,,the ,,development                     
,,of ,,british ,,landscape              
,,painting                              
,,in ,,water-,,colours                  
,,edited ,,by ,,charles                 
,,holme4 ,,text ,,by                    
,,alexander ,j4                         
,,finberg  ,e4 ,a4                      
,,taylor                                
,,mcmxviii      8,,the ,,studio0 ,,ltd4 
,,london ,,paris ,,new ,,york           
,,contents      ,,articles              
,,page    ,,the ,,development ,,of      
,,british ,,landscape ,,painting ,,in   
,,water-,,colours4  ,,by ,,alexander ,j4
 ,,finberg                              
#a    7#a7 ,introductory ,remarks on the
 ,idea of ,development as  ,applied to  
,art                                    
#a    7#b7 ,the ,bearing of these       
,remarks on the ,history of ,british    
,water-,colour ,painting                
#c    7#c7 ,the ,development of         
,subject-,matter and ,technique         
#d    7#d7 ,some ,famous ,water-,colour 

,painters of the ,past                  
#h        ,paul ,sandby                 
#i        ,alexander ,cozens            
#aj        ,john ,robert ,cozens        
#aa        ,thomas ,girtin              
#ac        ,joseph ,mallord ,william    
,turner                                 
#ae        ,john ,sell ,cotman          
#ag        ,david ,cox                  
#ai        ,samuel ,prout               
#bj        ,peter de ,wint              
#ba        ,richard ,parkes ,bonington  
#ba        ,myles ,birket ,foster       
#bb        ,alfred ,william ,hunt       
#bc        ,james ,abbott ,mc,neill     
,whistler                               
#bd    7#e7 ,the ,work of ,to-day       
#bf    ,,the ,,development ,,of         
,,british ,,landscape ,,painting ,,in   
,,water-,,colours3  ,,scottish          
,,painters4 ,,by ,e4 ,a4 ,,taylor       
#bi      ,,illustrations    ,,after     
,,english ,,painters                    
,,plate    ,birch1 ,s4 ,j4 ,lamorna1    
,r4,w4,s4 8,environs of ,camborne0      

,v    ,cotman1 ,john ,sell1 ,r4,w4,s4   
8,kirkham ,abbey0                       
,,iii    ,cozens1 ,j4 ,r4 8,lake ,albano
 and ,castel ,gandolfo0                 
,i    ,fisher1 ,mark1 ,a4,r4,a4         
8,landscape0                            
,,vi    ,gere1 ,charles ,m4 8,the ,round
 ,house0                           ,,vii
    ,girtin1 ,thomas4 8,the ,valley of  
the ,aire0                      ,,ii    
,goodwin1 ,albert1 ,r4,w4,s4 8,lincoln0 
,,viii    ,holmes1 ,c4 ,j4 8,near       
,aisgill0                               
,,ix    ,little1 ,robert1 ,r4,w4,s41    
,r4,s4,w4 8,tidal ,basin1 ,montrose0    
,x    ,rich1 ,alfred ,w4 8,swaledale0   
,,xi    ,smythe1 ,lionel1 ,r4,a41       
,r4,w4,s4 8,caught in the ,frozen       
,palms of ,spring0                      
,,xii    ,turner1 ,j4 ,m4 ,w41 ,r4,a4   
8,launceston0                           
,,iv    ,walker1 ,w4 ,eyre1 ,r4,w4,s4   
8,a ,pool in the ,woods0                
,,xiii    ,waterlow1 ,sir ,e4 ,a41      
,r4,a41 ,r4,w4,s41 ,h4,r4,s4,w4 8,in    

,crowhurst ,park1 ,sussex0              
,,xiv      ,,after ,,scottish ,,painters
    ,allan1 ,robert ,w4 ,allan1         
,r4,w4,s41 ,r4,s4,w4 8,the ,maple  in   
,autumn0         ,,xv    ,brown1 ,a4    
,k41 ,r4,s4,a41 ,r4,s4,w4 8,ben ,more0  
,,xvi    ,cadenhead1 ,james1            
,a4,r4,s4,a41 ,r4,s4,w4 8,a ,moorland0  
,,xvii    ,cameron1 ,d4 ,y41 ,a4,r4,a41 
,r4,s4,a41 ,r4,w4,s41 ,r4,s4,w4         
8,autumn in ,strath ,tay0               
,,xviii    ,flint1 ,w4 ,russell1        
,r4,w4,s41 ,r4,s4,w4 8,autumn ,evening1 
,rydal ,water0                          
,,xix    ,houston1 ,george1             
,a4,r4,s4,a41 ,r4,s4,w4 8,iona0         
,,xx    ,paterson1 ,james1 ,r4,s4,a41   
,r4,w4,s41 ,r4,s4,w4 8,frenchland  to   
,queensberry1 ,moffat ,dale0            
,,xxi    ,smith1 ,d4 ,murray1           
,a4,r4,w4,s4 8,on the ,way to the       
,south ,downs0                          
,,xxii    ,taylor1 ,e4 ,a4 8,a ,bit of  
,high ,corrie0                          
,,xxiii    ,walton1 ,e4 ,a41 ,r4,s4,a41 

