,,british   ,,artists    ,,george       
,,morland      ,illustration3 ,the      
,dipping-,well 7,cover ,page7      ,,in 
,,the ,,same ,,series      ,,birket     
,,foster1 ,r4,w4,s4     ,,john ,,pettie1
 ,r4,a41 ,h4,r4,s4,a4     ,,kate        
,,greenaway    ,a4 ,,and ,c4 ,,black  4 
,,soho ,,square  4  ,,london1 ,w4       
,,agents      ,,america          ,,the  
,,macmillan ,,company                   
#fd  #ff ,,fifth ,,avenue1 ,,new ,,york 
,,australasia      ,,oxford ,,university
 ,,press                      #bje      
,,flinders ,,lane1 ,,melbourne          
,,canada           ,,the ,,macmillan    
,,company ,,of ,,canada1 ,,ltd4         
,,st4 ,,martin',s ,,house1 #gj ,,bond   
,,street1 ,,toronto      ,,india        
,,macmillan  ,,company1 ,,ltd4          
,,macmillan ,,building1 ,,bombay        
#cji ,,bow ,,bazaar ,,street1 ,,calcutta
      ,illustration3 ,confidences       
,,george ,,morland    ,,sixteen         
,,examples ,,in ,,colour   ,,of ,,the   
,,artist',s ,,work    ,,with   ,,an     

,,introduction   ,,by   ,e4 ,d4 ,,cuming
    ,illustration    ,,published ,,by   
,a4  ,c4 ,,black   #d1 #e  #f ,,soho    
,,square1 ,,london   ,,mcmx     ,,list  
,,of ,,plates                           
,,owner ,,of ,,original    #a4          
,confidences                            
,mrs4 ,carl ,meyer    #b4 ,idleness     
,sir ,edward ,tennant1 ,bart4    #c4    
,diligence                              
#d4 ,belinda1 ,billet-,doux             
,t4 ,j4 ,barratt1 ,esq4    #e4 ,the     
,effects of ,youthful ,extravagance     
and ,idleness                           
,sir ,walter ,gilbey1 ,bart4    ,a#f4   
,the ,dipping-,well                     
#g4 ,the ,deserter's ,farewell          
#h4 ,the ,deserter ,pardoned            
,barnet ,lewis1 ,esq4    #i4 ,the ,fox  
,inn                              ,sir  
,walter ,gilbey1 ,bart4    #aj4         
,gathering ,sticks                      
#aa4 ,morning2 or1 ,the ,benevolent     
,sportsman           ,j4 ,beecham1 ,esq4
    #ab4 ,farmyard                      

,t4 ,j4 ,barratt1 ,esq4    #ac4 ,gipsies
 in a ,wood                       ,sir  
,walter ,gilbey1 ,bart4    #ad4         
,evening2 or1 ,the ,post-,boy's ,return 
,lord ,swaythling    #ae4 ,winter3      
,skating                         ,sir   
,walter ,gilbey1 ,bart4    #af4         
,justice2 or1 ,the ,merciless ,bailiff  
,a ,on the cover     ,,george ,,morland 
7,born ,june #bf1 #agfc2 died ,october  
#bi1 #ahjd7   ,the son of ,henry        
,robert1 who combined with the exercise 
of the painter's art the work of        
cleaning and restoring old pictures1 it 
may fairly be said of ,george ,morland  
that he was reared in the studio4 ,his  
genius betrayed itself at a very early  
age1 some chalk drawings tinged with    
crayon which he produced when ten years 
old being exhibited in the ,royal       
,academy4 ,such education as he received
 was given him at home2 but it would    
seem that his father kept him too       
closely at work with pencil and brush to
 leave the boy opportunity of gleaning  

