

every

what

every

that

assert

am

doing

and

any

stages

others at

and

are

sails

whole

with

discoveries

work

that

in

visiting.

worth

localities

my

sides

beauty.

further

wish

the

Gravesend,

all

and

one

interest

bargee

occasion

Greenhithe,

and

Erith, are

a

charm

and

his

when

and

that

Poplar,

if

light

as

is

interest

of

Woolwich,

these

there

bank, full

are

labour

concluded

up

little

The

an

the

merely be

when

completely,

won

found

such

over

their

not

higher

and

my

making

must

and the

Slung

Greenwich

it

often

painter,

turn

workers.

is

a

seems

represented.

Upon

to

Take

attention

is

forward.

seems

with

river.

comfortable.

draw

subject

all

changed

navigator

incorrectly

are

going

the

things

soon

interesting

very

painting of

make

how

in

out

barge

will

tackle

marvellous

way

the to

and

other A

and

power

also,

and

little

a

is

it

as

139

help

is the

XIX

CHAPTER

Thames

The

London

from

Bridge

grand

a

if he

even

thing,

at

seen

comfortable work

points

can

been

having

can

often

so

on

and

painted

but

;

life of the

of*London

are

points hackneyed

bridge

it is

I have

as

acquainted

The

landing-stages

or

the

Truly

ease.

be

canvas.

barges than

otherwise

;

buildings

the

paint,

to

but

should

or

paper

found

with

point

student

anchored be

pursued

be

it

subject

difficult

a

vantage the

busiest,

From

best.

the

which

its very

at

their

of

reproduces

never

is here

river

with

is

Bridge

fact

simple

-

it is

London

from

Court

Hampton

to

Oxford

and

Tower 11HE the from

COUNTRY

PAINTER'S

WATER-COLOUR

THE

a

more

where

"

spot,

remarked,

before

all

possible that something new may be done. The much that is bridges supply interesting and yet air of the Embankment is beginning to put on beautiful, and an of life. gravity with its sixty years and I know the river Gravesend to Oxford, fairly well from there is only one which I cannot good terms, spot with get on differently, and

see

eyes

that

and

Putney beautiful

then

good

we

the

river

come

to

overflowing to Some

giving

know years

lessons

to

with

I

of

Battersea,

their

and

that

the

To as

Court.

place, more

has

And

been

it is

are

and

Bridge. yet

see

and

Park,

It

and I

you

charms,

Kingston

me

will

Mortlake,

Chiswick,

in Richmond

from

sweet

them

varied

own

worked

of this

Parliament.

look. at

glories of Hampton attractions

about

ago

hill

much

see

and

I have the

Houses

kind,

any

all have

from the

the

Chelsea

attractive.

fortune

seem

of

Richmond,

and

painted

light.

any

and

and

attractions

no

under

and

to

is Westminster

offer

they

it is

so

my

so

of it the

full

less I

it.

spent

one

in water-colour

day

a

week

drawing 140

during to

some

a

whole

summer

of its inmates.

I

ILLUSTRATION

XXXV

Peter

Monamy

1670-1749

AN

OLD

Victoria

EAST

INDIA

and

Albert

WHARF

Museum

XXXV

ILLUSTRATION

Old

is

THIS

class

clouds

attention.

the

student

is

calmly

be

endeavouring All

I

such

cart

have

has

When

or

is

undertaking wit

this,

no

and

patience

who

it

is

seriously

encountered

has

confident,

gained

with

grappled

in

with accuracy

the

student

Sussex a

simple to

wain,

matter,

accomplish

he

has

will

but

of

his

This

drawing

which

the

work

is

true

details are

himself

set

that one

to

that

comprehend rather

well.

subjects

relinquished

step.

a

the

charm.

as

work

but

are

a

a

his

feel

very has

managed

he

and

all

the

quiet

heroic,

difficulties

painters

great

that

keeps

not

to

distract

to

many

none,

composition,

is

interest

of

overcome

the

feeling

without

full

dog

the

as

subject

The

be

and

kind,

this

long

so

too

fleeting

no

cattle,

or

the

to

drawing.

boats

and

should

There

as

on.

be

cannot

are

such

quiet,

carried

and

practical,

follow.

to

objects,

All

can

all

Wharf

which

work

encouraged moving

or

an

of

India

a

earnestly

in

East

calls

draw

such

for

Illus. XXXV

Old

East

India

Wharf,

by

P.

Monamy

LONDON had

a

charming time,

stories connected

and

with

148

heard

of the old

many

the

legends and the study of

place. Whether it is gardens,or landscapethe student is intent on, all are buildings, found here in perfection. I cannot afford the space to introduce than one two more or things to illustrate Hampton Court, but I hope they will be enough to awaken interest in it. It some to me seems marvellous thing that so many a people have no knowledge since, I a

of

went

London

this

truly grand palace. Quite a short time Hampton Court to give a drawing lesson to

to

lady,

well

of her

out

teens, who

had

never

seen

it before. To

those

who

seek

Molsey gate, the herbaceous

Lion

border

arduous

an

drawing task, I

gate, and

which

the

gate

past

runs

the

at the

tennis

recommend end

the

of the

large

Each

court.

these

is of a gates is of great beauty, and the last named excellence. These things I just take at random, but there others

many

equallyfine.

The

whole

of the

full of groups of statuary, vases of stone fountains and fish-ponds. The sunk many

gardens

rare are

literally

are

bronze,

or

of

as

well

as

formal

gardens near the vinery are things to love, and therefore to paint. Cardinal Wolsey built the palaceand presentedit to Henry VIII, and this faced on the two sides frontingthe gardens and old buildingwas park in 1697 by Sir Christopher Wren, in order to provide William and Mary with a palace approximating to the glories of Versailles. With great ingenuityWren did his task, and the work

new

is built in and entered

to be

appears from

part

of the

old.

And

yet,

the

Molsey gate it is Tudor, and as it is left on enteringthe gardens it is a Stuart palace,with nothing to suggest its earlier history. in this new courts I The especially, part are very beautiful, I Court, which is most think, the Fountain fascinating.When teaching here, I used to set my pupilsthe task of drawing was as

the

palaceis

architectural feature,such

some

in strong sunshine. all the local colours done

in

one

value

I insisted ;

believe in the

charming

to

see

on

the whole

every

or

of the shadowed

thus

only true way the delightof

colonnade, when detail being put in, and

gateway

a

of grey. It is thus be obtained.

simpleeffects can are dear to the inexperienced to

as

astonishingwhat The

shadows slobbering

paintingthem. young

they can they-find graspedthis principle,

to be

beautifully

avoided, and the student of

my

parts had

so

gets

It is very

pupils when, having

in their put it in practice

COUNTRY

PAINTER'S

WATER-COLOUR

144

Hampton Court has always appealed to me very strongly, owing to its brightnessof colour generally. The buildingis of a beautiful red brick with stone dressings,which are of a charming work.

whiteness. colour

These

and

associated

when

masses,

with

the dark

stronglyto any one working amidst so much

yew

trees

lawns, appeal very

seekingpictorial is lovelyhas a good and lastingeffect on the mind, and probably tends to influence. At least,this is how the spot has always have a lasting appealed to me, and accounts for my having visited it periodically for many There is another reason why the place should years. be appreciatedby the student of Art, and that is the absolute order that is maintained throughout the whole of the palaceand its grounds. No unholy scraps of paper are seen anywhere, as no the

that

I think

themes.

luncheons

allowed

are

under

here

any

that

I have

conditions.

worked

for'five-and-twenty years, and have never been subjectedto the slightest although on several annoyance, occasions I have fixed upon a holiday time for my visits. The artist who calls to mind the rudeness he has experiencedabroad of our home in many own or nearer villages will fullyrealize what this immunity from vulgar intrusion means. This is an admirable ground to put in practicethe use of the in well for such work, but even Not only the buildingscome pen. here

from

time

to time

"

"

to delicate

the trees lend themselves

given with said

about

the

with the white hand

at never

pen-point. I

the

to

sashed

deal

worked

with

much

would

of

usefulness

windows these

between

attention,which can be best here repeat what I have before

a

sharp penknife. When dealing it is a great help to find a penknife

tiresome

little white

here and

Oxford, with the exception

Windsor short stay I had at Shillingford. would doubtless be found is, of course, most of

a

"

"

object,however, painting has my useful

Oxford,

and

to

is to

deal with

been

done, and

say.

quite near

the

parts of

about

ShilUngford is

which about

Dorchester, with

lines.

where

much

I have

work

interesting.My the

I

country where can

ten

its most

find miles

thing some-

from

interesting

church. The

low-lyinghills,which

great charm, and

passingbarges and however, that

the

miles a few Iffley,

additional their

here

hug

interest

can

the

river,help to give a

always be

occupants. It is as

found

in the

approach the city, glory of this neighbourhood is seen and felt. the London side of Oxford, is a pretty village we

LONDON with

superb Norman

a

The

trees.

church

if once

the

he

I do

not.

or

not

buildingis seen.

Oxford, however, arrived.

now

snuglynestling grand old among by every one who be particularly addicted to architectural think I should have to urge this point,

be drawn church should certainly

follows Art, whether work

is

objective,and

our

So much

has been

that I will attempt glories, known subject. As far as I afraid if my

words

Oxford

an

colour

of its

of

cityI

further

no

know

about

Oxford

such

on

I will

much.

pieceof

paintbuildings; meadows

here

joyscan

be found

am

of The

in hand from

stone

crumble

but other

well-

a

the hands

for the task I have a

its

talk,only I

that I know

Take

have

we

placeand

it up, and the tone the place is for the student Generally,

you.

of the

is one

cityis

loves to

who

with littlesearching.

of unsurpassed very fine,with timber associated with the trees are the towers, which are

beauty. Always form fine subjectsfor

a

worker

to revel in.

The

in

there so many are space, but nowhere I do not small a compass. refer just to architectural effort, beautiful as this may

light and

grand things produced by should

the

spot fall into

concede

know, which

and

in this town

remarks

this venerable

will not do

written

knowledge necessary.

collegewalls

before

The

about he

man

of the

the kind

145

be

the

quest of the

cityis but small lovelythings in so the beauty of an be,

shade

student, and

and

here

rather

but

line.

the

to

This

search

is

and consideration are glories.Kindness here seen to perfection. I have worked of for hours in the High Street,in the corner of St. a Mary's by Inigoshop window, drawing the gateway whatever. In the and found hindrance Jones, no college but I felt certain in crowded of a precincts politetoleration, ing. street during the busy part of the day it was truly astonishI have Tom Tower in the early evening from drawn St. Aldate's Bridge with a similar experience.I record these and of great credit to the townsfolk facts as being universal conducted

in

land

a

of

of Oxford.

college gardens,

The

these

about

devoted streets.

of now

to

The

things in

I

'

can

say subjects found

chapels and

that

their

full of interest,but believe, are here time was little,as my chiefly I

old

have age

lived have

in

the

collegequads

dining halls through many settled down

have

and

all the

in

charm

rough times, to

peace

and

the

and

quiet.

I would

strongly advise

is much

to

be

and

painting.

we

see

such

learned I do

Just

students

not

in

the

look at the inside of

the

in

a

of

manner

a

labour, both

a

in

mean

study interiors,as

to

such

from

subjects treated

water-colours,but Pryde.

COUNTRY

PAINTER'S

WATER-COLOUR

146

or

room,

in

finicky way modern

there

drawing in

which

exhibition

Cotman,

Bosboom,

of or

chapel,as you would look of lightand shade, and let

landscape,and paint the masses the details come in as best they can. I do not want to be understood to talk heresy either againstdrawing or detail,but it is paintingwe are talkingabout now, and the great thingsin painting are lightand shade. I have seen many a chancel of an old county that would church full of Stuart and Georgian memorials paint i f if handled. But such a subjectis instead, splendidly, properly on chosen, the little incidents,such as an inscription a memorial tablet,are zealously studied, and the great questionof the lighting of the whole thing scarcelythought about, and certainly never These remarks the to to made call attention are properly seen. fact that here is a grand locality where interior subjectscan be studied to perfection. To get away from the quiet of collegequads and gardens and be amongst the bright life of the river is soon effected,and in a walk of a few minutes the college reached. The paintare barges' ing of these barges on a brightday in summer is a pleasureI have often promised myself,but which far has not been realized. so I do not know did it,but if not, he was if Melville ever certainly could have done the subjectcomplete justice. the painter who It may be asked why I, as a landscapepainter,talk about the work in a city. Although writing chieflyabout to be found the student work of a of landscape, I have also mentioned other professional experiences; and as in my life my I sought a change of work amongst the buildingsand interest of a city, so I seek to introduce variety by recounting all wanderings in search of subjectsto paint,whether in town my at

a

country.

or

The From fine

Wint and

neighbouring country mile

here

is flat but

citythe towers form a feature as a skylinewhich, if I remember Peter de correctly, than once. painted more Boating is made very easy here, from the water I remember charming things can be seen. many an especiallyattractive drawing I got of the tower of many

parts

a

or

two

from

quite interesting.

the

LONDON

Magdalen

when

being

punted,

short

life.

drawn his

with

as

I

attention own

punting

must

repeat to

this

investigations.

I

Oxford.

to

me

147

as

what

locality

skipper I the

a

have student

should

say

would

-punt before must

when

I

but

have

said,

that

be

left

was

having to

make

a

CHAPTER

PAINTER'S

WATER-COLOUR

THE

Colchester my FEWthan of that

which

of work

is well

situated

meadows, to

trees

in

town

hall

lower

the

is

on

find do

should

taking

care

far

as

experience

Colchester

I think

only

houses

lovely drawing

old

settlement.

the

town,

visit

here

A

motor-bus

is

only

a

few

deeply

feeling of freedom. crowded

the As

it

I

much it is

takes

the

miles

distant.

all-round the

such

the

intention

visitor

eye

becomes

to

openness travels with

this

over

already in

to

me

the

I have

times

this

attractive,

Cotman

be

did

done, The

bricks

to

made

colour

from

in and

as

which evident

and

receding landscape

my

Island.

country.

generous

the

about

others,

it very

flat

a

his

it has

as

yachting town,

objects, although 148

suggest

visiting Mersea

painting seems

do

is very

leave

little

I but

subject, but

of Roman

of

and

paper.

beauty.

I must

I have when

I

spots of interest

for

moved

am

other

stroke sun-

another,

then

it should

built

my

or

since

of architectural

be

with

up

this

at

way.

town,

grown

mainly

may

search

made

was

is in the have

on

in my

the

getting

Several

in this

worst

and

umbrella,

an

particular,

the

stunted

are

to

can

the

on

I worked

way

absorbed

my

trees

There

the

but

one

place. However,

interesting,as

is most

I

sun

is concerned.

which

and

of the

this

much

was

and possibilities,

many

in sun

Botolph's Priory,

St.

how

the

as

There

use

never

shade

a

me

great risks, when

very

run

without

follow

I

all the

getting

doing

one

any

life.

from

once

quite charming,

are

certain

a

water-tower

interesting object. day, and came nearer

in my

in

the

the'left.

on

is

itself,which

it

painted

from

which

hot

before

ever

town

There

of Colchester I

pleasure

greater

me

locality.

town

length

and

violently

advise

not

whole

distance

great charm

a

done

strong

a

a

than

to

part of the

middle

the

this

in the

the

Island

afforded

rising ground.

on

showing

right

have

I made

be

to

COUNTRY

Mersea

and

painting trips

amount

drawing

XX

the

gradually

The full of more

losing

COLCHESTER evidence of

of form

AND

until the

ISLAND

MERSEA

mystery of

earth becomes

149

with that

one

sky. It is in such

to be

and

a

land

artist,and

an

that

how

all of oneself.

I

feel especially such

worthy

I do not

how

is to claim

work

a

good a thing it is the best

my brother artists feel,as in and inspirations their work are

know

how

they are a silent race, when would never have found question. But I do know that my feeling expressionin words save for my desire to help and encourage the student. This Essex lowland is a placeof romance which compels thoughtfulness,and a little melancholy also at times which is far from

unpleasant.I believe the pupilsinto the deep forests to think end

German and

send

musicians

get ideas.

And

their

to

such

through a flat country. beautiful Morning, noon, evening and night,it is always the same rounded thing, and ever varying. Mersea Island is only a localitysurthe causeway which by the sea at high tide, when an

would

it with

connects

what On

and

the

mainland I

becomes

believe,and

very

thus

evident.

The

another

proof

gave

scattered trees,with here the road to the sea, farm buildings, all help to providea rare there a low-lyingridgeof sand hills,

subjects.Note

become

of

rare

with

such

the

becomes This

a

road

to

most near

which

a

soon

the

of cattle,or

group

even

a

motor-car.

intervening,the foreground-detail pictureand Mersea

is

the seen

evening after

towards

case,

a

lines of the causeway straight landscape,if broken by the presence

how

value in

country wain,

or

wander

peoplethey were. practical

a

feast of

a

students

my

built this way,

Romans of

I make

a

objectonly serves at its best

hot

and

on

a

cloudless

level

of

At once,

landscape

emphasize it. brightcloudy day, to

one.