,p4,r4,s4,w4 8,suffolk ,pastures0       
,,xxiv      ,,prefatory ,,note          
,the ,editor desires to acknowledge his 
indebtedness to the artists       and   
owners who have kindly lent their       
drawings for reproduction in       this 
volume          ,,the ,,development ,,of
 ,,british ,,landscape ,,painting ,,in  
,,water-,,colours4 ,,by  ,,alexander ,j4
 ,,finberg          7#a7 ,,introductory 
,,remarks ,,on ,,the ,,idea ,,of        
,,development ,,as ,,applied ,,to ,,art 
,the idea of development has played1 for
 considerably more than half a  century1
 and still plays1 a large part in all   
discussions about art4 ,and  it is      
obvious that it is a very useful and at 
the same time a very  dangerous idea2   
useful1 because with its aid you can    
prove anything you  have a mind to1 and 
dangerous1 because it conceals all sorts
 of latent  suggestions1 vague          
presuppositions1 and lurking            
misconceptions1 and thus  misleads and  
beguiles the unwary4 ,the most insidious

 and dangerous of  these suggestions is 
its connexion with the ideas of progress
 or  advance4 ,the dictionaries1 indeed1
 give 8progress0 as one of the  synonyms
 of 8development10 and amongst the      
synonyms of 8progress0 ,i find          
8advance10 8attainment10 8growth10      
8improvement10 and 8proficiency40 ,so   
that as soon as we begin to connect the 
idea of development with the  history of
 art we find ourselves committed1 before
 we quite realize what  we are doing1 to
 the view that the latest productions of
 art are  necessarily the best4 ,if art 
develops1 it necessarily grows1         
improves1  and advances1 and the history
 of art becomes a record of the steps by
  which primitive work has passed into  
the fully developed art of the  present2
 the latest productions being evidently 
the most valuable1  because they sum up 
in their triumphant complexity all the  
tentative  variations and advances of   
which time and experience have approved4
    ,stated thus baldly the idea as     

applied to art seems perhaps too        
obviously at variance with our tastes1  
experience1 and instinctive  standards  
of artistic values to be worth a        
moment's consideration4 ,yet  we are all
 too well aware that this is the line of
 argument by which  every freak1 every  
eccentric1 insane or immoral            
manifestation of  artistic perversity   
and incompetence which has appeared in  
,europe within  the last thirty or forty
 years has been commended and justified4
  ,certainly in ,england every writer on
 art who calls himself 8advanced0 is  an
 evolutionist of this crude and         
uncritical type4 ,at one time it was    
,czanne and ,van ,gogh who were supposed
 to have summed up in their  triumphant 
complexity the less developed efforts of
 ,titian1 ,rembrandt1  ,watteau1 and    
,turner1 and at the present moment      
,czanne and ,van ,gogh are  being       
superseded by ,mr4 ,roger ,fry and his  
young lions of 8,the ,new  ,movement40  
,the worst of it is that the idea of    

development1 of evolution1 is a         
perfectly sound and useful one in       
certain spheres of activity4 ,in        
science1 for instance1 the idea works   
and is helpful4 ,the successive         
modifications and improvements by which 
the latest type of steam-engine  has    
been evolved from ,stevenson's 8,puffing
 ,billy10 or the latest type of         
air-ship from the ,montgolfier balloon1 
form a series of steps which are        
related and connected with each other1  
and they are so intimately  connected   
that the latest step sums up and        
supersedes all the others4 ,no  one     
would travel with ,stevenson's engine   
who could employ a ,british or          
,american engine of the latest type4    
,there we have a definite system of     
development--of growth1 improvement1 and
 increased proficiency4 ,and we  find   
the same thing if we look at science as 
a whole1 as a body of  knowledge of a   
special kind4 ,its problems are tied    
together1  subordinated and             

co-ordinated1 unified in one vast       
system1 so that we  can represent its   
history as a single line of progress or 
retreat4    ,but art is not like        
science4 ,donatello's sculpture is not a
 growth from  the sculpture of ,pheidias
 or ,praxiteles in the same way that the
 ,london  and ,north-,western engine is 
a growth from ,stevenson's model2 nor   
was  ,raphael's work developed from     
,giotto's in the same way4 ,works of art
 are  separate and independent things4  
,that is why ,donatello has not         
superseded ,pheidias1 nor ,raphael      
,giotto2 and that is why the world      
cherishes the earliest works of art     
quite as much as the later ones4    ,yet
 we are bound to admit that we can find 
traces of an evolutionary  process even 
in the history of art1 if we look       
diligently for them4 ,i  remember to    
have seen a book by a well-known        
,italian critic in which the            
representations of the ,madonna are     
exhibited from this point of view 7,a4  