knowledge from books4  ,when fourteen   
years old1 his father bound him         
apprentice to himself1 having ere then  
fully recognized the artistic genius    
which promised him material advantages4 
,others than his father recognized      
,george ,morland's genius3 ,sir ,joshua 
,reynolds1 who gave the boy the run of  
his studio1 urged that he be brought up 
in the grand line of art2 and when his  
indentures expired1 ,romney offered to  
take him as pupil at a salary of ,l#cjj 
a year4 ,sir ,joshua's recommendation   
was declined by the father2 to ,romney's
 offer ,george would have nothing to    
say4  ,george was slow to discover a    
spirit of independence1 even when he    
came of age1 remaining at home for at   
least six months after he had reached   
man's estate4 ,his independent career   
began in #aghe1 when he was twenty-two  
years old4 ,having escaped from the     
hands of an ,irish picture-dealer who   
worked him for his own advantage1 he    
spent a few months at ,margate1 devoting

 himself with success to the painting of
 portraits he had been invited to do by 
a ,mrs4 ,hill4 ,he seems to have been   
tolerably industrious1 for he was able  
to live in comfort and to share the     
amusements offered by a then fashionable
 watering-place4 ,on his own showing he 
began to acquire at this period a taste 
for drink2 but he was young1 of robust  
constitution and fond of exercise1 and  
his indulgence was not excessive4       
,after his return to ,london in #aghf1  
he lived sometimes with his parents1 and
 sometimes elsewhere4 ,among his        
acquaintances he numbered ,william      
,ward1 the famous engraver1 who had1 ere
 this time1 reproduced at least one of  
,morland's pictures4 ,he became a       
frequent visitor at ,ward's house at    
,kensal ,green1 and before long took up 
his quarters with the family1 consisting
 of the engraver1 his mother1 and two   
sisters4 ,anne ,ward1 a very beautiful  
girl1 soon captivated ,morland1 and they
 were married at ,st4 ,paul's1          

,hammersmith1 on ,september #bb1 #aghf4 
,he appears to have been steady and     
industrious during his residence at     
,kensal ,green1 and he continued to work
 hard for the first few months after his
 marriage1 which was followed a month   
later by the wedding of ,william ,ward  
to ,maria ,morland4  ,a joint           
establishment set up by the two young   
couples in ,high ,street1 ,marylebone1  
endured for about three months2 a       
quarrel ended in separation1 and the    
,morlands found new quarters in ,great  
,portland ,street4 ,it was during his   
early married life that the artist      
painted1 among others1 the six famous   
pictures known as the ,laetitia ,series1
 for which his wife sat as model4 ,the  
move to ,great ,portland ,street was the
 first of the numerous changes of       
residence made by ,morland during his   
married life4 ,during the first two     
years these changes were dictated by the
 success which enabled him to house     
himself more comfortably2 but the period

 of steadiness and hard work was so     
brief that it may be dismissed in a few 
lines4 ,the advent of a still-born      
child1 and the knowledge that he might  
not hope to be a father1 appear to have 
been the means of unsettling him in his 
domestic capacity2 and the indifference 
of his wife to the music he loved may   
have contributed to the same end2 but   
the fact remains that within a year of  
marriage ,morland began to neglect her4 
,he acquired the habit of making trips  
into the country during the day and     
resorting to musical gatherings at      
night1 leaving ,mrs4 ,morland much to   
her own devices4  ,he was not idle in   
the ordinary sense of the word4 ,gifted 
with extraordinary facility1 he painted 
numerous pictures which1 if sold in     
business-like fashion1 would have       
produced enough to raise him to         
affluence2 but he had inherited from his
 father1 in intensified form1 a singular
 lack of common sense4 ,he sold his     
pictures for any sum that might be      