In the latter

the objectsdotted over the country graduallyassume lovelycolour, deepeningto a great qualityof richness in the objects and graduallydying into the misty cloud period

the

intervenes

between

the land

and

the last of the evidence

of

sunlight.The littlecoast town of Mersea is full of lifeand interest, also to afford a much yachting is done here, and it seems as pleasantholidayresort. The shippinggave me much pleasureto

paint,as

I found

it did not

seem

to

be very

active,and

rather

of inanition,which meant ample time for my given to long spells such placesalong this coast where study of it. There are many his time to great advantage. the student will find much joy,filling I am chieflycallingattention to the land of Mersea, as the coast seems

much

like other

parts of Essex

and

Suffolk.

I should like

to

explore

farther

finding

other

example

and

and

look

to

north

in

afield

districts

paint

COUNTRY

PAINTER'S

WATER-COLOUR

150

of in

and

likd

Mcrsea south

this

part

charm. Island of

it.

of

Those

should

in

England, who

bear

the

follow

may this

hope

hint

in

of

my

mind,

CHAPTER

THE

A

WATER-COLOUR

Visit

WITH

small

very

a

painting teaching.

from

old

rest

visited

the

Stour,

several the

as

from

members I

churches if

of my

old

or

spot

to

its architecture

street

this

suggests

of fact, evidence

of

a

to

new

me

rule

old

town,

and

condition

the

place.

It is

and

yet

is, as

that

yet

I think \

inhabitants,

stateliness,

social

small

made

study

to

Cotswold

thousand

grave

bygone

be

to

were

two

down

village or

a

quaint

very

a

of

student

a

has

matter

a

ceased

long

exist.

to

Campden its

was

favourite

a

wealth

whose

others

left the

industry gradually thus

Cotswold poor,

without

Greyness of

the

roads, midland

houses, the

she

small

hedges must

a

rare

and

dividing

walls

It is

too.

keynote

is the

"

residence

that

fed did

any

great

as

local

large,

all is grey,

good place

record

a

of the

the

Cotswolds.

much

people and special character of

of

of its

wealth, and

became

tively comparain their

former

importance.

church,

great grey

the

for

grey a

paint villages, towns,

student or

of

a

to

attractive

very

pitch

his

parish churches.

walls

slabs, the

fields, in place of the. southern and

had This

excepting

colour, the roofs

the

a

and

that

industry

the

on

Chipping

merchants

for

great wool

locality, as

remained

buildings,' which

of the

sheep

lost their

towns

and

from of

centuries

eighteenth

place

came

flocks

in the

source

and

seventeenth

the

During

or

in the

less than

quite small, having

as

class.

planting

be

only

Shipston-on-

at

locality was

to

well-

a

I had

work.

working

was

the

so

;

general

my

would

I

time

taking

were

war

myself

of my

part

who

other

avoid

houses,

exception

an

favoured

and

when

previously

usually

a

of

object

certain

chiefly ladies

before,

years

usual

my

this

I visited

time,

war

was

devoting

were

once

Gloucestershire

with

hospital nursing

place

Although

it

as

town,

and

students

COUNTRY

Campden,

class,

nature,

My

earned

PAINTER'S

Chipping

to

truly charming

to

XXI

camp

and kind if he

WATER-COLOUR

152

COUNTRY

PAINTER'S

ideas,and a place to give one Chipping Campden is essentially Here there are it is ideas and suggestionsthat an artist wants. fine trees dotted about the very spaciousstreet, for practically many street of handsome of consists one the whole great place breadth.

In

centre

of the

conduct

is

town

originallyintended

believe, was to staplers

the

their business

for

a

the

sort

of hall, which, I

wool

duringrough

merchants or

and

rainy weather.

this building is chieflyput at present is to which purpose to serve that of a recreation ground for children,and incidentally The

and introduce feature for artists to .contemplate interesting into their drawings. There is plenty of scope here for a student stir from amongst to spend a very profitable month, and yet never as

an

this

and of grey stone houses placeis so charming in its reserve

mass

cottages. The

colour

of the

that it is almost

impossible pink ways get in edgecolours into any study made either of those objectionable through the whole length and breadth of this truly beautiful place. whole

for the most

As

soon

obstinate

as

I had

of disciple

arrived, and taken

and

a

purple to

walk

round

with

some

of

that I told them that I felt compelledto rescind much pupils, my of village I had previously said about the futility painting,as here

something quiteunique in the way of bricks and mortar, that they could with proprietycontemplate and worry themselves with to their hearts' content, and with much advantage as well. it must in From these remarks not be thought that we remained did not, the street during the whole of our stay, for we certainly the country in the immediate vicinitybeing full of charm, and both simple lendingitself readilyfor the easy selection of subjects, is always is one and complicated. There feature absent, which to the landscape painter: a great beauty, and very welcome namely, a river. of necesHowever, we managed very well,especially as in case sity and other near a tripcould be made to Shipston-on-Stour, placeswhere the blessingof a river was to be had. When choosing to the town the very grand church becomes a spot for work near a fine feature in most compositionsselected. The west of England is noted for the size and great beauty of its towers, and amongst them Campden holds a high place. They are of the Perpendicular Period of Gothic architecture,and being built when this was a was

part of the land, the churches bore evidence of prosperous this affluence in the richness of the way in which they were built very

CHIPPING and

the

towers a

CAMPDEN,

elaboration

is very

charm

of their

details.

panellingof these helpa drawingto possess

and goes far to beautiful, unique : at the same

attempt is made

an

153

The

that is almost

has to be faced when of it. The

GLOUCESTERSHIRE

time

to

much

difficulty givea good rendering '"

interiors of these

churches

are

fine subjectsfor

also very

the student's

Campden

energy, and afford excellent work for wet days. In church there are fine Stuart and Georgian memorials

that I

for studies,as the colour is so reserved stronglyrecommend quiet. I have tried many a subjectof this kind, in which I have sought to get my ideas expressedby the use of a very few colours,such as ivory-black, yellow ochre, and a very restricted of some use bright pure colours,in order to give scintillating pointswhere they may be found necessary. Marble is a material that in its lightsand shadows is very beautiful. A quite easy walk is to Fox Hill, from which a very grand and

landscapecan

woodland, and beyond is a great hill,with a distant open country stretching to where the sky meets it,and joinsup in a gentlemystery. away Another

be seen,

very placetakes one Cotswolds

with

pleasantwalk over

a

here,-and

fine

a

of

mass

near

which

is to

Broadway, the road to flat land that crowns interesting

most

which

from

fine distances

are

the

obtained

and

necessarily open sky effects. with The colour of this comparatively flat district abounds good farm buildings,very different in their soft greyness to the less garishred brick tiles and corrugatediron buildings more or of the southland farms of Sussex, Kent, and Surrey. Not that I which seems have the usual hatred for the effect of corrugatediron', to come in excellently in the landscape at times ; in fact, to me and Light everything does well, where the good fairies aid to the painter. Shadow play, and give their mysterious In the country through which we are now walking on our way to singly Broadway, trees are scarce, but here and there they occur "

"

"

"

monotony of arable land. Note should be taken of the tilled fields here,for the soil is very beautiful The crops raised are of in colour ; in fact,I think unusuallyso. or

in small

much

masses

variety,and

to

relieve the

this adds

country. The greystone low walls been The most

used

to

working

in the south

cattle in this district

Englishcounties,and

are

of

this open strange to those who have

additional

an

seem

of

as

course

charm

to

England.

varied

in colour

sheep are

much

as

they are in in evidence

WATER-COLOUR

154

PAINTER'S

everywhere. I found the natives and no difficulty should be found farmers

COUNTRY

here very kind and hospitable, in gettingpermissionfrom the

stray about their farms and study in their farmyards amongst their stock. The rules that appertaineverywhere

and

to

shuttinggates,not walking over young or standingcrops, and never smoking in stackyards,should be observed strictly, and certainlythe student artist should and always remember that before going on to a man's land or invading his farmyards Observe this simple permissionto do so should firstbe obtained. rule of elementary civility, farmer is a and the Gloucestershire too ; but if he very nice and pleasantfellow,and a bit humorous considers you are actingin any way intrusively, then he will show himself a very rough customer indeed- I could very easilywrite a fairlylong book on this district,and the great beauty it possesses, with which to cheer the artist. Enough, however, has been said to give a good idea to an intendingvisitor. One the placesof words I will add, and they are two on or interest in the near neighbourhood. Broadway I do not like, it has too much to me of the fashionable as interesting place as

to

"

"

element, with its

"

well-known"

residents

:

I

can

find this sort of

to Park, quitenear thingin London when I want it. Northwick house, and possesses a fine collection Campden, is a very interesting of paintings,which should if possible. The certainlybe seen of fine picturesare well shown, and there are a gr,eatnumber paintings by the Dutch, Flemish, and Italian masters. Although, in the usual acceptationof the term, the place is not a show for an Art student to get house," there should be no difficulty permissionto see the treasures here. of the houses in Campden should be seen, as If possible, some have interior decoration in the way of wood interesting many panelling.There is one very charming Gothic house in the street of the outside, as I was I only speak from what I saw not fortunate enough to get an introduction to the occupier,although I do not think there would be any difficulty in doing so, as I found the inhabitants invariablypolite and hospitablein all the social grades. A visit should be paid to the photographer,who sells a most series of local scraps, includingchurch metalinteresting work and fine Gothic needlework. This man has also good photographs of the memorials in the church, especially several of the Noel family two particularly good ones of the Ladies Ann and PenelopeNoel, put up in the earlypart of the reignof Charles I. "

"

"

CHIPPING

During the and

very

little

time

in

England of my

to

of

quest

interest future

place, beauties.

been

for

life

a

plans in

and

there

one

is

from

subjects spent may short

in lead

in

nature

they

as

for such me

month

my a

way to

may

visit

justice

be

to

and

me

again cannot

I this

I

my

travelled show

to

sincerely very

be

but

but

as

thus be.

of

has

written

water-colours, to

seen

suggestion

my

here

came

work,

exploit

to

interest

take

have

able

only of

much

I

155

was

may

that

things

take

I

who

Much

painting

to

has

Campden

student

any here.

reference

object

that

by a

at

stay

casually,

unearthed

spending

full

short

my

place

GLOUCESTERSHIRE

CAMPDEN,

done

how

hope

ing interestto

its

CHAPTER

THE

ON

"VTO

STUDY

objects

landscape

-i-* and

such

varied

singly, in

small

groups,

full of

In

beauty. be

drawn

much

interest

Much

of the

the

the

poor

to

and

that

this

sit down

To

quite done

consistently of the

the

subject

these such and

will

will have

ash, and

When of

be

given

for

me

fir.

the

seen

affirm

as

summer.

modern

paid unless

that

it is

known,

is

of

of attention

safely is

they

affords

in the

lack

impossible

I have

doubt

no

entirely owing

to

suitable un-

the

in the

study these other

afford

insight

become the

trees

that

special forest

As trees

156

in

afford

but

our

not

time

draw

are

studies, more

the

state

the the

interesting for

do

to

gives

leafless

of

study

hurried

trees

oak,

and

regular ir-

special subjects

very

also

I do of

such

ledge know-

attempt

winter to

and

no

student

if

work,

other

their

In

have

trees

trees

the

such

no

all

pleasure

they

drawing,

be

with

in them.

greatest

These

of

of

which

should

common

study

an

year

It is, however,

and

quite useless. the

part of the

standing, tree

a

cold

strong.

very

There

in

as,

in the

will of

for.

formation,

mentioning

beauty

to

his interest

Scotch

only

garb

truth.

winter

when

regularly,

hastily,

would

branch not

and

the

for

save

studies

up

attention

greater

a

nature

construction

make

drawings more

which

and

spiney

efforts

in

full

very tree

fidelity

from

study

pencil

do

to

to

can

of

study

tree

impossible,

safe

I

state

be

elegance

all times

at

leafless the

always

are

and

grace

and

seen

conditions. and

is doubtless

with

their

is to

put down

formation

of

climatic

be

in

which

drawing

tree

neglect

Their

appear

they

masses,

year

greater

Whether

trees.

of Nature,

in winter.

branch the

represent

they

must

of trees

study

trunk

student

painted.

tree

landscape painting to

the

when

as

of the

seasons

and

do

as

with

themselves

present

great woodland

or

NATURE

FROM

attractions

all

appeal irresistiblyto should

TREES

OF

the

in

XXII

that

wish

country,

to

of

painting.

suggest lack

but

merely

to

STUDY

OF

TREES

emphasize those particularones appealed to me. The

FROM which

NATURE have

always very strongly

endless

varietywhich is seen in a group and there is a crispness in quite extraordinary, the branches

divide

and

subdivide

Iixus. XXXVI.

account is not

difficultto draw, from

of Scotch the

firs is

angularway

which, I think, goes far

Scotch

attractiveness.

for their unusual

157

the fact of it

to

Fir

This

tree is

being so

one

very

which

firm and

or less in hard sections, distinct in its leaf masses, that grow more I do not wish to suggest that a which can be grasped with ease.

perfectdrawing any

of

a

other subject,but

Scotch as

a

fir is not

study it can

as

be

profoundly difficult as more

easily got hold of,

STUDY

158 which

being the

many

trees.

Great The

OF

case, the interest in it is

kept alive

beautiful qualityof particularly

also is the

rich darkness

NATURE

FROM

TREES

is rendered of its foliage

stillmore

better than

its

colouring.

lovelyby

bright colouringof the trunk and subsidiarybranches. in the same again this tree appealsto one in its colouring,

An

Illus. XXXVII. it does in the branch branches

and

a

The rich

Here way

sunset

should

has

a

very

as

and colouringof foliage

comparativelyeasilyseen, and thus becomes a subjectfor the student to paint. The colour of the of this tree

the

Ash

is

branches

under

formation,

in

beautiful

way of iridescent.

factory satis-

trunk

lightingup

No opporglow, and becoming almost tunity be lost of making studies of Scotch firs, and I can

STUDY

OF

TREES

FROM

NATURE

159

attention he devotes to them promise the student that the more the greater will his admiration become. I have often found it a pleasantexercise justto take a group of branches and make in pencilor colour, a careful drawing of them that is when time does not allow of the whole tree or group being done. This suggestion, of course, appliesequallyto the study of all kinds of trees, and will be found helpful in the effort to get an intimate knowledge of them. My plan has been when I see a of but if thing beauty to try and registerit ; fully,if possible, time does not allow of that, then as much be done. as can sit down I never work from unless the nature to subjectchosen the other fillsme with enthusiasm I hand, never ;*but,on pass by beautiful without least of it at note a as subject making a fully time allows. For wandered as through England many years 1^ with the sole objectof seeking for the beautiful,and of registering with and brush. impressions My joys in this my pen, pencil, pursuithave increased with my experience,and my feelingsare and yet ever stillthose of the student ever striving, findingthe The subjectof trees object of my quest leadingme further on. of the most to the landscape painteris certainlyone important and so it becomes he has to struggle,' with which naturallyone of the most delightful.A great mistake made by the student in his early days of nature study is his attempt to do too much. "

Not

that

I

mean

too

much

work,

as

he

can

never

do that, but

the condition of attempt to make his studies assume of some is often a far-away imitation so-called finish,which rather

the

favourite

master.

ignorant,and get for the it lulls of praisewhich is far from a blessing, as executant a meed As I have said bSfore,trees without into a false contentment. studied and continuallydrawn, their foliageshould be patiently clear and distinct object as in their leafless state they afford a very in all humility. Let such drawings be made upon which to labour. and when this elementary out the chief proportions, First scheme deal with the construction, proceedto pointhas been accomplished, the fact that the branches, that the drawing demonstrates so towards the draughtsman the trunk, come as they spreadbut from Such

imitations

may

deceive

from him. also go away the difficulties of such I know

the

and

disappointmentsthat are and hard though it be.

an

effort,and

also the continued

in store, but it is the only road, rough The oak is a great favourite of mine,

STUDY

160

when especially the great roots

OF

FROM

TREES

it grows become

on

a

NATURE

steep and and

loose-soiled

bank, where

gnarled and twisted into as a drawing copy, grotesque shapes. Such a tree is admirable and full of qualityas a study. The student should have no thought to make his drawing beautiful in its technical quality, this will as all come in time as a quite natural sequence to his labours. be the one must Simple truth of proportionand construction and sole object,and as these qualities mastered all else will are be If work is entered upon in this way, then it gradually added. can safelybe promised that graduallythe vision will become clear, exposed

Illus. XXXVIII. and

difficulties will be

Grow More

overcome.

the

are

of

Oaks

and

more

objectsof nature : work appeared complex

and insurmountable

clear to the

so

vision,and

and

on

paper

that the

great mistake,for when a

more

In

or

less mechanical

that it was

an

in

early stages of will graduallybecome

in

arose. difficulty

seen

in the

easy to express. with great earnestness me

Pupils have often assured saw but objectsquiteclearly, down

things which

will be

that

they they saw

puttingwhat

Now

of

this is

course

a

objectis clearlyperceivedit becomes it. process to register

giving my experiences of tramps in England, I must givea

the very

trees

I have

high placein

drawn my

in my

estimation

STUDY to the

willow, both

OF

TREES

and

most

also when

state, and

form delightful

the

marks

trees

of tree

and

meadow

of

course

it

a

brook

arise,drawing

masses

colour also.