,venturi1 8,la ,madonna10 ,milan1       
#ahii74 ,in it the pictures of the      
,madonna  are treated as an organism    
which gradually develops1 attains       
perfection1  gets old1 and dies4 ,there 
is something to be said for this point  
of  view4 ,when you have a number of    
artists successively treating the same  
subject you naturally find that         
alterations and fresh ideas are imported
  into their work4 ,these additions and 
modifications can quite fairly be       
regarded as developments of the         
subject-matter and its treatment4 ,but  
such developments are always partial and
 one-sided1 and they are  accompanied   
with losses of another kind4 ,if        
,raphael's ,madonnas are more  correctly
 drawn and modelled than those of       
,giotto1 these gains are  balanced by a 
corresponding loss in the spiritual     
qualities of sincerity  and earnestness 
of religious conviction4 ,it depends1   
therefore1 on what  narrow and strictly 
defined point of view we adopt whether  

we find  development or decay in any    
particular series of artistic           
productions4  ,from one point of view   
the history of art from ,giotto to      
,raphael can be  regarded as a process  
of growth and advance1 from another1 the
 same  series can be taken1 as ,ruskin  
actually took it1 as an exhibition of   
the  processes of death and decay4 ,the 
enlightened lover and student of art    
will look at the matter from both1 and  
other1 points of view1 but he  will     
realize that the theory of development  
does not help him in any way  to find a 
standard of value for works of art4     
,art must be judged by its own          
standards1 and those standards tell us  
,illustration3 ,,plate ,i4    7,in the  
possession of ,c4 ,morland ,agnew1      
,esq47    8,,lake ,,albano ,,and        
,,castel ,,gandolfo40 ,,by ,j4 ,r4      
,,cozens4    that each individual       
masterpiece is perfect in its own       
marvellous way1  whether it was produced
 like the ,cheik el ,beled or ,the      

,scribe1 some  five or six thousand     
years ago1 or like the paintings of     
,reynolds1  ,gainsborough1 and ,turner  
within comparatively recent times4      
7#b7 ,,the ,,bearing ,,of ,,these       
,,remarks ,,on ,,the ,,history ,,of     
,,british ,,water-,,colour  ,,painting  
,the direct bearing of these remarks on 
our immediate subject-matter  will1 ,i  
hope1 be evident to all who are familiar
 with the literature of  the history of 
,british water-colour painting4    ,the 
first attempt to form an historical     
series of ,british water-colours  for   
the public use was begun in #aheg1 by   
,samuel ,redgrave for the ,science  and 
,art ,department of what was then the   
,board of ,education4 ,thanks to        
,redgrave's knowledge and enthusiasm a  
worthy collection of examples of  the   
works of the founders of the school was 
soon got together1 and this  nucleus was
 rapidly enlarged by purchases1 gifts1  
and bequests4 ,these  drawings were     
housed and exhibited in what was then   

called the ,south  ,kensington ,museum1 
and in #ahgg ,redgrave published an     
admirable  8,descriptive ,catalogue0 of 
the collection4 ,as an introduction to  
this  catalogue he wrote a valuable     
account of the origin and historical    
development of the art4 ,both the       
official character of this publication  
as well as its intrinsic merits1        
literary and historical--for ,redgrave  
and his brother ,richard1 who had       
assisted him in the work1 were two of   
the best informed historians of ,english
 art in the last  century--combined to  
make it at the time and for many years  
afterwards  the standard and most       
authoritative book on this subject4 ,but
 its  historical part has one serious   
defect1 due perhaps to some extent to   
the unfortunate association of science  
with art in the same museum4            
,redgrave's conception of artistic      
development was evidently borrowed      
ready-made from the ideas of his        
scientific colleagues4 ,he treats the   

chronological arrangement of the        
drawings in exactly the same way as the 
men of science treat the successive     
alterations and improvements which      
,stevenson's first model steam-engine   
underwent2 and as he found the  earlier 
drawings approached very nearly to      
monochrome1 while the later  ones were  
highly coloured and fuller in the       
statement and realization of  detail1 he
 took it for granted that these changes 
marked the true line  of progress and   
development in the art4 ,the early      
8stained0 drawings of  ,scott and       
,rooker were treated as the primitive   
and undeveloped models  from which the  
later and more elaborate works of       
,turner1 ,copley  ,fielding1 ,sidney    
,cooper1 ,john ,f4 ,lewis1 ,louis       
,haghe1 and ,carl ,werner  were         
developed4 ,every fresh complication of 
technique and elaboration of  effect    
were hailed enthusiastically as signs of
 8progress10 and  brilliance of colour1 
richness of effect1 and fullness of     