offered1 regardless of the fact that the
 purchasers took them direct to dealers 
in the certainty of disposing of them   
for double the money4 ,even while       
working on these lines his prolific     
brush and steadily increasing reputation
 enabled him to make a good income2 but 
success1 if the expression may be used1 
went to his head4 ,he launched out into 
the wildest extravagance1 regulating his
 expenditure by the ease with which he  
could borrow rather than by the ease    
with which he could earn1 and while he  
had cash in his pocket he would not     
work4 ,as his reputation grew1 largely  
through the medium of the engravings    
made from his pictures1 the anxiety of  
dealers and others to secure works from 
his easel grew in ratio with it2 his    
natural readiness to borrow was         
encouraged on every side by those who   
intended1 or hoped1 to obtain in        
pictures more than the equivalent of the
 money they advanced1 and ,morland gave 
promissory notes with joyful            

recklessness1 absolutely indifferent to 
the load of debt he was rolling up4     
,the inevitable crash came in #aghi1    
when for the first time he found it     
expedient to fly from his creditors4    
,there is evidence in the shape of      
pictures to show that he sought refuge  
in the ,isle of ,wight2 but he did not  
long remain there4 ,his legal adviser1  
,mr4 ,wedd1 took his affairs in hand1   
and he returned to ,london to go into   
temporary hiding while matters were     
adjusted by means of a ,letter of       
,licence1 a document which secured him  
from arrest by making terms with his    
creditors4 ,under this bond he pledged  
himself to pay off his liabilities at   
the rate of ,l#abj a month4 ,how his    
credit declined in subsequent years is  
proved by the series of ,letters of     
,licence procured for him4 ,these       
respectively pledged him to pay ,l#ajj1 
,l#ej1 and the last only ,l#aj1 per     
month4  ,perhaps the most pathetic      
feature of ,morland's career is the     

circumstance that the period which saw  
his greatest exertions to escape from   
creditors coincided with that during    
which he produced his finest work4      
,inside of a ,stable 7now in the        
,national ,gallery1 and known as ,the   
,farmer's ,stable7 attracted universal  
attention when exhibited at the ,royal  
,academy of #agia1 and raised the       
painter's fame to its zenith4           
,commissions for pictures1 with advances
 of money1 were pressed upon him on all 
sides2 ,morland accepted the cash1      
promised the pictures1 and launched out 
into wilder extravagance4 ,he kept eight
 horses1 or more1 for the country       
excursions on which his friends joined  
him2 he entertained lavishly2 he drew   
round him a disreputable crew of        
prize-fighters and similar characters1  
who lived upon him2 and he scattered    
money with a reckless hand4 ,he could   
always find those who were eager to     
lend1 and1 revelling in the ease with   
which he could raise money1 would not   

paint until he felt the pinch of need4  
,when out of funds he would work1 and   
did so with the amazing speed and       
deftness that stamp him a genius4 ,there
 is no doubt that he drank at this time1
 but his love of riding and outdoor life
 enabled him to throw off the effects of
 over-indulgence4  ,his career from     
#agia to #agii was one long series of   
flights from one place to another to    
avoid the creditors who pressed for     
money4 ,from time to time ,mr4 ,wedd    
arranged his affairs in such wise that  
he could show his face in ,london2 and  
at other times men who wanted pictures  
relieved him from his difficulties to   
the same end2 but viewing these nine    
years as a whole1 the general impression
 left on the mind is one of a hunted    
animal--now in hiding in the ,isle of   
,wight1 now in ,leicestershire1 now in  
mean lodgings in a poor part of ,london1
 now out of sight4 ,it is only          
occasionally that we can trace his place
 of abode4 ,he would go into hiding1    

with friend or servant sworn to secrecy1
 and while in hiding would work1 and his
 companion would bring his paintings up 
to ,london and dispose of them4  ,in    
#agih he spent six months at ,hackney1  
comparatively free from the attentions  
of creditors1 and during this brief     
period he executed some pictures which  
compare favourably with those painted in
 his best years 7#agij-agic74  ,the     
improvement was not maintained4         
,morland1 whose nerves were now         
suffering from the periodical debauches 
in which he indulged1 and also1 no      
doubt1 from the ceaseless pressure of   
creditors1 left ,hackney and found      
refuge first in ,london and then in the 
,isle of ,wight2 and from the ,island he
 came1 in ,december1 #agii1 to seek     
escape by procuring his own arrest at   
the hands of friends4 ,nominally a      
prisoner in ,king's ,bench1 he was      
granted the rules1 and took a house in  
,st4 ,george's ,fields1 where he lived  
for a couple of years with his wife and 