Where

the

become

a

sunlightfalls on such a line most fairy-like silver-grey.In

Illus. XXXIX.

this

sepia. exact

Of

Group

course

great care

order

Ash

of

be

must

these two

well

to

represent

Trees

be desired. success

on

It must the wash

taken, in order

colours

found, the delicate effect of

dependsfor

pollardwillows,they

is

of proportions

nothing to

of

peculiarto willows,I have found no colours required effect as well as a mixture of indigo and

colour,which

produce the

been

161

In those districts of marsh

the line of stunted

river,the

or

NATURE

in its full unfettered

isin its pollardcondition.

land where

FROM

a

;

but

when

limpid wash

be borne

in mind

to once

secure

this has

of it should that

being very lightand

the

leave

everything transparent,

ILLUSTRATION

Danny

In

from

careless

making the

of

shape

paint

such

be

with

box

into

came

mixed

period

be rule

so

careful

oft not

its

disturb mar

risk

its

of

of

trunk

painted

be

by

down

introduce

simplicity."

;

is of

nor

the

sunshine

a

silver

equal

value,

late

period

into

a

into

dark

of

masses,

the

otherwise

Alphonse light,

dark

light

elm

the

same

and

birch,

me

parts

would the

state

Legros

incidents

the

an

there

Let

management. Professor

in

kind,

with of

and

would

shadow,

everything, case

my

tively instinc-

this

deep

of

in

I

and

a

here

I

of

than

to

method

paints

study

birch

luminous

of

that

instance"jsihe

less

of

breadth

losing

quality

of

elm

a

comparing for

time

progressed.

painting

be

touched

all the

many

broad

Take,

The

lenaid to

when

in

question

tones

drawing

my

by

the

to

sunshine. should

as

contrast

object.

the

most

should

was

no

the

satisfaction

directness

'that

of

found

come

drawing

is

After

on

and

good,

far

employed,

small

may

this

be

to

always

is

in

great.

were

but

There

to

that

have

I believe

as

determined

near

of

they the

much

shadowed

trunk

tree

student

I

trees

done

putting

acquiring

to

advantage.

palette

my

be

must

deepest

yet

is

there

help

addition

in

mere

that

of

part

colours,

use,

the

a

the

of

group was

colour

practice

benefit

it it

derived

such

No

as

of

few

a

on

to

out

is

study

a

is

I have

this

But

with

drawing

the

as

great. it

of

of

the

value,

its

yet

out,

and

managing

values

and

of

tone

which

from

may

time,

where

kind

carried

work

point

This

!

I took

pains the

to

painting

observer

the

and

;

the

casual

patch

part

constantly

that

as

one

most

second

mind each

and

the

one's

and

simple.

was

difficult, for

mood', my

up

the

to

appear

Sussex

Park,

light-hearted

CARELESSLY may

XL

"

:

Be

that

may

that

may

HHHHnHHHwftM'..

Illus.

'

XL

In

Danny

Park,

Sussex

STUDY

OF

TREES

FROM

It should though put on in a mass. is fatal. It may as any tinkering the student

will find willow trees

is experience,

most

such

endless

also be be in

the Thames

localities where

the

168

all,

and for

appliedonce well to note

as

here where

and this,from my profusion, marshy ; but all low-lying

certainlyEssex Cambridge, parts

as country, country bordering on

NATURE

of

and

charming

Hertfordshire, and the other largerivers,afford

tree

we

consideringis

are

seen.

All those

England

who

should to the

inquirerthat with

him.

set

become

to

familiar

quite early in their ash, and having once

it will

Not

out

ever

only

remain

is the

a

search done

the

with

close

give very so, I can

chief favourite

of

trees

sideration con-

promisethe

amongst

trunk, but the great and

trees

subsidiary

branches that

it has appeared are very full of grace and beauty. To me their qualityof surface is capable of taking very beautiful

shadows.

of foliage way in which the masses appear to hang the branches has to mind that the ash to on always suggested my is a rare dainty lady,and exhibits that attractive way of showing off

a

The

beautiful

costume

happiness,in the

that Watteau

butterflycourtiers

has

placed on

of the Court

record

of Louis

for

our

XIV.

begins to pay court be a complete devotion, else there to the ash ; there must will be no success, rest quite assured. Although the ash does not I think I am generally, rightin statingthat all the profusely grow counties of England have this tree, and if this is not so, the simple work has be considered as final,as my fact that I think it is can into thirty-sevenof the English counties,and I cannot led me think of one where I did not find the ash growing. I am the sure for this sweet tree is carefully best way to get a great enthusiasm 99 at the Victoria and Albert Museum, and to go through Room study the drawings of Constable there. Truly these elaborate painstakingefforts are almost enough to make one despair(at least, that is the effect they had on me). But, having taken There

breath

must

and

be

no

half-love

quietlyreflected

take difficult,

as

much

when

that

in the mind

the

student

all in Art as

you

is hard

possiblycan

and

very of these

truly grand drawings, and thus fortified seek in Nature a welldrawings of the grown ash tree, and try to do a like drawing. Make and then tiny branches, and so on, until the separate leaves first, whole tree in all its beautiful grace is the subjectof your study. And drawings ofsingle then, when you have done many, many trees, seek out a group, and try and producea pieceof work that

XLI

ILLUSTRATION

A

is

THIS it

is

become

leaf

a

given

from

as

merely

added

charm

because

of

branches

and

their

shadowed

the

This

picture.

shadow

and

was

combined

made

in

make

such

make

the

drooping charming

a

which

chalk,

of

The

to

to

drawn,

because

composition.

lawn

drawing

but

order

not

were

beautiful,

were

in

They

simple

very

advocated

objects.

they light

method

a

natural

with

although

and

of

example

an

Trees

of

notebook,

my

acquainted

however,

Study

is

favourite

a

_

medium

of for

necessity be

cannot

filled and

mine

wish

from

come,

bringing

pleasure

of he

the

will

to

in

subject, have

others.

to

and

the

joy

studies

from

help

then

them

nature.

student.

and

student,

from

of

making

future.

begin

doubt

way. he

but time

the that

knowing ~

As

beauties

without

in

nature

the

the

their

others, then

in

in

some

The

Notebooks

pleasure

material

emotions

show

to

love and

the

endless

clearness

with

the

on

give and

his

reproduce

to

particularly

will

will

to

untiring

impressed

seen

appeal

to

simply

are

studies

and

satisfaction

strongly

long

continuous

studies

such

things

as

to

emphatically

unbounded

soon

which

making

too

with

in

he

He

will

will

do

great his

will

not

them reward

work

is

Illus.

XLI

A A

Study leaf

from

of

my

Trees notebook

STUDY

OF

TREES

FROM

will prove how keen has been your it should be drawn and painted. When

NATURE

inquiryabout

travellingthrough England,

byword.

much

To

is this the the elm

one

every of the

that

case

proper

has

struggled with

the

smoke

atmosphere is very of these trees in the various

London

;

subjectsfor my work. elm tree is a most splendid A single subjectfor

group themselves many feature which is without

in

truly the it

and

derive great especially drawn and paintedthere for

presence. stillfind endless

is

local

a

great hardihood

Gardens

I have

again I

and

is

although the injuriousto its health, the grandeur, parks is a feature of extreme beauty.

London

Kensington

Bucks

Beechy

is well known, of

familiar forest

most

English landscape. With

tree

ash, and how

Buckinghamshire is In most usually met.

county visited,the elm is the tree Buckinghamshire,however, the beech is the so

the

unless

the

tree, in fact

165

they

great masses

rival

refer the student

as

far

as

trees

charm

from

many a

study,and

afford

are

its

years, and when

landscape

a

concerned.

Here

to the absolute

necessityof making pencilstudies continuouslyin order to become familiar not only of the tree, but also with with the construction and peculiarities themselves in a wide wooded the masses as they arrange landscape. must

If the student

follows

familiar

become

with

then

themselves, he may obtained

will be of

this scheme, and, after many the formation of these trees

a

colour

qualityand

possiblewithout

been

use

the

with

character

as

they

confidence. which

preliminaryexercise

would with

The not

the

group result have

pencil

I advise.

that

consideringthis tree, there is painterthe study of whose work will In

the

studies,has

student

than

Peter

de Wint.

water-colour

landscape be of greater advantage to This great artist evidentlyhad no

of elm trees, so very greatest affection for those masses the great parks of England. The warm familiar to all who know associated with, and contrasted with the of sunlit foliage, masses the very

velvety shadows Not

form

that

this

a

scapes. beauty in many of de Wint's landpainter lacked great qualityin all cases rare

brought other trees into his works, but the elm seems to have provided him with a subject which he always treated this most ing interestand capacity. Whilst I am with rare ability on incident in subject,I should like to record an my working life which occurred during my stay at Chipping Campden. During to make at this place,a friend of mine asked me the time I was a where

he

STUDY

166

NATURE

FROM

TREES

OF

Worcester, drawing of Spechley Park, near it as a small giftfor Mrs. Berkeley,of Spechley. she wanted as I went to Worcester early one lovelyAugust morning, and got to Spechley in time to do my drawing before lunch, and, I painted, and work. As in the afternoon, completed my small

water-colour

W XLII

Illus.

got

and

more

detailsof

the

park, I

of the elm of mine

to

accustomed

more

Mr.

trees, and and

place was

celebrated

which

been

had

much

was

Mrs.

Elm

making

to

struck

at tea

time

Berkeley.

for the

planted under

Tree

the

with

the

mentioned

From

size and

out

them

beauty

direction

and

the distances unusual this

impression

I heard of the

of John

cence magnifithat the elm

trees,

Evelyn

for

STUDY

of

ancestor

an

TREES

OF

the

Second.

FROM

present

NATURE

in

owner

the

16?

reign

Charles

of

the

"w .

Being elm

evidently

showed

have

noted

for

from

their

size

it

the

afforded

with

great

and

in

great

full

pictures, of

this

all

indivdually as

he

to

give

size

him

a

is

good the

at

me

the

were

saw

through

and

districts both

Spechley,

of

impression indeed,

fine

very

being

as

fine

pre-eminently

the

way be

I

way

trees

England.

general

idea under

which

he

is

this

consideration.

charming In

originality.

familiar has

quite

trees

most

impossible*

become

studied

individually

trees,

much

ever

student

be

can

the

paints

Enough when

elm

has the

Treating

and it

that

landscapes

treated.

results

limitations

forest

subject

do,

in

refer

especially

delightful

convincing and

I

work

whose

painters

help,

should

through

wanders

landscape

our

to

as

the of

and

whose

masses,

from

I

me

landscape

delight

advantage

differently

work

modern

Muirhead,

saw

were

beautiful.

was

great.

me

David

I

gave

trees

struck

parks

those

shape,

other

that

that

those

Among

The

elms

much

of

beauty

unique.

was

amongst

to

and

journeys

finest

and

park, which

growth My

our

but

trees,

and

owners.

of

many

their

size

the

the

through

the

by

impressed

was

walk

long

by

I

way

especial

into

of

the

a

pride

me

size

almost

being

of

great led

the

for

me

trees

with

upon

England

but

those

me

looked

took

they

trees,

with

pleased

been

particular

for to

me

the

student

said, feature

a

take

to

however, in

the

CHAPTER

words

FEW

A

in

order

enable

that

the

a

way

merely

I do

among

;

insert

some

if left at

which,

of the of

note

perfect

class

to

the

fathom

work,

with

work,

own

me

rule

her

I

such

On

but

working

the

at

and

a

invariably

breaks

The

of or

it is in

a

is to

scheme

proceed

a

gestion sug-

strike

by

step

I will

work,

by stage,

a

to

step with

an

illustrations,

morning

supposed

was

her

occasions

I

time

same

my

down 168

I

adopt

the

and

secrets

of

best

degenerates

to own

my

and

pursuing

companions

my as

desire

a

in

rule

"

intended

materials

and

paints

holding

was

I had

employ

to

allowing "

out

while

pupil

pupil expressed

my

collect

find

first

mass

of my

accompanying

with

but

to

to

building

some

condition

stage

My

remarks

in Yorkshire.

invited me.

made

methods

of

from

the

simple

a

I

so,

clear.

making was

during

proceed

to

these

private work,

secret

I

so

come

This

which

Richmond,

at

devote

watch

lesson

in

then

few

With

these

assist

may

picture.

and

once,

particular trip

This

my

the

of

hope,

at

hills,

still have,

complete

coming

idea.

my

should

be

endeavour

development

the

through

on,

shall

to

interesting forethought

an

possess

I wish

always

fulfillingthis

drawing

time

any

interest

account

so

of

is

it is

:

working

itself

suggestion

a

should

and

And

picture.

a

or

a

in

skyline

a

I

done

when

adopt

complete

it

mind, this

that

be

that

order

painting

a

merely

woods,

complete,

manner

to

be

in

usually

interest

If I leave

buildings.

and

I

begin

of

may

distance

middle

a

I

object

This

stages.

I

practical,

in

described

here

lesson

it

illustration,

be borne

always

chapter

planned

impression

the

should

The

have

coloured

a

It must

convey

nature

many.

has

ideas.

to

from

whenever

nature

wish

I

clear.

which

my

simplest plan

the

employ

grasp

not

thoroughly

make

to

painting

one

of

stages, each

this,

commencing

before

object quite

its

student

the

YORKSHIRE

RICHMOND,

necessary

make

to

however,

of

are

successive

in four to

AT

LESSON

A

XXIII

to

they may.

into

a

lesson

A

LESSON

AT

RICHMOND

169

pure and simple,which, though it interrupts, compensates by the pleasureit gives,in impartingpracticalhelp. And

proved The

morning

the

selected,and

of expression

assumed

more

lapseof

perfectfor

was

the field I had

that the ferocious was

so

it

this occasion.

on

reached

me

than

short time

real,we

some

subjectI contemplated; we after assuringmy companion in the

cows

settled down

enclosure

same

to work.

After the

I

stopped to see how my companion fared. that all was not going well,and my fears were realized ; and so my rule not to interrupt pupil fell to pieces,and the my lesson began. My profferedsuggestionsevoked no resentment, I felt so quite happy. ," I said, will you My dear Miss a

I feared

"

"

kindlytell me what you the landscapein front of showing but I

that she

did not

consider us

?

"

the most She

at

appreciatedfullywhat

attractive feature

once

she

answered

ought to

in

correctly, have

done,

do.

invariably urge

my

pupilswhen

paintingfrom

always landscape

nature

minds that feature of the registerat once most forciblyholds their attention, for such is,in fact, its soul. Her particularpoint of view aroused my interest,and I in proceeded to give her practicalsuggestionsas to the manner I paintingthe subjectshe had selected which I would proceedwere the for her picture. I laid down series of four stages which a drawing must successivelyreach before it could be considered complete. These stages,or conditions,are arbitrarybut necessary must be suggested. sort of scheme when givinga lesson,as some in their

to

which

I then

drew

attention

to what

I considered

the most

attractive

tellingpoint in the landscape,and proceededto paint it as I was particularto make it directlyas possible. As I worked using certain colours, my pupil quite clear that although I was might consider different ones would achieve a better result,and possiblyfrom her pointof view this might be so, for the sense of but values are colour is different with arbitrary, one, every and it is upon them that the successful construction of the drawing chieflyrests. Beyond anything else in the subjectchosen, it was the beautiful of castle buildings mass skylineof distant hills and the nearer in Coloured This is clearlyshown charmed that especially me. with Illustration No. I. After gettingthese features registered, and

all the attention

and

care

picturegraduallyfound

of which its proper

I had

command,

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the rest of the

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A

LESSON

RICHMOND

AT

171

part doing its allotted duty in helpingto emphasizethe choice of

something that

I

sought

'

faint hills in the extreme-distance I painted with cyanine blue, put on with full brush of colour and allowed to soak a in, never touchingit a second time, but simply to the first intention for the make

to

the soul of all. The

trusting

result. As

the

objectsget

colours become be

must

care

being dealt too

much

the buildings,

in the castle

as

certain details may Great be added. however, when middle distance objectsare and

warmer,

taken,

with

to avoid

forward

and

point that

nearer,

detail,or they will be forced spoilthe effect of recession,which is a

overmuch

so

be

must

I cannot too emphatically constantlykept in mind. call attention to the necessityfor keeping the distance lightlytreated, both with regard to value as well as to

very the details

introduced.