realization  were treated as the marks  
of 8the full perfection0 of which the   
art was  capable4 ,in this way          
water-colour 8drawing0 became 8elevated0
 into the  8perfected0 art of painting  
in water-colours1 and the beneficent    
cosmic process triumphantly produced    
paintings in water-colour which  could  
actually 8hold their own0 in force and  
brilliancy of effect with  oil          
paintings4    ,as a temporary measure   
,redgrave's excursus into evolutionary  
theory must  have been extraordinarily  
successful4 ,no more specious doctrine  
could  well have been invented to       
flatter and gratify all parties         
concerned at  the moment2 the presidents
 and leading members of the two         
water-colour  societies must have found 
peace and comfort in ,redgrave's theory1
 and  the general public must have felt 
that 8enlightenment and progress0 even  
in artistic matters were being duly     
fostered by an efficient 8,committee    
,council on ,education40 ,but the theory

 has serious defects4 ,it sets up a     
false standard of artistic value1 it    
withdraws attention from the higher     
beauties of art to focus it upon merely 
materialistic and technical  questions1 
and1 what is perhaps still more serious1
 it prejudges the  efforts of subsequent
 artists1 and closes the door to future 
changes and  developments4    ,the      
importance of these latter              
considerations will be seen as soon as  
we  turn our attention to the art of the
 present day and that of the period     
which has intervened between it and the 
date of the publication of  ,redgrave's 
catalogue4 ,consider for one moment the 
water-colours of  ,whistler1 ,clausen1  
,wilson ,steer1 ,d4 ,y4 ,cameron1       
,anning ,bell1 ,charles  ,sims1 ,a4 ,w4 
,rich1 ,charles ,gere1 and ,romilly     
,fedden1 and judge them in  terms of    
,redgrave's formula6 ,if we do we are   
bound to confess that they  one and all 
stand condemned4 ,if ,redgrave's idea of
 the line of progress  and advance is   

correct we are bound to believe that the
 works of these  fine artists represent1
 not progress and advance1 but decay and
 loss4  ,indeed1 the two chief movements
 in art in the last quarter of the last 
century1 the discovery of atmosphere as 
the predominant factor in  pictorial    
representation--what may be called for  
the sake of brevity the  whole          
,impressionistic movement1 and the later
 deliberate search for  simplicity of   
statement1 either in the interests of   
decorative effect or  emotional         
expression1 were seriously thwarted and 
hindered by the  demands for 8exhibition
 finish10 so-called conscientious       
workmanship1  and a standard of         
professional technique--8real painting1 
as such10 as  ,ruskin called it--set up 
and maintained by the erroneous theories
 of  artistic progress of which         
,redgrave was only one of the exponents4
    ,it is therefore of the utmost      
importance that any attempt to deal     
fairly  and generously with the art of  

more recent times shall consciously and 
deliberately dissociate itself from such
 theories4          7#c7 ,,the          
,,development ,,of ,,subject-,,matter   
,,and ,,technique      ,after what has  
been written above it is to be hoped    
that the dangers  attending the use of  
the word 8development0 have been        
exorcised4 ,we  intend to use the word  
merely as a synonym for chronological   
sequence1  and we have been careful to  
point out that the historical order in  
which  artists appear does not coincide 
or run parallel with any growth1        
advance1 progress1 or improvement in the
 artistic value of their work4    ,shorn
 thus of its stolen finery of           
theoretical prejudice and  philosophical
 imposture the naked course of          
chronological sequence  presents few    
attractions to the enthusiastic lover of
 the beautiful4 ,it  has1 however1 its  
uses4 ,these are mainly mnemonical1 for 
it supplies the  thread on which we     
string together in our memory the things

 strewn along  the schedule of the years
 without apparent rhyme or reason4 ,the 
dates  will not help us to pick out the 
good from the bad1 but they help us to  
place among their proper surroundings   
the good things which our  sympathies   
and instincts find for us4    ,with this
 grudging apostrophe to the historical  
maid-of-all-work we will  proceed with  
our survey of the brief tale of years   
during which our  national school of    
water-colour painting has been in       
existence4 ,the  business of this       
chapter is to outline the development of
 form and  content1 of subject-matter   
and technique4    ,for the beginnings of
 ,british landscape painting we must    
look to the  drawings and engravings    
connected with the study of topography1 
using  this word in the ordinary sense  
of place-drawing1 or the description of 
a particular building or spot4          
,generally speaking the designs of the  
earlier draughtsmen are now known only  
through the engravings which were  made 