his brother ,henry4 ,when granted his   
release under #da ,geo4 ,,iii41 he      
remained in ,st4 ,george's ,fields for a
 few months1 and then1 for the sake of  
change1 went to ,highgate4 ,from this   
time1 during the few remaining years of 
his life1 ,morland was an irreclaimable 
drunkard4 ,his constitution was         
undermined1 he could no longer take     
horse exercise1 and his excesses told   
upon him rapidly4 ,to the fact that he  
was now unable to work until he had     
taken stimulant is due the common report
 that he painted best when drunk4       
,nevertheless1 his reputation remained1 
and he was overwhelmed by attentions    
from those who wanted pictures4 ,the    
great aim of these patrons now was to   
induce him to live with them that they  
might exercise some control over his    
propensity for liquor1 and keep him at  
work4 ,his brother ,henry was most      
successful in this regard2 for some     
considerable time ,george lived with    
him1 and1 during his frequently broken  

stay1 painted a very large number of    
pictures1 ,henry paying him a specified 
sum per day4 ,this has been stated as   
,l#b #bs4 and ,l#d #ds41 but in either  
case ,henry's profits must have been    
great4  ,collins1 one of ,morland's     
biographers1 has given us a melancholy  
word-picture of the artist in these1 his
 later days--besodden with drink1 his   
face showing every sign of excess2      
nerves gone1 sight failing1 one hand    
palsied2 yet able to produce works for  
which everyone clamoured4  ,leaving his 
brother's house1 he went from one friend
 to another4 ,for many months he        
occupied lodgings in a sponging-house in
 ,rolls ,buildings1 kept by a sheriff's 
officer named ,donatty2 here he was free
 to come and go as he pleased1 yet was  
secure from arrest1 and ,donatty became 
the owner of a number of fine pictures4 
,it was soon after he left ,rolls       
,buildings to reside with some other    
friend that he was arrested for the last
 time4 ,the sum due was trifling1 but   

,morland had no means of discharging it1
 and was conveyed to a sponging-house in
 ,eyre ,place1 ,eyre ,street ,hill1     
,hatton ,garden4 ,refusing the offers of
 friends to pay the debt1 he insisted on
 remaining in custody4 ,he had          
frequently shown bitter resentment at   
the way his quondam friends worked him  
for their own advantage1 and preferred  
to stay where he was4 ,he strove to     
work2 but the overtaxed brain and body  
refused1 and while at his easel he fell 
from his chair in a fit4 ,for eight days
 he lay almost insensible with brain    
fever1 and then1 without recovering     
consciousness1 he died4  ,george        
,morland's was a singular character4    
,his love of flattery and dread of      
affront may account for his choice of   
companions2 he shrank from association  
with his social superiors1 finding      
congenial friends among pugilists1      
grooms1 sweeps1 and persons whom he     
suffered to profit by his recklessness  
in money matters4 ,endowed with a keen  

sense of humour1 whose artistic         
expression found vent in caricature1 he 
found his principal amusement in playing
 schoolboy practical jokes4 ,george     
,dawe hits off his character in a       
sentence when he says that ,morland     
never became a man2 throughout his life 
his faults were the faults of a boy and 
his virtues the virtues of a boy4  ,he  
and his wife were unhappy together and  
miserable apart4 ,when he had a home she
 shared it1 and if he had not1 he sent  
her money--when he could4 ,that he      
inspired her to the utmost with the     
affection he was able to engage from all
 who came in contact with him1 is proved
 by the fact that news of his death     
killed her4  ,morland's art embraced    
great variety of subjects4 ,his earlier 
popular successes were achieved by his  
figure paintings1 and of these it is    
worth noticing that among the best were 
pictures which pointed morals he        
studiously ignored in his own career4   
,the great popularity of ,w4 ,r4 ,bigg's