Details

should

reserved

be

for

the

foreground, where the distinct drawing of near objects cannot ness possiblybe overdone, but will tend to add greatlyto the attractiveof the picture. The

continuation

Illustration No.

point,and

of the lesson is

II, where

the additional

effort is made

every

in the Coloured

clearlyshown

that

is added

work

each

pointby

part of the work

shall

its

completed condition as the picturedevelops. My aim to avoid was any necessityfor washing out, although I pointed out to my pupil that this was sometimes moving necessary when from point to point in the buildingup of a drawing from nature, assume

when

it

evident

was

that

mistake

a

had

been

made

in value

or

colour. When

part of I

a

it is necessary to decide on to work study,I endeavour

and painting,

am

smallestpart It must of the

be

thereby

am

should

be

pointedout

dealt that

as

the

the different

earlier stage, and by added an parts force and interest to the whole.

paintingthe

distance, I took

buildingsas both

in colour

make

to

and

making

greatest care

it is desirable

while

that

the

full of interest

that

be allowed

houses

as

the

get

to

as

from

the chief interest

the

to

go over additional

generalmasses

of the work.

the

middle

great variety of be impressedhere,

incident

value, into the picture,such

detract

colour.

the

must

much

of

mass

make

possible.It

the

stages in the growth

details to lend

up to

subject

and

reached, it is repeatedlynecessary

pictureare

of any

judge correctlyhow

regards value

as

of

In

value

or

the whole

broadly at

able to

with

colour

of

as

possible,

details must

lightand

not

shade

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X

A The

LESSON

AT

first conceptionof

that has caused to the moment

RICHMOND

beautiful

some

to halt must

173

objector

be retained

in nature

scene

in the mind

rightup of paint is appliedfor its registration.So now, in this particularinstance,the chief points that made that attracted me the overhanging up the pfcture were of clouds,the far distant hills in the mass land beyond lighted-up them, the

one

when

warm

and

the sunny The coloured

the' last brushful

of the town,

mass

the dark

middle-distance

trees

foreground.

which is the third stage on our road, illustration, clearlyhow the pictureis developing,and emphasize

will show the

foregoingremarks. As my work developed,step by step, it

have

described that

which

was

present, and

ever

I

sought help from morning proceeded.

the

picture I production of

was

for the

the

ever-changingmoods of nature as the At times the pictureappeared an absolutely different one, and then again it changed to its original condition of overhanging cloud, shadowed in the middle trees distance and the sunlit foreground. I drew the attention of my I made of the point of my brush when use pupilto the constant paintingthe buildingsof the town, and that each touch was put hard lines were on By this means very wet from a full brush. This fullness avoided, and a certain degree of atmosphereadded. of colour,whether used when drawing a line with the brush or in the shadowed to cloud mass, the blot again calls attention method when applying paint to paper. and I then explainedthe terms complement paintingin," illustrations. The white and sky immediately practical gave under and adjacentto the dark cloud is complemented by the and the white cow lighthouses and again by the lighttree-stems "

"

"

"

"

"

foreground. These

in the I had

and of

them I

mind

stored in my

indulgedin

complement,

a

features and

licence.

some

series of

"

had

they were

I drew

darks

not

"

"

introduced, but coming in good time,

been

attention

in various

to another

point

ing. parts of the draw-

speak,in the distant dark period to the left of the .castle buildings,on the tower and trees trees and the the right,the dark parts of the middle-distance on Such pointsas these are a "greathelp in producing a black cow. twinkling interest in the picture,and avoidingwhat Constable The

dark

cloud

is

so repeated,

to

"

"

calls "flatness" I

now

in

a

painting.

great beauty a blot of colour possesses as built up by much the tame effect,laboriously

referred to the

compared

with

a

S te

-

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u

GO

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U5

LESSON

A

AT

RICHMOND

175

In several cases where ^1 layersof washes. had put on a good heavy blot of colour, to the left of especially the castle and justbelow the left dark blue spot,it formed a kind of texture showing very faintlythose colours of which it,was composed. The result produced by such a separationof the colours as they dry is often very beautiful and productiveof much atmosphere. A change in the colours of the landscapehad interruptedfor a time the scheme I had picturedin my mind, but at this point in the lesson Nature resumed her original able and I was expression, to carry on preconceivedplan ; a passingheavy cloud cast my its strong shadow the line of foliageand ground to the left of on with the the castle and on the distant righthand part of the town the faint Particular attention should be paid to square tower. warmth lightingup of the middle-distance trees by the interesting of their upper part, and when they fade away into the left-hand of the picture. This effect, is obtained corner by mixing burnt sienna,yellow ochre or raw sienna with the dark or colder colours of trees had been the lower portion of this mass with which painted. Attention should also be paid to the brightgreen period

scrubbing and

many

between the trees as seen beneath appears with transparent green oxide colour is made

which This

their

trunks.

of chromium

yellow ochre to give it sunny brightness.These brightspots the are a great help in giving incident to a drawing, and cause to speak. so whole pictureto scintillate; how I showed deadly dull, flat and uninterestinga picture lacked which diversityof incident, both in value and colour, must surely be ; that nothing is so productiveof flatness as I impressed dear to many. so washing and scrubbing out, a method on pupilthe necessityof unremittingapplicationto my drawing which tends so much to eliminate flatness. I pointedout the knees, to rest flat on the advantage of allowing the board the instead of perchingit on an easel,for by the latter method and

colours

intended was

to

using

occurred

wet,

oxide so

colour

that was

sink.

were

I

away

showed

obtained

"

from

those

parts into which

how

her

certain

one, particularly

a

colours

they

are

which

grey-green,

I

which

comparativelylight the upper part of the trees, and was got by mixing on used very with ivory-black.This was of chromium Another interesting when dry it had a good bloom." of lightred and naplesyellow,admirable a mixture

in the

periodcame green

and

down

run

dark

tree

where

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LESSON

AT

RICHMOND

177

sunlighteffect on red brick houses. It frequently happens that as the work approachescompletion and allows of a somewhat comprehensivesurvey of the generaleffect of the work to be taken, certain parts requirestrengthening and emphasizing.So it was a

with the work

I

was

engaged on

;

the

sunlightwas

now

and the herd of cows mentioned satisfaction, my wandered exactlyto the positionI wished. It will be

seen

admirably the sunlighton

value

interest to the dark

group of cows and to givea

above

had

in the fourth and last coloured illustration of this

series how and

quiteto

the

foregroundhelpsto give

trees in the middle

distance.

The

also tends to make

the dark trees appear stilldarker, pointof brightinterest to the whole picture-

This

also very necessary as affording a point group of life was of strengthin the foreground.The colours I used in painting the animals

were

lightand

indian red, burnt

This

sienna,and ivory-black.

care part of my work, simpleas it may seem, called for more than the previousstages. The colours I used on the near part of those I had previouslyemployed. In painting the picturewere of sunlightthe greatestcare must the light be tones in the mass taken not to produce any overstrengthof colour, otherwise the attempt to produce,sunlightwill surelysuffer. instruction, Thus ended a happy day my pupilhappy in receiving and I in impartingit. "

M

XXIV

CHAPTER

PAINTERS

WATER-COLOUR

making INthose whose in

no

school

particular

all the

and

more

had

laboured

it.

The

others

in the

In

Gallery. Turner's "

had

"

particular

mentioned

Having others

for

whom

I have

help

I have

study,

for

my

own

Method to

manner

my

with

I have desire

efforts.

I say

looked

When

Henderson

form

these,

Liber

was was

itself

those steel

My

a

lection predi-

a

work

of

a

favourites,

neglected. elegant

very

engravers

who

feelings in

ihis

the

by

one

it must

and

not

admiration of

work

sought

help

continual

a

bis

embody and

the

of

study

for

and I

at

otherwise.

I will take

what

by

housed had

all

at

were

earliest

try

any

those

were

great

works.

out

found

than

and

my

the

who

Hill, Hindhead,"

towards

for

pleasure

from

Gibbet

series

studied,

to

more

those

and

always

I

been

than

my

they

Studiorum, "

similar

sought

from

bequest,

enough,

encouragement,

studied. not

of others.

and

help

to

sense

earlier

done

this,

any

is

own

I became

enthusiasm

rather

increased

have

my

my

in this

Italy and

Rogers'

It

invariably

always

were

in

As

for

in

great

discuss.

strong drawing

very which

poems

illustrated

that

any

"

others

the

taken

studies.

my

is it meant

Abbey,"

have

in

have

satisfaction

the

Kirkstall

of the

none

of

I studied

for

Castle,"

list

sought

Curiously

work

The

Norham

never

when

days

the

I

my

to

Wints

nature.

little

past, and

the

de

me

to

I

work,

awoke

although I

in my

which

for

and

chosen

PRESENT

painters, to

Neither

drawings were

"

complete

a

I have

in the

help

a

labour.

of men

National

like

been

as

AND

water-colour

of

has

interested

Turner. the

work

intended

way

include

selection

a

PAST

to

of

work

all those

one

be

concluded

at

thousands

particular man in

method

leaving

obtain,

devoted

my

study

of

nature. Paul

work

Sandby should

be

is

an

known

early to

of water-eolour

master

all those

178

who

seek

for

drawing, knowledge

whose in the

ILLUSTRATION

XLVII

Thomas

Gietin

1775-1802

KIRKSTALL

Victoria

ABBEY

and

Albert

Museum

.CO IU

C

is

ft'9

f

"

| ? I 3

_r

8

"J

en

"

*

"w

"=

-

M o

0)

O

CO

a

5

O

a)

o

"""

'"0 fl

is'S'S 03-

Sfl

"-

")

O "u oa

B

B?

j3

" "

rri

5

g g

"

O

d

ft"

Si

3 *^ 8 SUoSg^O-P-Sa, .a

"

o"

+"

_,

a

o

"

W"

o

J

JS

jo ft-g

I

_

t

-ro

a ft

bi HI

4"

g

s +J

fc^a

s"

-a

00

ft

"2

s"

s

s

"

g""

33

"

o

j

53 sa

"B

ffi S

ft"

_,

1?

Jii.5*

-*s

a.

d

IS

09

03

is g "U

o

H

^

"a

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J

t*

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ft^ O

is o

"B

60

"D

a-1'

^1"

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1.3 "" 3

c8

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"fl

a""

^

5 .a s

g .gpJ

-

o

"-c

SS

J

g .5 4ftO (8 o -M

"g

sg

8

ILLUSTRATION

XLVIII

Antony

Thomas

Devis

1729-1817

LANDSCAPE,

AND

CHURCH

Victoria

and

Albert

Museum

CATTLE

",'Sf-g " J*

" 12

Q

JSn

u

hi

|3o5S2gni)

*

O

^

"~

T3

ft _d

"+3

'53

" J 3

-"|

a

s ";

.S

so 60

c

Hh

fl

a .

a "u

*

O

5 x

0 SB " w

O

'EL

-"a a

1

8P1L

i

*

c

a

tf

fe

s

U

*.2 S c3 s .a s

S"o

*S" a

fl

""

"-g^

^

OT

in

a;

+*

ft .a

M.a'g

u

uial

!

a^^"S

w

PS

o

u

"8 s.-g.-s

H en

g

W

sT.g

P4 o CO

5

Sa'2

"

"S

a "

h5

p-^tj to

a

CI

I

s ^ ""-fl rrt

ft

B

"

" | "^

OrO

"3

S

**

s

"*

"

-^

rs H d

"

a O

o

"I8 t,

J^

R

jj

Qn-^

"

s

H

ft

g 3

XLIX

ILLUSTRATION

Paul

Sandby,

a.

a.

1725-1809

ETON

WINDSOR

AND

COLLEGE

FIELDS

PLAYING

'

Victoria

FROM

and

Albert

Museum

THE

""""

9

S

3 a* o

+2

,3

2 2

60

'""si P 3

8

U

I

0)

fl c8

_^

a

T) 'a

w

S3*

$ flfl H (U

q

,3

? HI

fr

i

,rt

68

"J

2

"

"

"a

g

5 ""

.

1 * 2

"

TO

a

Q

-8 w

I e

55

PM I" I

a

to

O

o

a

S

M

"3

ft

" O as

0 53

5

I lis**** O

3 p

a

2 a

o

u

o

11

,3

" w o w

P

"U

03 to

s

Pi +5 cT

p

-"

t-i

9 2

^=

SP-i S

g S

"ll-

O

aa" "8S

"~

-,

60

3

1 U

.3

'B

-0

^2

O O

-"?g

*

.9

f

.s

Is

| 3

11

O

,3

r3

WATER-COLOUR Art

PAINTERS

he

practisedso gathered from

been

well.

What

PAST I know

"

PRESENT

of his work

has

185

chiefly

the

at the examples in the Print Room from privatecollections. His drawings are in second-hand shops bookup out of old portfolios such like places. I bought a very charming study by for seven and sixpence, and doubtless shillings many

British Museum and stillto be picked and

him

once

more

are

The

here and

there hidden

great charm

away

in odd

corners.

Sandby's work is his masterlysense of with a great delicacyof workmanship.

of Paul

composition, combined only has he a rare refinement in his line,but in addition keen appreciation,^values. The illustrations I have selected this artist are given to show his mastery of detail. Not

as jP[Search

a

of

who lived amongst the work of those men duringthe greaterpart of the eighteenthcentury, and it will be a one

difficult matter

may

drawings will safely of this trulygreat artist. While practising hang in the company the greatestrestraint in the use of colpur, which he systematically limited to a mere tint,yet the results he achieved were1 truly Castle, masterly. I have in my mind a tiny drawing of Windsor r friend The to at a belonging Shrewsbury. astonishinglyefined pencilwork with which he sought to givebackbone to the drawing is of rare ground beauty. The value tones of sky, distance,and foreare simple transparent washes of blue (some sort of Prussian,I think),ivory-black,burnt sienna, and yellow ochre. A very limited palettetruly,and yet the trulymarvellous effect obtained of from the use of such produced on the mind a feeling entire satisfaction. The drawing is quite small, probably 9 in. by .6 in.,and yet the feelingon the mind is as if a great being looked at : it is indeed a masterpiece,and paintingwere was appeared by which the wonder yet how slightthe means achieved. All indeed, with the exception of the mind that fathered to

find

even

a

very few

whose

it. It is the

same

with

this master's

when drawings of buildings,

ing apparentlydone for the service of engravers workThe beauty of the drawing, works. for some topographical the rare manner by which be conveys the appearance of crumbling stonework, the construction made evident by the most reserved of delicate shadows, all is done with a profound knowledge use of his art, which producesabsolute contentment. When lookingat the works of moderate size by Sandby, I have often wondered why he ever laboured at the largerand cbmparaseen

near,

and

WATER-COLOUR

186

PAST

PAINTERS The

tivelyuninterestingcompositions. demanded

such works, and

the artist had

"

PRESENT

is,the public

reflection to

comply.

When

drawings of Sandby, I have been much struck beauty of the figuregroups he introduced into great judgment with which they are placed.

with the

at the

delicate and

the

Girtin is the next

Thomas

have studied

great

man

of the

ing look-

his

past whose

work,

work

I

pleasure. It is a marvellous thing that this artist accomplished in his short life so much work. A of his drawings are at the British Museum, showing largenumber the wide range of his labours. In the drawings which he made for a panorama of London, his extraordinaryfacility in the use of the pen is seen to great advantage. Other picturesare here which show how trulygreat was his poeticalappreciation of seen the beauties of nature. Although his drawings are very often of to get into the smallest space subjects size,he yet manages trifling which might be painted as gallerypictures. I have often wondered with many of why Girtin,in common the old water-colourists, indulgedin paintingsuch huge pictures. Take, for instance,the Bridgnorth drawing in the Print Room. Can there be any doubt that this picturewould have been far more forcible,and certainlyinfinitely more charming, had it been reduced scale ? It seems done on a much scarcelycredible that a of such judgment in matters of Art as Girtin could have man And yet, for what sought to compete with the premier medium. with

zeal and

"

other

could

reason

"

Girtin, de Wint, Turner,

Cotman

or

have

did produce ? I do painted the huge thingsthey sometimes it seems think anything is gainedby such efforts, and certainly that

me

much

is lost in the way

Girtin did not for one,

am

very

do much

of concentration

work

on

this

not to

ever, of effect. How-

big scale

"

for which

I,

thankful.

examples here given of Girtin's work are but a meagre of drawing attention to his genius. Very beautiful as each means work is without doubt, they must only be taken as a suggestion beautiful to the student to make further investigation. However The

drawings of buildingswere, it is in his works where he deals with the theme of the open landscapethat his geniusreaches its highest flight. In the White House he proved himself to be one of our greatest landscapepainters, and worthy the unstinted praisewhich Turner is said to have bestowed upon it. Girtin's

"

One

"

of the greatest advantages I have found in well knowing the work of the great men of the past has been the enthusiasm it has

ILLUSTRATION

L

P.