from them4 ,roget1 in his 8,history of  
the ,old ,water-,colour ,society0       
7chapters i and iii1 ,book ,i7 gives a  
full and interesting account of  these  
engravings4 ,the earliest drawings we   
need refer to are those of  ,samuel     
,scott 7#agaj-aggb7 and his pupil1      
,william ,marlow 7#agdj-ahac71 ,paul    
,sandby 7#agbe-ahji71 ,william ,pars    
7#agdb-aghb71 ,michael ,angelo ,rooker  
7#agdc-ahja71 and ,thomas ,hearne       
7#agdd-ahag74    ,working alongside     
these artists was another group of men  
who produced  8landscapes0 which relied 
for their interest rather upon the      
sentiments  evoked by their             
subject-matter and treatment than upon  
the purely  topographical character of  
their work4 ,these painters of poetical 
or  sentimental landscape may be said to
 have begun with ,george ,lambert       
7#agaj8-agfe71 ,richard ,wilson         
7#agac-aghb71 and ,thomas ,gainsborough 
7#agbg-aghh74 ,of these only the latter 
used water-colour as an  independent    

medium4 ,his ,landscape with ,waggon on 
a ,road through a ,wood  7,british      
,museum7 reminds one somewhat of the    
landscape studies of ,rubens  and ,van  
,dyck1 at least as regards the          
colour-effect and the feeling for       
atmosphere4 ,through ,gainsborough the  
influence of ,rubens and that of the    
,flemish conception of landscape        
painting was brought to bear on ,british
  art1 while ,lambert and ,richard      
,wilson familiarized the younger artists
  and their patrons with the style and  
aims of ,poussin and ,claude4 ,the  same
 influences are discernible in the works
 of ,alexander ,cozens 7d4  #aghf7 and  
his son1 ,john ,robert ,cozens          
7#ageb-agii71 both of whom worked       
almost entirely in water-colour4    ,the
 works of these painters of poetical    
landscape taught the public to  demand  
something more emotional in feeling and 
more dignified and  impressive in       
treatment than the prosaic transcripts  
and conventionally  composed drawings of

 the topographers4 ,their example also  
taught the  rising generation of        
artists1 amongst whom we find ,edward   
,dayes  7#agfc-ahjd71 ,john ,glover     
7#agfg-ahdi71 ,joshua ,cristall         
7#agfg8-ahdg71 ,f4  ,l4 ,t4 ,francia    
7#aggb-ahci71 ,thomas ,girtin           
7#agge-ahjb71 ,j4 ,m4 ,w4 ,turner       
7#agge-ahea71 ,john ,constable          
7#aggf-ahcg71 and ,john ,sell ,cotman   
7#aghb-ahdb71 how to meet those demands4
    ,in ,turner's ,warkworth ,castle    
7,v4 and ,a4 ,museum71 exhibited in     
#agii1  and ,girtin's ,bridgnorth       
7,british ,museum71 painted in #ahjb1 we
 find  these two streams of influence   
uniting4 ,these drawings are at the same
  time both topographical and poetical2 
each represents a particular place  with
 a good deal of accuracy1 but in such a 
way that the drawing might  just as     
correctly be called a poetical landscape
 as a topographical  representation4    
,this combination of fact with emotion1 
of representation with poetry1  has     

remained during the whole of the        
nineteenth century and down to the      
present day the dominant characteristic 
of ,british landscape painting4         
,sometimes the topographical factor was 
subdued or almost submerged1 as  in the 
water-colours of ,george ,barret1 junr4 
7#agfg-ahdb7 and ,francis  ,oliver      
,finch 7#ahjb-ahfb71 but it is generally
 predominant1 though always  in         
combination with emotional or poetical  
expression1 in the works of  ,william   
,havell 7#aghb-aheg71 ,david ,cox       
7#aghc-ahei71 ,peter ,de ,wint          
7#aghd-ahdi71 ,copley ,fielding         
7#aghg-ahee71 ,g4 ,f4 ,robson           
7#aghh-ahcc71  ,samuel ,prout           
7#aghc-aheb71 ,william ,hunt            
7#agij-ahfd71 ,clarkson ,stanfield      
7#agic-ahfg71 ,david ,roberts           
7#agif-ahfd71 ,j4 ,d4 ,harding 7#agig or
 #h-ahfc71  ,r4 ,p4 ,bonington          
7#ahjb-ahbh71 ,t4 ,shotter ,boys        
7#ahjc-ahgd71 ,j4 ,scarlett  ,davis     
7#ahjd8-ahdd71 ,j4 ,f4 ,lewis           