 pictures of child-life led the dealers 
to persuade ,morland to take up the same
 line of work1 and in his pictures of   
child-life the artist shows himself what
 we know him to have been--a lover of   
children and one who had perfect        
understanding of them4 ,the insight with
 which he portrayed children is only    
equalled by that which distinguishes his
 animal paintings4 ,morland's horses1   
ponies1 asses1 calves1 and pigs1 are    
entirely his own2 they possess a        
character which stamps them as the work 
of one who had almost uncanny knowledge4
 ,he rarely painted a well-bred horse2  
the animal that appealed to him was the 
farmer's work-horse or the slave of the 
carter1 and on these he expended his    
greatest skill4 ,only an artist who was 
also a horseman could paint the horse as
 he painted it4 ,he has been described  
as a pig painter1 but this refers rather
 to the success with which he proved the
 artistic possibilities of subjects so  
unpromising than to the number of works 

in which pigs occur1 though it is       
admitted that he was fond of painting   
such pictures4 ,his asses and calves1 in
 their kind1 are equal to his horses2   
cows he seldom painted1 and when he     
essayed to do sheep he was not          
conspicuously successful4  ,the         
composition of his works is rarely      
otherwise than pleasing1 a point the    
more worthy of notice when we remember  
that he never made studies1 but         
developed the picture under his hand as 
he worked upon it4 ,the straightforward 
simplicity1 the absence of subtlety of  
his art1 may perhaps be in some measure 
an outcome of his method4 ,his schemes  
of colouring were subdued rather than   
brilliant2 one of his few principles of 
painting was that a touch of pure red   
should appear in every picture1 and we  
very generally find it4  ,once ,morland 
left his father's roof1 his artistic    
education in one sense ceased4 ,he took 
not the slightest interest in the works 
of other painters of whatever period2 on

 the contrary1 he avoided study of art  
lest he should become an imitator2 and  
went direct to ,nature for all he       
required4 ,to this practice we may      
attribute his originality4  ,since ,i   
had the pleasure of collaborating with  
,sir ,walter ,gilbey in writing the     
biography of the painter1 it has been   
pointed out that the artist with whom   
,george ,morland has more in common than
 any is ,jean ,baptiste ,simeon ,chardin
 7#afii-aggi74 ,the resemblance between 
the figure subjects in which each       
excelled is certainly striking2 and this
 resemblance1 regarded in conjunction   
with the ,french nationality of         
,morland's mother1 has evoked the       
suggestion that the ,english painter may
 have derived hereditary talent from the
 maternal side4 ,search through the     
registers of the churches of the parish 
in which ,henry ,robert ,morland lived  
fails to reveal entry relating to his   
marriage4 ,it may be recalled1 however1 
that ,chardin's two daughters died in   

infancy4                                
,e4 ,d4 ,,cuming4   ,illustration3      
,idleness   ,illustration3 ,diligence   
,illustration3 ,belinda1 ,billet-,doux  
,illustration3 ,the ,effects of         
,youthful ,extravagance and ,idleness   
,illustration3 ,the ,deserter's         
,farewell   ,illustration3 ,the         
,deserter ,pardoned   ,illustration3    
,the ,fox ,inn   ,illustration3         
,gathering ,sticks   ,illustration3     
,morning2 or1 ,the ,benevolent          
,sportsman   ,illustration3 ,farmyard   
,illustration3 ,gipsies in a ,wood      
,illustration3 ,evening2 or1 ,the       
,post-,boy's ,return   ,illustration3   
,winter3 ,skating   ,illustration3      
,justice2 or1 ,the ,merciless ,bailiff