Wilson

BRIDGNORTH

Steer

vsag.s

ILLUSTRATION

LI

Thomas

Gietin

1775-1802

RIEVAULX

YORKSHIRE

ABBEY,

Victoria

and

Albert

Museum

o

o

B

H

pa

"!

en

3

K

ILLUSTRATION

LII

Robert

John

Cozens

1752-1799

VIEW

IN

Victoria

ISLAND

THE

and

Albert

OF

Museum

ELBA

O xn

a

A

s H ft

o

S5

P

O t-H

"

H

B

w

W

s

CD

Si

o

WATER-COLOUR awakened condition It is and

in

PAINTERS for labour.

me

PAST

Toil

"

PRESENT

to have

seems

193

been to them

a

in. they delighted

^wonder

no

the work

that the fruits of their lives

To plentiful.

so

that their art

then their

was

or

considerations.

in

learningthis

there

me

all,undisturbed

I cannot

be too

lesson of devotion

were

scheme

and that he effects,

fine

very littledoubt few other distractions

seems

by

emphaticin pointingout the student is

that

acquiringmuch

that will be of great value to him in his work. In many drawings it will be seen that he was breaking away

simpletinted

so

of Girtin's from

the

which his predecessors laboured for their

on

which culminated assuming real painting, in the works of John Varley, Turner, de Wint, and the later There was, however, in his paintingsa great water-colour men. in the size of his palette, and always a seekingto produce reserve his effects by very simple means. It was quiteearlyin my labours that I felt very impressedwith the qualityof Peter de Wint's work, and the advantage to be the texture of this gained by a close study of it. It was chiefly master's

colour

was

which

awoke

questionthe intimate

to

claim

to

againto

have

way

I should not like my enthusiasm. others have scrutinized his work, or

exceeded

it. I have, however, returned again and of de Wint's work, and each,time I am more

the

study impressedwith the extraordinary beauty of his colour. If possiblehis best work should be looked at, and the rest for of study left alone. In the labour of such a genius, purposes and

more

all his work

is in

way It is when

highestnote.

reached.

are

felt that

he

excellent,but much does not strike the he is spontaneous that his best achievements

a

was

In his

doing

more

much

laborious

that went

efforts I have

againsthis

always and feelings

convictions. Peter de Wint his his than

who

evidentlywas intent upon making work remunerative, and having this end in view he allowed to suffer. If the painteraims at any other object paintings the very

was

a

man

simpleand

distinct

one

of

himself,he pleasing

is

beginningto tread a bad road. It is very sad to think that the to sale of a picturehas to be refused,because it is not possible this detail into it." But the artist must on put rather more of his reputation pointbe firm if he is intendingto think more than the sale of his productions.In writingabout the help I "

have

found

in the work

pictureswhich N

have

of de Wint, I think it best to refer to those chief joy. Certainlya foremost been my

WATER-COLOUR

194

place is occupied in my the possessionof Mrs. Victoria

and

mind

by

"

PAST

PAINTERS

of Gloucester in

largeview

the

PRESENT

Tatlock, at the time of writing in the South Kensington. It is masterly Museum,

Albert

composition,as well as evidencingin all its parts the greatest I think it is justthe perfection of a waterbeauty of execution. colour painting,and worthy of continual study. Also at Kensington, but this time in the Henderson Bequest, The High Bridge,Lincoln," which is is of its kind a fine thing, Nowhere be so well seen the can being full of life and emotion. first intention undisturbed. There advantage of leavingthe is in this picture a great robustness of handling, which is an attraction entirely absent in those works where detail and elaboration are sought. Another picturein the same very interesting in

"

"

collection is that which clouds

heavy

and

another

are

Although

of

favourite

of mine.

I

is called

shadowed

example

"

road

"

Road

A

are

brilliant

of the attractiveness

this great simplicity,

in Yorkshire."

of

picturehas

The

beyond words,

and

spontaneous work.

always been

a

great

when

fortunate

paintingin the neighbourhood of Ludlow, Shropshire,to have an opportunity of seeingthe very fine lot of de Wints at Oakley Park. Several of the paintingsin this collection are reproduced in the beautiful little work on de Wint Sir Walter by Armstrong. All lovers of water-colour work should, I think, possess this book, as it gives, such a lively very

was

idea in

small

not

think

of this great man's achievements. I do compass there should be much in gainingadmission to difficulty

see

these

pictures,but

The

"

a

Harlech

of those

Park

is not

"

a

show

house."

Castle,"at the Victoria and Albert Museum,

emotional

beautiful

Oakley

pictureswhere

story told in few words.

all is

seen

at

a

is one

glance,and

its

I

always feel that in this work the artist was completelyin love with his subject,and laboured at high pressure. This is quite a type which is repeatedlyfound the range of work studied becomes as largerand more complete. of de Wint's Interestingand full of merit as many building picturesare, I do not advise the student to seek for helpfrom them in this direction. It is far better to consult the drawings of J. S. Cotman

and

in architecture When should

Thomas

which

studying the be

borne

painted. The

Girtin.

Both

these

men

have

a

mastery

is

quite apart, and perfect. works of the early water-colour

in mind

tone of age

the

number

which

is of

of years

men

it

they have been exquisitebeauty should

ILLUSTRATION

LIII

Peter

Wint de

1784-1849

CONISBORO'

CASTLE

01

S fl f-| fS

L

"81

d!

M^^

.2 .2

60-"

2

O 03

CO

"M M

o

Si

"b

H

[0

S

13

GO

ft S3

Sb c3 g

PS o m

"

rrj

if

d

m

l H

C3

CU

-1.2.1"S3' "J

CO

2 co

1

8

CD

T3 CO a

fl TJ "

03

c

"

CO

o o

CO

"r-t

CO

CO1co

v

a

CO

cs

O

a

is "a

"

CS

^u.2 fl

g

.2

5

CO

13 o

u

H

en

s

r

"3 to

o o

+"

.

T2

""C o

ta

co

4}

" O

"

CO

|S "rt

S

"

3Ss

I

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g

co

O

co

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o

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8

3.*

co

O

g

"^3

co

4"

O

CO

3"1,1 "S

^

c8

S

ft ft +3

ft S

ILLUSTRATION

LIV

Peter

Wint de

1784-1849

A

ROAD

IN

National

YORKSHIRE

Gallery

4)

*

05

eS

2 ~

n

3

"

-u *~

M .a2

V

w

affix's

O

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a

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8

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t"

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3

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4)

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o

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i -g ft."^ J "81

s

"

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ftS. 0:i

2

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a

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a

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u

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cs

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on

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fe *

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5b"

a

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J

Jill

J3

"

ILLUSTRATION

LV

Wint

Peter de

1784-1849

CASTLE

KNARESBOROUGH

National

Gallery

"

.a .a a

w

s

."*" d

o

-d

"P 2 a-*

**

d

8

5 "

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d

5

.";-fi 4^

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H cS

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o

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09

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a P

a

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Pi

IS

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"via.

ID

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iti

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+f

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s

a.

WATER-COLOUR be

never

copied,but

student

who the

master

PAINTERS

PAST

rather it should

PRESENT

201

be

The studiouslyavoided. exactly,instead of trying to

is inclined to

on principles

"

which

copy the old

self worked, will find himinvolved in many difficulties. For instance,in most of the heavy skies paintedby the earlymen, the blues have fled,leaving men

in many a

instances only the reds they were instance of this sort highlyinteresting

Copley Fieldingin great storm-cloud the

faded

cityof

colours

Wallace have

might Dis.

gloating over

in

the

I

mixed in

been

In this

the lurid

I firstfound

very young of the earlymen,

the work

is

by

picturethe

which intensity

when

was

There

large seascape

a

Collection.

with.

hung over-

delight

and

the worry these Of course I knew

quite pathetic. to the many colours,neither had I access fleeting littlemanuals the subjectof trustworthypigments. on in which always struck me as remarkable is the manner gave

me

was

nothing about admirable What

has

the dark

blues of Peter

de Wint

have

lasted.

I believe he used

a

specialindigoof

his own, which must have been a very fine colour, wonderfulgreens. and doubtless helpedin the making of his many In reviewing what I know of de Wint's work, it appears to me that he

delightedin

the soft neutral tone

bright spots of high brilliant and

most

the

use

of white

with the paper value to appear.

paper, and sought to supply only left where he wanted his This

convincing effect

to

method

of his

givesa Curiously

his works.

to me enough, it has been remarked by Wilson Steer that in his opinion a water colour should always be painted on white paper ; I give this authority as that of the greatest of our landscape paintersof the present time, whether as a painterin oil or watercolour. I am a great believer in authority,and here I give an

opinionwhich The

past

looked

to

friend I found

next

John

was

is second

very

best

of his

most

unequal,and

me

support of

the

finest work

evident that it

very

own.

my

amongst the water-colour When

Varley.

at, it is to

in

none

must

It is true

contemporaries.

of this artist is

be ranked that

be attributed

to this fact may

^men of the with the

his work

the

was

of his

reason

occupying a post of greater distinction. Many of his later drawings are very conventional, being obviously painted for

not

I often wonder

Exhibitions. Art

by

this

ill effect on It

seems

how

herding togetherin the work

to have

the

injuryhas

for exhibition to strive to

men

been

done

shows. great periodical

be very the desire of artists when

of certain

been

much

can

to

The

clearlytraced.

preparingwork

produce a thing of obvious

labour

with

"

PAST

PAINTERS

WATER-COLOUR

202

PRESENT

impressthe public. With this objectin view, the rapidly executed and spontaneous effort was put on one side as unworthy, thus leaving to posteritythe task of findingin these cast-offs of a picture Holy great works of art. I have in my possession and 1810. dated An Island Castle," by John Varley, signed apparent replicaof this drawing, evidentlydone in the studio, If these signedand dated 1811, is in one of the publicmuseums. two drawings are compared, it is very evident that the earlier doubt which no was painted out of doors, is the great one, done at a later time work, and that the carefullylaboured one I do not think Varley himself doubled falls far below it in merit. the buyer whose ignohis work, but he had to think of satisfying rance finish and exactness of manipulation. the spoiling demanded which

to

"

I think

and grief,

to

come

be told of this rock upon which he may be prepared to face it. Many of the works of

should

the student

so

extraordinarydecorative in the furnishingof a them very welcome in his of method, especially exactness an Varley

a

have

an

should not

certain attractiveness,but

quality,which makes room. They also have later period,which has imitated.

be

This

artist

of being the firstman to paintin water-colours, reputation hence he is called by some distinct from his predecessors, father of water-colour painting.

has the as

the

I think

I have

described

already the paintingin the

difference

between

a

when

ever, Howmedium. same drawing and a in appropriately I will do so again,as such a reference comes dealingwith the work of Varley. A water-colour drawing

is an

outlined

water-colour

in pen or penciluvwhich the local colours are in. On the other hand, a water-colour painting

work

faintlywashed is produced in the method in from the lightmasses

oils, being paintedwith

tones

varying

through the different reached, where the is capable is used.

the sunny passages until the deep shadows are

stages of tone

richestcolour of which The

of

the medium

great point of variance

between

oil and

water-colour

work

is,that in the former the shadows are executed in thin transparent colour,and the lightsin thick solid paint,whilst the latter method is exactlythe

worked, but I will not to

whether

venture

abouf

Now he

to say.

alter their method

somewhere of

reverse.

1790.

this

the

was

It

about

was

undoubtedly the way first to paint in water to

seems

the

After

paintingin water-colours,I

same

me

that several

time,

thinkingmuch have

come

which

was,

about

to the

men

the

Varley colours

began roughly, manner

conclusion that

ILLUSTRATION

LVI

Richard

Junb.

Cooper,

1740-1814

LANDSCAPE-

ROCKY

A

Victoria

and

Albert

Museum

H P. o 0!)

Q

o "j

"-) !*

H co

P "-3 a

M o

o

"

ILLUSTRATION

LVII

John

Varley

1778-1842

MOEL

DOWN

LOOKING

HEBOG,

Victoria

EMRYS

DINAS

NEAR

FROM

and

Albert

THE

Museum

VALE

V

S' ^

S

I

C

a

"

""

"_

S3 Sp:S7+

"

+"

-8

cm

"y

W

s

CO

-"! 55

2 Pi ""

""

"2 03

5

a

-P

a

j"a

t

a

a

03

T3

a -^

r? I Ji a

o

"

" a%

(U

ftT3

"

to

fl

03

a

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a

"5 CO

**

a

a m

CU

te

a

"s

W

'52

02 .

03 CU

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B

"J

-e

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"

"D

^

g

03

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HA

ft

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co

CU

H "J

1-1

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r^-^

5

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03

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p

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to

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60

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yg

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cu

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a

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55

"u

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a

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GO

fi-S9

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"

-a

LVIII

ILLUSTRATION

Vabley

John

1778-1842

LAKE

SCENE

" jj jj".g

9

1 if"

.a

J~

-

2

O

.a

'

""

2

T3 CO

Sri

S^a

Sia

e

"fl

O

h

d

""

S

C ?

o

ft

*

"

CO

"J

^

o O

t-*

3

a

w

"

ja

3

pQ

""

co

CD

"J w

2^ ""H"5 ^"g " a " -S--5"" " a o

O i" i

" o

en

H

I 3

H W

-

" T3

-

to

I

a

P

co CO

ff?

" g s ""a +3 I'a ^^-^H"" J3

8 "

"53 "3 a

|

g ,S

^li 2 " a

fe p +.

^

a

" w

rfj

a g m "; ft"

"

|

S

g "n

.

"o

^"a

a "

fe

S 13

"

"

"S co

M

H

-8 S

g 2 S g'OO CO

CO

fr.a

fe a

co

to

s "s

II to

to

a "n

.2 co

s

1-9 Q

3 rt

I

,a **-*

rr!

a. "

o 2

S a .s .a 5

WATER-COLOUR

it

is

where

art

an

medium

The

a

PAINTERS

quite

is

size.

the

last

have

His

bought

drawings

for

sixpence

a

was

have

taken

acquired

as

but

limited,

country

of

examples I

widely,

of

one

by his as

think

public

and

contemporaries .

I

the

been

finest

produced

will

be

how

seen

have

and

that

his

They often

are

more

old

portfolios

that

works

have

in

seen-

than

are

the those

is

here

than

either

his

production been

not

doubtless

are

for

difficulty

study

heard

be

pair

a

which

greater to

never

of

scene

found

sions. dimen-

frequently

can

purchase lake

work

moderate

to

my The

institutions.

in

take

it

work

think

I

helps. rather

pictures

dealers

I

master's

my

beyond

carry

have

interesting,

these. this

his

record.

a

cannot

and

restricted.

be

assertion,

years,

kept

price.

established is

this

209

size.

always

are

low

very

each

reproduced

those

Varley

it

which

fifty

limited

a

should

that

of

PRESENT

"

work

drawings and

part

the

proof

or

outside

most

of

beautiful, a

hundred

been the

getting

As

paintings

during

For

size

delicately

so

limited

water-colour

few

the

PAST

in of

much

scattered

hands of

of

any

small of

his

CHAPTER

WATER-COLOUR

XXV

PAST

PAINTERS

Constable

John back ON havelooking derived John

Constable

which

he

studied

charming largest at

the

the

great

is

size.

The

Victoria

His

tree as

thought

his

water-colour

his

whole

for

his

all.

whom

for

His

artist

of

to

should

style,

he

evolves He

his

a

was

horse

and

light

have

as

without

thus

taken

would

and

of

out

choice

look

end

alone

is

I do

style. as

safer

no

model,

a

that

had

and of his

individual

any

model

a

It

choice.

my

lines

of

self, him-

Constable

I selected

been

find

to

that

than

confusion

apparent

taneous spon-

it is very

save

from

man

but

and

charming

by

say

have

certainly an

not

and

pleased

different

remarkably

there

be

for

always

squarely

ended

he

works

I have

carefully,

to

was

the

invaluable,

masterly

work

to

is of

to

small

energy.

them

at

increase

are

most

was

draughtsman, subjects.

All

sunshine is

is

his

endless

delight

force

is

paint

and

Every

they

are

and

whole

unique

should

of

well

as

thing

advantage

student a

as

subtle

most

in be

expression

his

balance

just

is

amazing.

familiar of the

great

I and

them,

with way

a

of

power

in

these

in

of

pencil drawing

evidence

line

of the

being

as

little

strong

a

exactly right, in The

drawings.

well

as

I think

shade.

doubt

the

nation

treasure-house

perfect

untiring

in

collection

and

studies

a

the a

for

I find

idea.

in

cart

found

beautiful

one's

of

composition. of

yet

master

a

selection

his

as

is

are

I

manner

which

in themselves

you

found

how

is

effort

work

Constable

marvellous

Museum

that

and

be

his

to

The

place.

whom

work,

their

suitable

feelings. Nobody

working

of

notebooks are

from

men

in-work

drawings

When

contemporaries, upon

well

exist.

that

high

His

studies

the

study

evidenced

of.

Albert

of

very

devoted

genius

that

a

of which

room

his

convincing

the

many

evidence

and

help by

clearly

and

student.

expression

note

possessed

pictures,

apparent

taking

occupying

fortunately

so

and

PRESENT

AND

a

great

WATER-COLOUR

PAINTERS

PAST

worked

man

in the perfecting of himself. the keenest of joys and the most

Constable have

always

and

felt refreshed

after

PRESENT

"

211

Obviously,toil was loving of

this -visiting

better able to face the difficultiesof my

I

labours.

choice

work.

to

collection,

In the

use

of

the

pencilfew have shown such complete mastery. If ever a man paintedin pencilit was Constable,and trulychoice paintings they I have found this painter's water-colours were. scattered about England, and turning up in the most unaccountable places. Of his oil paintings I can say nothing here, except that from personal water-colour work experienceI have found much help in my own from studying them. In all Constable's work there is so much colour incident,which givesto it an utter freedom from flatness." I believe this term was his own, and it certainly is a most happy one. A picturepaintedflatly is one lackingin sparkleand a constant twinkle of colour incident. In making his works scintillate with colour in sunlightas well as shadow, he never for a moment loses and never weakens his breadth of sight^ofthe cardinal masses This principle of spaciousmasses of lightand shadow treatment. is seen in his great landscapes,and is equally apparent in the with its drawing three inches by four. I so page of a notebook fullyrealize the importance of this point in pictureconstruction too that I cannot forciblyor too frequentlyimpress it on the "

However, the great

student.

appealto

one

at first sightby the

shadow.

and

Therefore

constantlybent, as have nothing but the

will

character

the

Cotman

distinction the work

of this

achieved.

placedhim high in a

of

ing light-

let your such devotion

from

labours,and

your

painter,he

His

work

great artist comes

he laboured.