7#ahje-ahgf71 ,w4 ,j4 ,muller           
7#ahab-ahde71  ,william ,callow         
7#ahab-aijh71 ,birket ,foster           
7#ahbe-ahii71 ,a4 ,w4 ,hunt             
7#ahcj-ahif71 ,e4 ,m4 ,wimperis         
7#ahce-aijj71 ,tom ,collier             
7#ahdj-ahia71 and ,j4  ,buxton ,knight  
7#ahdb-aijh74    ,the course of         
development of the subject-matter of    
,british landscape  painting in         
water-colour we may1 therefore1 say has 
been somewhat as  follows3 it started   
with the object of recording as clearly 
and  accurately as was possible the     
appearance of buildings and places1 and 
it did this1 not for purely artistic    
reasons1 but in the interests of        
antiquarian1 archological1 historical1  
or geographical information2 by  the    
side of this place-recording activity   
there sprang up a series of  painters   
who aimed at the production of          
landscapes as the means of  artistic and
 emotional expression2 we then find     
these two groups acting  on each other1 

the poetical school teaching the        
topographers style1  design1            
8atmosphere10 and emotion1 and the      
topographers directing the  attention of
 the poetical painters to the           
observation and study of  nature and the
 expression of    ,illustration3 ,,plate
 ,,ii4    7,in the possession of ,thomas
 ,girtin1 ,esq47    8,,the ,,valley ,,of
 ,,the ,,aire40 ,,by ,,thomas ,,girtin4 
their own personal emotions2 and the    
outcome of this process is the  present 
school of ,british landscape painters in
 water-colours1 which  attempts1 both in
 its highest and in its lowest efforts1 
to do full  justice to the progressive  
demands which the educated public has   
thus  learned to make on the artist4    
,we turn now to the development of      
technique4 ,the earliest topographers   
worked on white paper1 on which1 after  
the subject had been outlined in        
pencil--such outlines being sometimes   
enforced with pen and ink1 the  general 
system of light and shade was washed in 

monochrome2 the local  colours were then
 washed over this preparation4 ,the     
method1 so far as  the colours were     
concerned1 was somewhat similar to that 
of tinting or  colouring an engraving4  
,in drawings executed in this manner by 
,sandby1  ,rooker1 and ,hearne the      
brilliance of the colours is somewhat   
subdued by  the grey underpainting4 ,but
 this is probably due to the fact that  
the  artists worked only with their     
washes of transparent colour1 relying   
upon the white paper asserting itself   
through these washes4 ,the luminous     
effects produced in this way--in        
drawings like ,sandby's ,windsor3 ,east 
,view from ,crown ,corner 7,british     
,museum7 and ,rooker's ,st4 ,botolph's  
7,v4 and ,a4 ,museum7--have been so much
 admired that many living artists  have 
deliberately gone back to this simple   
way of working4    ,the effect of the   
grey underpainting on the finished work 
is1 however1  largely dependent on the  
artist's wishes4 ,if he chooses to      

sacrifice the  luminosity of the white  
paper he can paint over his preliminary 
washes  with colour so heavily charged  
that it will practically annihilate     
them4  ,this is what ,girtin generally  
did in his later works1 though it must  
be  added that he also changed the      
colour of his preparatory washes from   
grey to brown4 ,i am inclined to think1 
therefore1 that ,redgrave has           
exaggerated the importance of the use or
 disuse of these preliminary  washes4   
,the earlier poetical painters1 like    
,lambert1 and ,sandby in his larger     
compositions painted for exhibition     
purposes1 worked in body-colour1  i4e41 
opaque white was mixed with all the     
colours4 ,in this way some              
approximation to the force of oil       
painting was obtained4 ,another way of  
getting a similar result was to work    
with the paper wet4 ,a good example  of 
this method is ,turner's ,warkworth     
,castle4 ,in this picture ,turner  tries
 to do in water-colour what ,richard    

,wilson did in oils4 ,he gets his       
effects of deep rich tone and force of  
colour by working with a heavily        
charged brush1 sponging1 and wiping out 
the lights with a dry brush or          
handkerchief or scraping them with a    
knife4    ,the methods of ,warkworth    
,castle were practically those used by  
the  younger ,barret1 ,varley1 ,copley  
,fielding1 ,cox1 and ,de ,wint1 but     
after  about #ahcj we find opaque white 
coming into general use1 at first merely
  to give increased force to the high   
lights1 but later it was mixed  freely  
with all the transparent colours1 and   
toned or tinted paper was  used to give 
greater brilliance to the body-colour4  
,john ,f4 ,lewis worked  in this way1   
but the hardness and glitter to which it
 so easily conduced  led to its         
abandonment by the later artists who set
 themselves to render  the delicate     
gradations of the atmosphere4 ,yet one  
must admit that in  the hands of a      
master technician like ,turner all the  