It is

considered,to see as

etcher

an

alone

the list of British artists. But

it is considered and

on

Sell

with whom any of those great men the difficultiesof his life are when he

their scheme

its

also.

pointof

record

their works

;

shrine of Constable

best influence

John In

at

brevityof

detail

the benefit derived

be

knee

loved

masters

how

must

great he be

both

was

conceded

a

as

a

before

astonishing, splendid

the

would

have

tion, when, in addiwater-colourist

unique positionindeed.

admiration for the work of Cotman, I must is my warn be labours must pursued warily. the student that the study of his but at Not that he is ever faultyin his compositionor drawing,' Great

one

as

periodof

his lifehis colour

gets very violent and overstrained.

His

of

use

what

with

and

brightblues his

colours,make

drawings of

fortunatelyfor the

Very

representedin Britain.

as orange-yellows,

be described

may

of

most

Students

PAST

PAINTERS

WATER-COLOUR

212

can

his normal

as

well

quiteharsh

this time

other crude

as

when

compared

style.

of Art, the work

lovers

PRESENT

"

of Cotman

is

great public collections of Great

the

therefore

drawings with comparativeease.

his

help by studying his Naturally,the greater number

seek

drawings and paintingshave found their way to London, the Victoria of the British Museum or and are in the safe-keeping Those in the possessionof Mr. Colman of and Albert Museum. if possible.I will of rare value, and should be seen Norwich are either of those drawings which have not attempt to particularize tion afforded me specialpleasure. My objectis rather to draw attenshines. It is when Cotman to the class of drawing in which he seeks to get his story told by direct methods, and in limpid transparent washes, that he is at his best, and is,without question, of water-colour the greatestmaster painting. I students who in their wanderings Incidentally, must warn counties, may through England, and especiallyin the eastern which The system upon he come across drawings by Cotman. It Cotman's was plan to taught may not be generallyknown. lend his drawings to pupilswho, having copied them, were given

of his

a

lesson

on

thousand

their

effort.

of Cotman's

this way many of which many

clever no

At

time

one

water-colour

copiesgot

doubt

there

drawings scattered

about

touches finishing if such a drawing got

had

about

were

in circulation. the

by

two

In

country,

the

master.

into the hands of easilyconceivable that man's an unscrupulousperson, it would be but a short step to add Cotand if signature. I feel sure this fraud has been practised, the name so forgedseventy or was eightyyears since,it would now of genius,Cotman Like so many have quitea genuine look. men had but little recognitionduring his life. His restrained colour and simplecompositionfound no favour in the eyes of the general public,who in his days, as now, preferredthe vulgar and noisy. I do not generallyadvise the copying of water-colour paintings If, however, I made by students. any exceptionto this rule, it It is

would

certainlybe

caricatures

which

in favour

have

been

of this

great artist. The

ridiculous

of Turner's works constantlymade cannot But in copyby severelycondemned. ing there is technical a Cotman, simplicityin his work which be might possibly although with extreme overcome, difficulty. his admirers

be too

LIX

ILLUSTRATION

John

Sell

Cotman

1782-1842

THE

BAGGAGE

WAGGON

LIX

ILLUSTRATION The

brilliancyof

THE The

student

from

this

cases

must

the

very he

painter, as

laboured

written

effect

from

arises

and

in

Cotman's

directness

is

theatrical.

masterly productions

most

of

method

his

carefully differentiate is not always direct

rather there

Waggon

Baggage

when but

Cotman

of

work.

seeking help

in very has been

many much

difficultyin finding good critical opinions oh his paintings. My greatest pleasure is in those works he did in the earlier part of his life ; those he accomplished later on, with their bright blues and do not at all. appeal to me oranges, In this picture everything seems good. The charmingly managed and waggon, all help trees, thestriking foreground with horseman in their several parts to make should up a charming picture. Note be taken of the beauty of the left-hand tree, and the effect produced the and branches show stems as by light they up against the dark of the also the in to manner background foliage right ; which the dark period runs through the picture from the bottom it culminates dark part in the upper right-hand corner up to where tree. of the round-headed Nothing is left to chance, but rather the most shows careful planning in order that the effect arrived should be attained. The at drawing of the cart and figure is them are managed on perfect in its simplicity,and the shadows I oughly thorwith deftness. do know not a a drawing more masterly Cotman than this is, nor in which his gentle mood one be felt if the is so well expressed. No discouragement should about,

so

"

no

"

student

after

great

achievement.

many

efforts Of

the

fails to many

get such

an

water-colourists

effect, as who

have

it is

a

done

accomplished such simple beauty in their work Cotman. as Right in his conception, this artist in bis happiest drawings carried his plan straight through to the end. Of course, I am in which it was possible speaking of those works for Cotman to begin and finish a picture without even so tripping I speak often but be made, or over-painting. Attempts may after long experience when I say that the best results are seldom attained. is the artist who reaches and Happy again to a now is his reward. even point where partial satisfaction great things, few

have

Illus.

Hon

L1X

The

Baggage

Waggon,

by

John

puhlished

Sell

ly the Autotype

Cotman

Co.

WATER-COLOUR There

is

PAINTERS

chance

PAST

"

PRESENT

215

but not the copyingthe great Norwich man of imitating the subtleties of Turner. slightest It is better, however, to leave copying alone, but rather, by patient study, to try and unravel the principleson which each worked. I stillponder when lookingat a Cotman particularman of his sunshine, as well as on the depth drawing on the brilliancy and transparency of his shadows. Emotion is the springfrom which

a

flows

endeavour.

of

Cotman's His

his otherwise

labours

anxious

it is the

work, and

purest

of art

source

love, and much gladdened life. I have often felt,as I studied Cotman's were

those

of

the

work,

influence of his pure effort truthfully to express inspiring feeling. It is so very obviously free from all that falseness which has caused some to strive to pleaseothers rather than men themselves alone. Reputation is a charming reward to gain. But the only lastingcredit is that which is based on the sincere effort to work in accordance with the dictates of the emotions. faithfully did. Cotman And in "his finest efforts this is undoubtedly what and yet seldom Few men have met with such a scanty recognition has honour been so fullydeserved. his

Fbancia

not

century water-colourist has apparently

early nineteenth

This

left behind

him

much

Yet

he did.

of the work

evidence

what

of composition. paintedis strong and full of a fine appreciation His colour is, rich,and when his work is seen at its best it may well claim a prominent placeamongst the best of those who composed the school of early water-colour painters. I have found great help from the few examples of his work that I know, and advise studied when opportunities that his picturesshould be carefully is certainlya most Francia accomplished for doing so, occur should be known. work craftsman, and for this qualityalone his he

In

a

way

as

days number

must

any

of his forerunners

Bonington

painterof

incident.

at to believe

is looked

as

Parkes

Richard of detail and

emotional

Bonington

Parkes

Richard

have

of works

been which

stands

out

as

a

"unceasing,in

raries, contempo-

rare

when

It is wonderful

in the shortness

or

of his life. The order

to

account

stand to the credit of his

executant

his work toil of his for the

genius.

PRESENT

"

great brilliancyof his techniquegivesto his work

The

qualityof

oil paintingthan that of water-colour.

an

in

him

near

comes

Collection

it

when

Peter de Wint

but strongest paintings,

It is many years since I first saw those in the believe they were Bethnal

at the

housed

was

the

more

Boning-

so.

paintings. I

ton's

of his best and

some

does

he seldom

even

PAST

PAINTERS

WATER-COLOUR

216

Green

Wallace

Museum

in

Nothing amongst the masterpiecesthere collected together that I Was be remembered greater joy. It must very gave me water-colour work wherever out for it keenly young, and looked A rare to be seen. was feelingfor a bouquet of colour always whether he painted to have stirred Bonington'simagination, seems I find also,in studying his work, an in oil or water-colours. of his landscapes, extraordinaryrefinement of feelingin many which has been of the greatesthelp. 1872.

Prout

Samuel is

This artist's work to

the

for

student

as

a

study

conventional

rule far too without

of

note

a

to be held up

warning being first

of the reed pen, whilst full of charm, is apt to is exercised. The strong outline lead astray, unless much reserve His

sounded.

obtained

by

use

this reed

process

always

lacks the sensitiveness

painting. The force of his shadows is too brutallysimple,althoughwithout doubt most effective. It is this which the student is likely very forcingof sunlightand shadow to find attractive and good to imitate. I have found much in Prout's work to and in years help me, by have even gone

which

should

ventured

on

exist in

pen

the

a

reed

short-lived,and

pen I remained

drawings which

he

trick.

His

influence

contented

produced

with

without

the

the

help

however,

was,

study

of those

of his favourite

convention. His

figuregroups

are

in interesting

that

with

way, student

but

not

are

of

an

The considered. discriminate must seriously looking at this artist's work, and doing so wilT~find much is very beautiful and masterly. Here who dently eviwas a man considered that water colours could successfully compete oil paintingin the size of works I in my have attempted.

order to be when

a

mind

huge shipwreckswhich

two

house. and

The

incident

the labour

I

came

across

in

a

country

ing, depictedin these great efforts is quiteamazis beyond praise. But the whole thing is disappointi

in the extreme, and

goes to prove

how

futile the toil is

ILLUSTRATION

LX

Louis

Fban^ois

Thomas

Francta

1772-1839

AND

MOOR

Victoria

WINDMILL

and

Albert

Museunfr

"J

s

o

Q S5

I

0

H

S h-1

" o o

o

co

O

fc-l ."

C

~

."

oj .3

+j

-u

WATER-COLOUR when

PAINTERS

attempt

an

is made

to do

PAST a

PRESENT

"

water-colour

219

drawing

on

such

a

scale. The

there of

publicgalleries are are

few

medium

our

of Prout

rich in

examples

collections of the works where

which

he is not

of Prout's

of the old

represented.It

work, and

Englishmasters is the directness

has

always attracted me, and it is this great quality that I point out as very worthy of study. His shadows are always and their in show any muddling never transparent, management. I have also always been impressed with his sense of composition and selection of subject. Although I refer to this artist as one from whom help may be got by the study of his work for certain it must not be thought that I placehim on the same qualities, plane as Girtin,Cotman, or de Wint.

David Admirable with

Prout

as

the work

and

other

century, be taken

with

Cox

men

of the

reserve.

it must, in common first half of the nineteenth

Cox

of David

was,

I admire

much

of his

painting,

seeingin it a rare expressionof the beauties of Englishlandscape. from I am giving my own impressionsof the work of the men I where I have whom sought help. I am also statingclearly have found their work lacking. In Cox I discern very clearlya desire to make way, to give them up his picturesin a mechanical a grand importance. tion student may A young easilybe led astray by such a demonstraskill. There is a drawing of an old water mill at the of mere Victoria

and

Albert

Museum,

and

another, the

well-known

In both of these splendid museum. Challenge,"in the same full and his heart in the most Cox spoke from picturesDavid emotional manner, beyond which no artist can go. Follow his and select paintingsof the same work type, and he is a help and encouragement fitted to rank with the best. It is when he seeks elaborated to produce those great and to go beyond this, and I object exhibition works, that his mission to the student ends. of work in to this phase of his art, as the beginning of that class the walls than fifty water-colours which for more years crowded of all of our great exhibitions and made them the laughing-stock seeingeye." The those who possessedthat rare quality,the beauty of those direct drawings which Cox produced in such His is to love them. is indeed such, that to see them numbers "

"

220

WATER-COLOUR

figure

drawings

pictures, to

be The

in

Print

Museum,

hideous

To

goid

attempt

the

mounts

are

to

emotionally.

in

and

PRESENT

for

his

large

They

beauty.

great

and

shown,

the

let which

of

artist

are

surround

works

of

Cox

student

sought

I

Cox. will

be

of

a

seek to

removed

them express

Great

day

one

from

advantage,

be

not

their in

the

drawing.

water-colour

would

Art

of

that

hope

great

Albert

and

cities

great

their

to

true

the

the

David

of

Victoria

the

Museum,

this

select

Rather those

"

studies

are

simplicity

other

works

of

which

ones

which

British and

in

works

advantage. detach

the

at

rich

framed

white

of

PAST

places.

many Room

are

of

many

Birmingham,

Britain, the

again, masterpieces

are

seen

PAINTERS

out, his

of and

practical carefully

conceptions

ILLUSTRATION

LXI

David

Cox

1783-1859

WATER

NORTH

MILL,

Victoria

and

Albert

WALES

Museum

Pln-J

.a

J3

i

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CHAPTER

XXVI

OTHER

has

IT

always

been

ARTISTS

pleasant

a

reflection

to

through all that dreary period in which existed languished and almost expired, men in which thought correctly of the method a should and

be he

Much

the

work

much

worked

at

in

looking their

remember

to

informant

My

In

certain

century

was

hopeful. A has given

told

was

most

candidly expressive

Both

these

work, its

as

Walker,

I

well

Watson,

these

to

do

he

of

made this

copied

willow

honour, men,

white.

Small,

were

all

from

middle

of the

to

quickly

whom

working of them

to

later

a

as

worked

Houghton,

prominent

a

I

by

this

lit-uppart I used

and

indigo. himself.

nineteenth look

more

generation book

trators. illus-

in

water-

Pinwell,

members

salt of that

great

of

Fred that

period which Impressionists in France, a generation before the so-called came reanimated the the New and then English Art Club in England I have Those Art. men just mentioned were dry bones of modern water-colour of the strictest in the term, painters. sense not, and of book that in particular was Their work they illustrating, small

body

of artists

whose

work

was

223

the

with

whom

Needham

most

and

the

on

tip from

were

as

was

time

trees

sepia

began

artists,

I

the

with

the

black

as

I

artist colourman

as

the

afforded

when that

copying the silvery grey

had

picture. and

men

work

works

was

last

ill-spent.

was

some

it

his

think

not

whose

man

band

of their

study

drawings

well-earned

I refer colours

purity.

particulars,as soon passed, Art matters small

began,

admirable,

back

that

drawing

revival

very

once

me

the

was

pictures that

the

water-colour

still

painted

being puzzled about told by the foliage,I was

borrow

who

Leitch

artist, and of the

painting

worked

Cox

the

another

was

pleasure.

from

copying I

in

painting

and

Needham

P.

and

that

David

in his best

assistance

boy,

mere

R.

water-colour

when

working

was

before

of

Richardson,

water-colour

me

Callow

working

was

of

elder of

executed.

know

to

me

ARTISTS

OTHER

224

paintedmore

or

less

as

addition

an

regularwork.

to their

ally Natur-

the one in in vogue at that time was expressedthemselves when working in water-colours.

the stiffformal which

method

they what beautiful than they did, Nothing could have been more and nothing could have kept Art alive so vigorously. Great artists not that of water-colour as strictly they were, their work was studied their painters. I admire them beyond words, but I never To tell completelyof the paintingsto help me on with my own. I have striven during my life to improve my knowledge as a way water-colour painter,I have been obliged to note the joy the has given me. work of these men Many admirable artists I have for this passed by whose efforts gladdened this time, my reason I was them when came across labouringin my being that I never to my knowledge about the earlyyears. Latterlymuch has come of this Mid- Victorian

workers

time, but this does

not

within

come

the scope of my subject. Arthur Melville,I regret to say, has not but so far as I have seen been to me, his work at all well known it

appeals to me doing,and take

most

every

The

Again whose worked

remind

I must

works

I

well back

have

thoroughly. Let opportunity to see Peesent

seen

into the

student

his

do

as

I

am

paintings.

Generation

the student and

the

that

studied.

I write

about

Although

the

men

Brabazon

only when past century, it was New English Art Club that I knew

he

his began to exhibit at the paintings.Certainlyhis work is not to be imitated by the student. Full of sunlightand colour, fine in composition,he is an artist standing alone in his originality.I think of all the miserable things in the way of water-colour paintingsI have ever seen have been the vile imitations of Brabazon. his work From I have got fine tonic for the such and a emotions, help is of the best. many He student of was a Turner, and is a strikingexample of great how a man be inspiredby another without in the slightest may degree becoming a copyist. Few of the revival paintersshine brighterthan does Brabazon. the work Although PhilipWilson Steer is particularly a painter, he has done in waterc-olours shows him possessed of a geniusfor that medium. Whenever his drawings are to be seen, the student should avail himself of the opportunity of studying them. They are always direct and full of masterlyqualityin their composition,

ILLUSTRATION

LXII

Edwakd

Edwards

1738-1806

DURHAM

CATHEDRAL

Victoria

and

Albert

Museum

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9

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ILLUSTRATION

LXIII

D.

Y.