unpleasant  qualities so often apparent 
in body-colour work can be avoided1 as  
the  ,rivers of ,france drawings prove4 
,at the present time some artists1 who  
aim especially at force and brilliance  
of colour1 prefer to work in  tempera1  
but it is doubtful whether this medium  
can rightly be regarded  as a form of   
water-colour painting4    ,on the whole 
we may say that the technique of        
water-colour has changed  very little   
during the last two centuries4 ,the     
chief change has perhaps  been connected
 with the introduction1 about #ahcj1 of 
moist colours put  up in metal tubes1 a 
great convenience to artists in search  
of bold  effects without the expenditure
 of much time or trouble4 ,but even this
  has proved a doubtful advantage1 and  
many artists have now gone back to  the 
use of hard cakes of colour1 similar to 
those with which the earlier  men       
obtained their delicate and luminous    
results4          7#d7 ,,some ,,famous  
,,water-,,colour ,,painters ,,of ,,the  

,,past      ,in the previous section we 
have deliberately refrained from saying 
anything about the purely artistic      
qualities of the works we have  referred
 to4 ,this is because we have been      
engaged in a strictly  historical       
survey1 and to the eye of history there 
is no difference  between the works of a
 great artist and those of a bungler4   
,both are  equally patent and           
indubitable facts4 ,it is the business  
of criticism to  appraise the artistic  
beauty of works of art4 ,and if in our  
historical  survey we have kept our     
attention fixed generally on the works  
of the  greater men1 this is more the   
result of accident than design4 ,art    
criticism has already sifted much of the
 good from the bad in the work  of the  
past1 and it is more convenient1 in a   
general survey of this  kind1 to deal   
with what is best known and valued4 ,but
 because history  can thus take         
advantage of what art criticism has     
done1 that is no  reason why we should  

confuse the two processes1 and it cannot
 be  repeated too often that historical 
importance or interest has nothing      
whatever to do with artistic value4     
,the aim of this section is to make good
 the defects of historical study1  so   
far1 at least1 as the limited space at  
our disposal will permit4 ,with  this   
object in view we have selected a       
baker's dozen of the more famous        
artists of the past1 and we will        
endeavour to indicate some of the       
qualities which make their works a joy  
and delight to those who have the       
privilege of knowing them4 ,in each case
 we will supply1 in tabloid form1  a    
certain amount of biographical          
information1 as knowledge of the time   
and place in which an artist works and  
the conditions under which he  produces 
helps us to understand what he has done2
 we shall also attempt  to point out the
 chief public galleries where each      
artist's works    ,illustration3 ,,plate
 ,,iii4    7,in the possession of       

,messrs4 ,j4 ,palser  ,sons47           
8,,kirkham ,,abbey40 ,,by ,,john ,,sell 
,,cotman1 ,r4,w4,s4    can be seen 7when
 happier times bring about the reopening
 of our museums  and art galleries71 and
 the sources from which those who care  
for it can  obtain fuller information   
and more authoritative criticism than we
  ourselves can supply4 ,such           
information as we can give will be as   
correct  as we can make it1 but it will 
make no claim whatever to be exhaustive4
      ,,paul ,,sandby    ,born at       
,nottingham1 #agbe2 entered military    
drawing office of the ,tower  of        
,london1 #agdf2 draughtsman to a survey 
of the ,northern and ,western           
,highlands1 #agdh-agea1 during which    
time he published some etchings of      
,scottish views2 worked at ,windsor for 
some years from #ageb1 where his        
brother1 ,thomas1 was ,deputy ,ranger2  
chief drawing-master1 ,royal ,military  
,academy1 ,woolwich1 #agfh-agig2 elected
 ,director of the ,society of  ,artists1

 ,october #ah1 #agff2 original member of
 ,royal ,academy1 #agfh2  introduced the
 aquatint method of engraving into      
,england2 published  first set of twelve
 aquatints of views in ,south ,wales1   
#aggd1 a second  set of views in ,north 
,wales1 #aggf1 and a third set in #aggg2
 died #ahji4         ,,exhibited3       
,society of ,artists1 #agfj-'fh2 ,royal 
,academy1 #agfi-'gg1       '#gi-'hb1    
'#hf-'hh1 '#ij-'ie1 '#ig-ahjb1 '#jf-'ji2
 ,free ,society1 #aghb1       '#hc4     
,,works ,,in ,,public ,,galleries3      
,national ,gallery2 ,v4 and ,a4 ,museum 
7,water-,colours72 ,british ,museum2    
,national ,gallery of ,ireland2         
,greenwich ,hospital2 ,diploma ,gallery1
 ,r4,a42 ,manchester ,whitworth         
,institute2 ,norwich1 ,nottingham1      
,glasgow1 etc41 ,art ,galleries4        
,,biographical ,,and ,,critical         
,,sources3 8,thomas and ,paul ,sandby10 
by       ,william ,sandby1 #ahib2 8,d4  
,n4 ,b402 ,roget's 8,history of the ,old
       ,water-,colour ,society10 #ahia4 