KINFAUNS

Cameron

Q)

"9

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o

dj

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5

5"s

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a

3

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a

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Js

a

"t3

sT8 ""

a

ILLUSTRATION

LXIV

David

LANDSCAPE

Muirhead

WITH

MILL

"S

S

2

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aj

g

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OTHER

ARTISTS

231

colour,and drawing. For the most part they are hidden away in privatecollections ; soon I hope the publicgalleries of the country will see fit to secure examples of his works in water-colours. The student who is studying in water-colours should not only seize opportunities of seeingthe works of the past masters, but also those of the present time. in the

public acquiringof Otherwise

and

drawingsmight alas,no

Fund, and

!

I

"

a

I

works

know,

do all those interested

as

of art, how

national fund for

minister publicfunds are adthe buying of paintings

be of

can

tions, advantage ; but under present condiof such a National imagine the establishing

the folks the

Government

would

call to their aid to

spend it. There would, of course, be the Royal Academy, the Royal Institute of Painters in Water Colours,the R.W.S., and the R.B.A., with, perhaps,the R.P.E. to assist in buying prints. The New English Art Club and the International Societyof Painters, as well as all independent workers, would be carefully excluded. Thus should be no a we better off,in which case National

Fund

I should head

find

had

like to

better not see

be

the works

for. prayed in water-colours

of David

Muir-

prominent place in the national collections. This is another painter whose genius finds expressionin water-colour works of the greatest beauty and in rare style. I have found the work by studying his masterlyproductions. greatest help in my own refinement, a close knowledge of Painting with extreme his sentiments as expressedin his work should be of the greatest helpto the student. There is,again,another artist whose works in water-colours,although rarelyseen, have always appealedto me most forcibly.I refer to James Pryde. His drawings,although of the Jype much helpedby the use of Chinese white, are certainly to be included considering.However amongst the work I am the subjectis always small they may be in actual measurement, his work is ever large and stately. And beyond such qualities a

expressiveof pictureit is a colours, and

fine idea.

some

tame

much

And

thing indeed.

without I .have

regretthat his work

a

such few of

a

qualityin

a

Pryde'swater-

in this direction has been

picturesis here reproduced,and is enough I cannot too strongly to show the character of his work. urge the this artist's pictureswhenever an student to see opportunity for doing so. occurs They stand altogetherapart from the ordinary,and are always full of poeticthought. Amidst much that is excellent in modern work, it is this kind of paintingthat so

limited.

One

of his

OTHER

232

ARTISTS

genius is

is rarelyseen.

The

of this unusual

cult.

found, and

seldom

to

me

Pryde

is

I have speak about the work of an artist from whom had much Harpignies. I man, help. I refer to that admirable it is an interesting have a charcoal drawing in my ; possession it example of his style. Although this pictureis rather classical, a fair number has a fine qualityin its composition. I have seen and have always felt cheered after looking of works by Harpignies, of In England they are scattered about in the hands at them. I will

now

well-known dealers,and will no doubt become artist is,I believe, the last survivor of the Brabazon

in time.

This

school,having

There

is

Others

have

a charming contemporaries. contented to get he always seemed simplicityin his outlook, as from the most his inspirations simplesubjectsand clothe them with his emotional quality. In certain ways he has always appealedto me very strongly. In a gatheringtogetherof the best would be work of the last fiftyyears his originalpersonality not calculated to arrest attention are stronglyfeltr His strivings much so as by their originality, by their masterly management is the soul of a simple theme. Certainlyin his work simplicity of wit," and after all this is the vital spark of genius. All the artists upon whose productionsmy remarks have been

outlived

Corot

and

his

"

made me

are

by

those whose

the

qualityof

will discover

and

I have

works

their

doubtless

painting,which

his

attracted

the student

My objecthas been, I have gone, to trace my working life and point to those so far as from whose paintingsI have derived helpand inspiration.I have not yet referred to a flower painter,although there several of great abilityworking at the present time^ are To me there is no flower painterin water-colours possessedof though greater genius for her subjectthan Miss Ursula Tyrwhitt. Alshe is a scaringproducer of work which she thinks fit to show publicly, enough has been seen to establish her reputation for originality and quality. There is none of the feeble prettiness Which crowds the walls of the great publicexhibitions. Instead of

make

studied.

selection.

own

this, there is apparent in her work

strivingto express publicgenerallyof feelingsin the way

choice

ideas.

this artist,but she

has

the

Very

seriousness little is known

if she continues

begun

I believe

that

of

a

mind

by

the

to express her

her

future

is

assured. It is rather

to surprising

find

so

able

an

artist

caringto practise

ILLUSTRATION

LXV

James

THE

CUSTOMS

Pkyde

HOUSE,

VENICE

ILLUSTRATION

The

IN

the

of

LXV

Customs

the

Venice

House,

illustration

of

this

I

master,

only

case

expression

that

opinion,

to

for

and

stately

poetic tion concep-

my

he

stands

alone

painters

artist's

in

the

school

of

him.

approaches no

;

I

water-colour

British

hope

share

that

one

and

pleasure

give

can

that

encouragement

work

of

the

a

experienced

be

I

by

have

the

derived

student.

this

from

I

add,

must

may

that

however,

Pryde

labours

painter as

a

works

in

oil.

in

water-colours,

incidentally

to

his

Jllus.

LXV

The

Customs

House,

Venice,

by

James

Pryde

ILLUSTRATION

LXVI

A.

THE

HAUNTED

A.

McEvoy

HOUSE

LXVI

ILLUSTRATION

The

A.

MR.

well

is

He

in

regard

in

addition

which

I

portraits,

his

to

to

the

will

their

poetic

character

picture

and

student

full

to

and

of

the

charm

take every

add

the

This

to.

Subdued

distribution

and

opportunity

in

of

I

of

tone

the

lights,

interest.

world

well

picture

With

estimation

hold

them,

admiration

unqualified

my

and

paints

the

to

critical

expressing

by

he

worker.

can

referred

composition

all

to

mine

of

a

indefatigable

no

qualities.

great

charm

is

words

painter

water-colourist.

an

myself

content

he

portrait

a

as

poetic

profession

artistic

so

for

which

as

distinguished

of

quality

rare

a

reputation

also

is

known,

imparts

draws,

whose

McEVOY,

A.

House

Haunted

demonstrates

and

the

perfect

whole

in

its

makes

up

strongly

studying

recommend

this

artist's

a

the

work.

Illus.

LXVI

The

Haunted

House,

by

A.

A.

McEvoy

OTHER

flower

painting,

seeing

however, in

manner

a

few

are

more

exhibitions to

of such

get

have

of

of

the

whilst what

is

exhibitions

of

of can

opinion of

at

of

I

would

The

student

in

the

the

no

of

study

the

avoid of

the

to

the

great

accident

water-colourists

guide

to

one

is I

thing

a

old

the

found

public

To

particular of

as

it

is

sentiments are

at

all

times

student.

bad

me

those

to

as

the

the

the

extreme,

to

of to

good.

are

and

his

study

hence finest

visiting

of

important that

ing follow-

the

time

a

influenced, to

give

whole

in

relating

matters

in

the

as

study

to

easily

on

often

is

I for

spent

almost

is

inexperienced oneself

let

be

seeing It

that

entirely

Instead,

picture

pictures

avoid

to

avoid

work. to

the

this

periodical

utterances.

is

Art

there

are

present.

in

had

what

student

modern

expressed warn

I

young.

the

devoting

possible. openly

the

in

the

so

from

the

guidance

reputation. bad

in

think

art

study.

devote

established

looking

very

the Let

and

ignorant

the

I

critical

derived

past

the

my

to

help

to

have

this

practise

and

such

ately, Fortun-

means

received,

by

fortune

under

was

I the

of

owe

still

advice.

he

work

who

found

are

well

guided

of

fallen.

beautiful.

so

than

has

Unfortunately,

which

painters the

whom

or

being

it

painters

thing

a

Art

on

help

come

I

that

gardens.

I

having

It

displays

the

importance. of

pitiful

of

of

influence

of

flower

travesties

told

works

worthy

ebb

few

a

287

low

a

still

are

is

instead

misled,

what

to

there that

ARTISTS

the

of Art

Art which

against

time those avoid The sity neces-

works are

these

XXVII

CHAPTER

PICTURES

THOSE

AND

STUDIED

BE

TO

TO

BE

to

leave

AVOIDED

I HAVE school the

heard

the

where

he

been

and

student

of

He

special school

when

be

to

be

there be

have

that,

is

looked

men

over

the

their

being

exhibitions This

gives

is, I

where an

assertion

work

who

true

artist."

single

a

of

man,

a

painting

are

and

for the

away

lifetime

their

"

one

man

or,

to

most

likely,

more

a

am

sure,

the

works

interesting

to

good of

they

I

way.

nearly

find

continued

can

prominent

most

mind

represented a

thus

;

all the

exhibitions

such

look

can

every

back

artist

of

manner.

a

student is

man

works

in this

call to

In

is

art

contemporary

shows.

Nearly

in such save

best

of

number

and

years

one

the

periodically

shown

only it

absolutely

of the men

The

opinions.

eventual

hidden

are

generally,

weariness.

work

for any

where

drawback,

They

limited

a

past fifteen

It is hard

the

particular institution,

one

"

so-called

without

at

exhibit

room

great

understand

or

the

told

hence.

speaking

necessarily

eminence

no

thought.

gone

the

at

seen

The

tardily recognized during

they

I think

of

to

school,

copying

artist

an

a

buyers

be

must

has

his

such

however,

mere

little.

to

belong

time

present

The

mind.

he

work

man

pleased

cannot

in

justify such

to

since,

hold

that

in view,

have

must

great, leads

to

I

certain

a

fully

which

would

learn

follow

go

of work

who to

do

of

This

it.

to

the

object

class

the

out

time

short

a

class

mind

may

individual

the

part,

the

which

art

only

this

begin early

devotion

however

no

of

man's

a

should

of the

works

proceed

his

that

years,

find

to

pictures accordingly.

himself.

Such

and

learned

produced

condition

at

had

he

that

be

public, and

Again,

decision. me

the

so-called

doing

would

about

student

a

for several

studied

had

painting

pleased

which

to

of

practice

opinion given by

a

relief from

238

plan.

few one

men

;

but There are

class

of

interest

yet, in face are,

in

a

of this

again, small

gathered picture

to

together. another,

ILLUSTRATION

LXVH

VaELKY

COKNELIUS

1781-1873

CASTLE,

HARLECH

Victoria

NORTH

and

Albert

WALES

Museum

O

"m

""

i

2

"*"

T"

.3 s

*fl

I

a i "w

a

+"

9 H 10

O w

a1

J3

"

"

""t3

d

-g

a"

O

a"

.g

"

s ",a

a

-S

"

,

eg ^

"u

^"Bl^JB

w

*h

**

H

CO

;?

ft"

-a

I

til

0)

.T!

jj

"

eg

rt

a

fl)

la *

"

I

.3 W

a o

1

d O

a

S3

u

ft"3

"" "

aj

M

-p

eS

1-3 ~W

55 .S3 .2

"

+3

+3

K

go 3 3 cd

s 2 ?

PICTURES without

the

TO

BE

lassitude attendant

STUDIED

241

a large exhibition. visiting

on

It is very difficult to keep the mind alert,when you are with attention at many the mind pictures. The more with

keenness

incapableof The works

on

a

further

student of art

should

picture,the

sooner

it

tires,and

looking is fixed becomes

effort in this direction.

attempt

never

after the other.

to

look at

more

than

a

few

advantage gainedby looking great attention at a few picturesis far greater than by beautiful they wearily going through a great number, however the Print Room mdy all be. I make it a rule,when visiting or the Victoria and Albert Museum, to be contented with looking at than ten or twelve. quite a few, very often not more By this the mind means can fullyabsorb all that is studied,without fear It is a useful method of confusion. to write a small digestof the pictureslooked at, after making such a visit. This will not only impress the works seen on the mind, but help also to strengthen the pointswhich have chiefly attracted attention. It is when studying works in this way that I see no reason why parts of picturesshould not be copied in order to help the mind fullyto grasp certain specialpoints. This is very different from Such a thing I have always making complete copies of works. felt to be a deadly dull entertainment. I have found it a great help in my work to correspondwith brother students and artists I do not mean much matters Art matters. on on so relatingto theories of Art, as on pointsand questionsof picturesseen, or heard of. By this means I have constantlybeen made aware even to of the home "i treasures which might otherwise not have come notice. It seems, also,to be a rational thing to make letter my for writing of real interest,instead of merely being the medium discussingtrivial subjects.I have always sought to make everything one

The

with

of my to the furtherance life minister-in some in my way and I should has added much This scheme joy to my life,

work.

like others

Amongst the studentdo not is to as

allow

well to find

In water-colour get reproductions.

this paintings

is difficult,

printsare usually so horriblybad. However, certain reproducefairlywell, notably Sandby, Girtin, and^Cot-

colour

masters man.

pleasurein such a plan. other ways of strengtheninga knowledge of Art, means should begin earlyto collect pictures.When of the buying of original works, the next best thing

as

Prints

colour masses,

after Peter

de

usuallyworthless,as his dark shadows, are quiteimpossible

Wint

in the especially

are

PICTURES

242

TO

BE

STUDIED

prints after the Dutch, Italian,and French masters, in ling engraving,can be pickedup for a triflein of these old printor book shops. I have collected a great number value of such to study. The and found them most interesting printsas a help to a knowledge of compositionI have already

to

Old

reproduce well.

mentioned. for several years been making a small collection of waterIt is not an men. paintingsand drawings by modern

I have colour

leadingartists are not gettinghigh prices for their work. A good figurehas to be paid for a representative those by John Brabazon, and of course Sargent are costly. those whom the Otherwise it is the work publicconsider the by leaders of Art which obtain largesums. It must be borne in mind, however, that the leadingArt critics to buy. I have often advise well on the questionof whose pictures been told, when discussingthe questionof the merit or demerit of works of art, that what is good or bad is a questionof fashion. Such is a great error, as subjected to the highest statement a critical opiniona pictureis good or bad and must remain ever expensivetaste, as

the

so.

When

Peter de Wint

gettingfair professional pricesfor his John S. Cotman had to see his go for a few shillings. Yet pictures, they were both great men, and of the latter Turner had the highest opinion. If the public choose to give high pricesfor pictures because they are from the walls of our fashionable institutions, it is no criterion of their merit. The publicis lackingin taste to a pitiableextent, yet they will buy what appeals to them rather than be guided by sound critical advice. I have seen tens of thousands bad extraordinarily pictures,when their spent on has been that they have hung on the walls only recommendation of great exhibitions. Truly,they may have been well spoken of by the Press ; but then, who were the critics ? I have also seen exhibitions where the criticisms have been praiseof the faintest kind, and yet the public,likingthe stuff,have bought freelyand at high prices.I contend that the best critics have for many years advised the publicwell in matters of Art generally. I also know that much has been said in the Press which, if subjectedto the ordeal of high opinion,would be condemned. I know the publicare thus in a difficult position.They must, with care, being sure however, read such utterances that a faint is in virtual condemnation. From a praise reality my experience was

AND

I

advise

the

what

student,

pictures

it

is

as

I

they my

life,

must

and

is

original where

bought sign, direction.

from as

intended

is

it

far

It

concluding better

than

artists

find

much

that

so

shows

a

freely

as

plainly

to

all

vulgar years

that

is use

hand

gone

things

do

but

shown,

by. are

are

I

the

feel

moving

not

this

of

work

learner.

I in

taste

thoughtful

the

the

way

which

in

public

that

only

which

same

the

to

patronage, is

of

parcel

and

Not

the

method

the

warned

those

out

in

given or

be

to

point

chapter,

was.

greater

in

to

helping this

it

is

is

part

248

necessary

as

advice

is

as

is it

as

colours

applied.

before

say,

England and

be

it

at

Such

the

out

AVOIDED

BE

that

looking

study.

to

pointed

should

TO

knowing

avoid

to

advisable have

THOSE

tions, exhibi-

great visited to

in

be the

and a

good right

XXVIII

CHAPTER

EMOTION

I

SAY

beautiful

of the

it is but

musical

in

in

delight

which

were

the

feelings.

Lulli

and

when

that

Death

he

himself efforts

of

cradle

with

be

a

thing,

into

the

and

the

worthy

I

way.

student treated

used

early days of

a

lies the

A

originality.

has

advice

given,

quite

sorrowful,

pointed

when

and as

of

rules

felt

as

finally felt

not

unhappy gave

that

244

laid

that

was

of

expression

my

told

but

in his

could

not

in

of

those

painting

follow

studying. lack

Art

the

book

such

the

the own

for

Even for

is

all that ;

One

down I

forced

are

written

handbook

up

it

be

must

painting. be

all

taught,

matters.

water-colour could

be

the

provides

which

handbooks

Art

are

heavenly

fit for emulation

and

boy,

a

in

very

I

to

her

These

the

formality can

in

sister

responsibilityof

heavy

a

childish

the

which

by

Methods

information

subject I

in

end

tell is his own,

to

I felt that

picture.

be

can

read,

to

the

only

can

discovered

has

that

age,

of all difficulties.

ABC

rigid system,

too

his

all knew

tail.

cat's

a

spite

herein

seeking of

vent

And

past

artist

in

"

infant

yet they prove

; a

of

knowledge

killing of

story the

hairs

the

groove,

in the

find

were

is but

educate. same

the

instinct

surprising his

of

that

he

tones,

his musical

express

Lulli

painted

from

must

down

striking

instinct

and

sizes

tomb

and

song

an

musicians

his

on

who

to

greatest

Equally

made

expression.

who

in

West,

possessed,

technical of

but

which

when

form

little scullion,

a

of various

for

sought

such

Lulli, when

by

the

recorded

was

of Art

had

thus

seeking

itself in

express

telling how

no

child

of

also."

brush

to

stewpans

one

Benjamin

is

he

means

it

deaf

if

those

on

blind,

examples

means

tapping

died

crude

Tr All

French

became

was

to

The

only

seeks

There

painting.

is first awakened. found

soul

the

tangible

a

It is

of Art.

prompts it

give

to

attempt

soul

lovely thing

the

From

to

which

being

human

step

the

Thus

artistic

the

in nature.

short

a

found. the

in

instinct

the

is the

emotion

that

emphatically

very

ART

IN

I

the was

instinct

EMOTION which

prevented

IN

ART

245

taking full advantage

me

of

theTplanslaid

down.

My

plan

next

was

artist colourmen.

however, by

As

began

studio

to

has

Nature

borrow

the

works

was

take

paintingsfrom

water-colour obtained

distinguished by

men

work, this method I

to

in this way were not, their the emotional of quality

also abandoned.

It

was

a

littlelater that

from nature. My every opportunity to work for many in the where I find air, years open

been

beauty. The work I have done under has been infinitely small. The cover studio is a very right and proper workshop, but the landscape paintermust be well equipped with knowledge gained direct from before he begins to paint from memory nature alone. I stilldo not want less from nature. to work a studio,as it might tempt me At do any in a room work suitably present I can memory lighted. The student must not conclude from my remarks that work

ready

even

which

is

this

hasty, as

delicate and

Cotman,

or

than

awake

and

lover

her

many

of the intricate works as

they are,

of

Girtin,

their emotional

be doubted.

moods.

devoted

case.

with

need be response to the emotions Can anything be imagined more

Turner, and yet, laboured

intimate

varying

the

beautiful

emotions

stir the

immediate

an

is not

cannot qualities Nothing can an

to

these

constant

I cannot of

Nature

feelingsof emotion in the mind save acquaintance with Nature in all her how it is possiblethat a really see hard could produce the many and

things which are shown in the great exhibitions and word be the student's watchto his Art must called pictures.Devotion will enable him if he is to gain that knowledge of it which I have seen so much to do great works. playingat drawing and the absolute paintingthat I cannot speak too stronglyrespecting Art is such a grand field of labour necessityfor concentration. must giveit whole-hearted service,as nothing that its practitioners be counted No honours must short of this will do. on, as they mechanical

seldom

come

great,seldom

to the

whole-hearted

worker, and reward, even

to the

comes.

usuallypaid for an artist's work after he has I have often thought benefit by them. cannot

Living pricesare

passedaway

and

that emotion, which should be the first element in a work If the artist is intent too is absent, for various reasons.

of art,

eagerly

this great making, he is running great risks of killing quality.If,again,hjeis seekingthe applauseof the publicinstead

on

money

EMOTION

246

ART

IN

judgment, his emotions must be curbed approval of his own in line with what is bad. For it can be in order to bring them sentiment in Art matters safelyaffirmed that the generalmodern Balanced is bad. opinion it cannot be called,as it is only the highlycultured few who possess such a faculty. During the two generationswhich immediately preceded what Art revival work which be very correctlycalled the modern can ceased to exist. It is of an emotional was type had practically littlewonder that the public, brought up to look upon such productions works of art, should have lost all appreciationof what as of a good pictureshould be. Such stuff,being the the qualities of the

in whom

labour

of those

such

feelingin

a

evident or

others.

in the

emotion I feel

was

no

pictureswhich

forty years after the Great

dead

a

doubt were

that

letter,failed much

to

stir

of the dullness

painted during the thirty

Exhibition

of 1851

owe

their bad

qualityto the ignoranceof the public. As I have before remarked, had plenty of money the public,who manded during these years, dethe certain quality in fortunate a picturesthey bought. Unthe artists of that age appeared willingto paintto Evidence of great labour satisfied the public that they order. The birds'-nests and were gettinga fair return for their money. as utterlydevoid of emotion eggs on a bit of primrose bank were The as they well could be. equally laboured works of still fife full of master, were objects,by the seventeenth century Dutch either in their emotion, lighting,colour, or design. A most elaborate

utterance

fine emotional are

the

be

I wish

a

to

fine

of technical

outcome

the student

of

a

that ideas

which

picturesare surelydull thing will live and that depending on possessingor lacking

skill. This

die, their respectivefates

that emotional

thingif it is the

impress on

great thingsin Art, without

demonstrations one

idea.

may

qualitywhich is the soul of Art. I do not think that anything in paintingawoke inquiry so my which that the to me early as suggested necessityof a picture than from- nature. The mere a being something more copy of be with the most prettiest Surrey cottages may exactlycopied, o f tortoiseshell cats the bricks in front of fascinating playing on it,and yet a picturehas not been produced,although a very high pricemay have been paid for cottage and cat. The mind can alone dictate to the hand the paintingof a picture. Nature and its contemplation awake the mind to make effort to record an result is no mere a thing of beauty. The from nature, but a copy

EMOTION

product And

of

this

with

and

is

complete be

is

the

a

human

Art.

A

honesty

satisfactory.

simple

very let

the

demands

which

mind, student

should

of

As

I

thing. of

ignorant

the

to

the

pointed to

247

highest

the

or

purpose, have

is

work

Work an

ART

IN

before,

satisfy public

of

your

"

go

hang

creation.

ideals,

highest

result

out

in

thing

his

efforts

honesty Art !

and not can-

in

Art

instincts, "

INDEX

Bonington, Absorbent

to be

papers

avoided,

Book

Allenje

"

Amberley,

83

Amersham,

Antwerp Arnold

blue,

"

critics, 242

Arun

R., The,

Arundel

Park 163

Aureolin,

25

Castle,

Brushes,

complement,

Barges

as

subjects, 88,

113

Barges

on

the

139

Beginning Berkeley,

Bloom, "Blot

Body

Thames,

Cake

130

picture,

Mr.

Spechley,

and

41

Mrs.,

of

colours,

21

23 85

Camp

stool, The, 21,

Canal

life,

Cartridge The,

44,

Cattle,

173

153

18 249

22

48,V223

Canaletto,

165

Method,"

paper,

Church,

Callow,

36

colour,

27

107

old, a

26

59

61,

Fine

84

26

sienna,

Bury

Bardeney,

Barns,

The, Amberley,

Burlington

B

and

47

153

Brooks,"

Burnt

Balance

109

224

Brown-pink,

81

146

Stump,"

Brown-madder,

82

and

Ash, The,

Boston

Broadway,

17

223

121,

Bray-on-Thames,

23

215

109

Brabazon,

130

paper,

65,

Boston,

21

paper,

48,

illustrators,

Bosbbom,

18

Art

R.P.,

71

109 54

paper,

Groups

21

of, 68, 83, 129,

INDjiiX

250

Cattle

the

on

Marshes,

Romney

Compton Wiriyates, 93

Causeway,

Is.,

Mersea

The,

tained, re-

173

Constable, 29, 54; 79, 86, 163,

149

Chapels

and

Oxford,

Halls

Dining

of

173,

210

by, 74,

On,

212

Copyist,The,

115

ChippingCampden, Church

Rye,

tower,

Churches

in

93, 151 127

Shropshire,119 of

Cloud

shadow,

43

Cloud

shadows, Greys for, 23

Clouds

and

Corfe,

132

Corot,

57

152

J.

Cotman,

S., 37, 48, 49, 55, 56,

146, 148, 194, 211, 241,

skies, 58,

Necessity Courtesy and civility,

75

for, 71,

Collectingpictures,On,

Courts

241

154

Cowdray

Collier,T" 37,

Cox, D., 37,

48

papers

Creswick

22

to be

avoided,

94

values, 171

143

Castle, 86 219

21

paper,

Critics,89 Crome, 54,

and

Court,

Hampton

at

Collegebarges,146

Coloured

242

Country, Types of, 73

Colchester,148

Colour-box, The,

238

Corrugated iron roofs, 153

Churches, West

England,

of masters,

works

Copying the

146

Children, Annoyance

Colours

first,to be

Conception, The

129

79

Cyanine-blue,23

Colours, Fleeting,201 Colours, How

to

keep

in condition, D

27

Colours,

To

prevent

running

together, 39

Companions,

Cox

Day, How

On

the

74

Complement,

David

choice

of,

paper,

to divide

Decadence

in

paintingsCauses 59,

Composition,53

173

Details,On Devizes,

18,

98

21

the,

water

-

of, 44

painting,68

131

colour

INDEX De

Wint, Peter, 37

Dew, Evening,

Farmsteads

obviate

to

43

some,

Directness

of

Shropshire,119

Fielding, Copley,201

120

How Difficulties,

251

First

impressions, Danger of, 74

Fittleworth,85 of

working, 36

Dorsetshire,its charms,

Flat

country

as

ground, 61

133

Drawing, Importance of, 28

".Flatness,"211

Drawing block,The,

19

Flower

Drawing board, The,

19

Fontainebleau

Drawing book,

The

use

of

Dressing in

paper,

232 painting,

Forgeries to

eliminate,

of

Cdtman's

French

Italian, and

Dutch,

works, Engravings of, 242 Dutch

54 landscape painters,

work,

212

Foreground, The,

18

Barbizon

-

school, The, 55

a, 29

Drawing pins,19

painting.

a

171

Foregrounds,Vacant, Fountains Fox

Abbey,

57

117

Hill, Chipping Campden,

153

E Frame

efforts,244

Early

Easel, The, Elm,

The,

support the drawing

to

board,20

19

Francia,

215

164

ultramarine,

French

25

Emerald-green, 26 Emotion

the soul of Art, 244

Engravings, Collecting,57 Evelyn, J., 165

Gainsborough Canal, The, 111'

Evening, Paintinginthe, 120 "

Exhibition

Exhibitions

Works," of old and

"

and

J., 121

Germ

at

Hampton

carrier,"A,

Court, 143 115

Girtin,T., 37, 48, 117, 186, 194,

F

Farmers

91 subjects,

Gaskell,Rt. Hon. Gates

buildings,Old,

as

modern

work, 237

Farm

Gardens

44

130

71 civility,

241

Grand Junction

Canal, The,

109

INDjCiA

252

Green

for

Green

oxide

K

23 foliage,

of chromium,

Greenwich,

135

Greenwich

Observatory,

"

25

94

Elms

Kensington Gardens, 136

Bridge," Cotman's,

Greta

Castle,

Kenilworth

Greys, Combinations

in,

164 55

form,

to

23

Greys,

25

Landscapes

of

C,

93

Lawson,

simple type,

43

Legros, Prof., 30 Leitch, R. P., 223 Liber

Hampton

Court,

Hampton

Court, Gates

140

Abbey,

Harghmond

Light red, 23

120

Lincoln "

with

Landscape

Harvest

Rainbow,"

Rubens',

High Street, Oxford, Hobbema,

Cathedral,

Lincoln

145

107

Cathedral,"

Lincoln

Wint's,

65

Honyngton Hall,

weather, 105 of

astical ecclesi-

buildings,105

91

Lines

Hought"*i, 223 Br.,

de

P.

66

Lincolnshire, lack

53

Houghton

Turner's, 47,

178

at, 143

Harpignies,232 "

Studiorum,

by

pen,

pencil,and brush,

118

85

Locks

and

barges,

Lucas, E. V., Ludlow,

113

85

121

Lulli,244 Iffley,143 Incident, The

insertion

of, 63, M

171

Indian

Interior

red,

26

Magdalen Tower,

147

Masses, General,

54

Interiors,153

Melville,Arthur,

224

Ivory-black,23

Mental

146 subjects,

picturedrawing,

98

INDEX Mermaid Mersea

Street, Rye, 127

253

Obstacles, checks

Island,148

drances,70

Michallet paper, 18,

Old-time

21

places,131

Middle distance objects,171

"

Midhurst,85

Oxford, 145

"Minister's

hin-

and

Garden," The,

One

"

shows,

man

238

C.

Lawson's,93 Moist colours,22 "

Mousehold

Heath," Crome's,

Painting in," 173

Panellingin churches, 153

54

Much

"

Wenlock,

120

Muirhead, D., 167, Miiller,W.,

Paper,

17

\

Paper, preparationfor

231

Papers,List of,for

48

use,

19

water-colour

painting, 21 of

Pen, Use N

Penknife, Use Peter

Naples yellow,26 A,

Fund,

National

Needham,

colours,24

Neutral

greens,

New

English

Wint,

de

45^, 54,

66, 119,

241, 242

Neutral

blue, 25

of a, 144

129, 147, 164, 178, 193, 216,

231

223

New

the, 117

Photography in Art,

25

fdr

Pictures Art

land

Pevensey, Marsh

Club,

223

at, 127

122

study,On selecting,

69

'

Noel North

family, The, wick

Park,

Notebook, Value Notes,

On

154

Piecing togethercolours,42 Pig, The,

154

53

ject, interestingsub-

131

of the, 82, 86

making,

an

Pinwell, Point

223

of

interest,Registering

the, 168 O

Oak,

Poole

The, 159

Oakley Park,

Pollard

194

willows, Harbour,

Porchester

161 133

Castle,104

INDEX

254

Portsdown

Hills,103

Prices,245

St.

Prout, S., 216

Salisbury,101

Prussian

blue,

23

Botolph'sPriory, 148

Saltings,The, Rye,

Pryde, J., 121,

136,

146,

231

Sandby, P., 117, 178,

241

Sargent,J., 242

Public

taste, The, 242

Scotch

Pulborough,81

Firs,157

washing

out,

24

Purple,a dangerous colour, 120

Sepia,Rough drawings in, 53 Shadow, "

R

33

Shadowed

man's,

Cot-

Stream," 55

Shadows, Ivory-blackin, 24

Raphael, 54 Raw

sienna, 25

Reed

pen,

The,

and

Sheep, A, 216

kindness

warded, re-

95

Reformation, The,

its effect in

Ship-breakingyards

105 Lincolnshire,

136

Reproductions, 241

Shippingon

Richmond,

and

Scrubbing

Purple, A quiet,23

Yorks,

115,

116,

the

at

wich, Green-

Thames,

135

Shipston-on-Stour,91

Shrewsbury, 120

168

Rickmansworth,

Canal

at,

Siddlesham

Mill, 63

SilburyHill,97

109

Rivers, their beauty in

a

scape, land-

Silhouette,The,

Rochester, 88

Marshes,

Rose-madder, Rubens, Ruskin, 125

65 83

duced, pro-

161

Rogers'Italy,178 Romney

55

of willows,how Silver-grey

63

Rye,

126

26

Size of water-colour

paintings,

209

129 "

Sketches," 44

Skies,Blue for,25

Sky

and

Slade

clouds,58

School, The,

30

INDEX

Small,

Tramps,

223

Spechley Park, Worcester,165 Spontaneous

laboured

v.

169 painting,

a

"

Steer,P. W., 37, 132, 201,

224

72

Transfiguration," Raphael's,

effort,

202

Stagesin

255

54

Tree

masses,

Colour

Tree

Studies, Constable's,210

for, 25

Trees, The study of,156

Stilllife,32

Turner, 47, 79, 178, 212,

Stockyards,131

"Twinkling"

Stonehenge,

Tyrwhitt, Miss Ursula,

Storm

101

clouds, Fine

213

interest, 173 232

effects of,

103

Strainingthe Strood

Cement

Stuart

and

19

paper,

Van

Works,

Gelder

21

paper,

89

Varley, J., 201 Georgian memorials,

Varley paper,

21

153

Varying colour, Masses Studio, The,

of, 43

245

Vermilion,

of, 66,

Subjects,Choice

27

73

Sunsets, 77

Swale, R.,

W

115

Walker, Fred,

Castle,94

Warwick "

and

Washing

Water-colour

Teaching Thames, Tinted

and

pupils,125

paper, Disadvantage of,

to

be

copied,

Tonks, H., 37,

Towns

Watson,

71

223 72

Abbey,

Wenlock

120

West, Benj., 244

194

Tower

Size of, paintings,

65

Weather, of age, not

77 stippling,"

Water-dipper,The,

R., 140

18

Tone

223

of London,

and

Wey, R.,

48

The, 140

buildings,65

Whatman White

67

paper, 17 Canson

paper,

21

INDEX

256

Isle

Wight,

of,

The,

Willow,

127

Winchester,

103

Windmill

Witham,

of,

Inconvenience

Hill, R.,

90

107

of

70

Spa,

ochre,

Yellow

Yorkshire,

Ypres

The,

Lincolnshire,

WoodhaU

161

Winchelsea,

Wind,

Wolds

104

Gate,

107

23

Ruins

Rye,

in, 127

117

113