,,reproductions ,,of ,,works3 8,the     
,earlier ,english ,water-,colour        
,painters10 by ,cosmo ,monkhouse2 8,the 
,english ,water-,colour ,painters10     
by ,a4 ,j4 ,finberg2 8,early ,english   
,water-,colour10 by ,c4 ,e4 ,hughes2    
8,water-,colour10 by the ,hon4 ,neville 
,lytton2 8,water-,colour                
,painting10 by ,a4 ,w4 ,rich2 8,the     
,royal ,academy0 7,,the ,,studio ,summer
       ,number1 #aijd72 ,,the ,,studio1 
,jan4 #aiah4    ,sandby was one of the  
most prolific of the earlier            
topographical  artists4 ,his numberless 
drawings and the engravings he made from
 them  did more than any one man had    
done before to familiarize ,englishmen  
with  the beauties of their native land4
 ,he was an indefatigable traveller1    
and he was the first artist to discover 
the artistic beauties of ,wales4    ,he 
worked both in transparent colour and in
 gouache4 ,his drawings in the  latter  
medium1 of which there are several in   
the ,v4 and ,a4 ,museum1 are  distinctly

 inferior to his works in pure colour4  
,they are scenic and  conventional in   
design1 feeble and pretentious in       
execution4 ,his  drawings in transparent
 colour1 however1 are delightfully fresh
 and  vigorous2 luminous in effect1 and 
filled with proofs of keen and genial   
observation4 ,they seem full of air and 
light1 vivid human interest1 and  in    
their treatment of architecture and of  
all natural features they are  at once  
careful1 accurate and lucid without ever
 showing signs of labour  or fatigue4   
,in the abundance of his work and its   
variety ,sandby  approached nearer to   
,turner than any other artist4 ,but he  
had not  ,turner's subtlety of eye and  
hand1 nor his exquisite sense of        
artistic  form4 ,his landscapes are well
 composed1 but on conventional lines1   
and  the whole material is never welded 
together into an original and           
impeccable design1 as with ,turner1     
,cozens1 and ,cotman4    ,sandby's      
,welsh aquatints with their many daring 

effects of light form  the real         
forerunners of ,turner's 8,liber        
,studiorum40 ,they display better  than 
any single drawing the width and range  
of the artist's powers4    ,as an       
engraver and water-colour painter ,paul 
,sandby is a genial and  inspiriting    
personality4 ,he transformed            
topographical draughtsmanship  into     
something new and living1 instinct with 
life and emotion4 8,and if  we may not  
call him a great artist1 we may at least
 say that he was a  topographical       
draughtsman of genius40      ,,alexander
 ,,cozens    ,born in ,russia1 date     
unknown2 son of ,peter the ,great and an
  ,englishwoman2 sent by his father to  
study painting in ,italy2 said to  have 
come to ,england in #agdf2              
drawing-master at ,eton ,school1        
#agfc-agfh2  married a sister of ,robert
 ,edge ,pine2 elected ,fellow of the    
,society of  ,artists1 #agfe2 died in   
,duke ,street1 ,piccadilly1 ,april #bc1 
#aghf4         ,,exhibited3 ,society of 

,artists1 #agfj1 '#fc1 '#fe-'ga2 ,free  
,society1       #agfa1 '#fb2 ,royal     
,academy1 #aggb1 '#gc1 '#ge1 '#gg-'gi1  
'#ha4         ,,works ,,in ,,public     
,,galleries3 ,v4 and ,a4 ,museum        
7,water-,colours72       ,british       
,museum2 ,manchester ,whitworth         
,institute4         ,,biographical ,,and
 ,,critical ,,sources3 ,leslie's        
8,handbook for ,young       ,painters02 
,redgrave's 8,dictionary02              
8,reminiscences of ,henry               
,angelo10 vol4 i1 #bab-baf2 8,d4 ,n4    
,b40         ,,reproductions3 ,,the     
,,studio1 ,feb4 #aiag2 ,finberg's       
8,english       ,water-,colour          
,painters40    ,the date when ,alexander
 ,cozens came to ,england is given above
 as #agdf4  ,this is what we find in all
 the reference books1 and it is founded 
on a  memorandum pasted in a book of    
drawings made by the artist in ,italy   
which is now in the ,british ,museum4   
,this memorandum states that            
8,alexander ,cozens1 in ,london1 author 

of these drawings1 lost them1 and  many 
more1 in ,germany1 by their dropping    
from his saddle1 when he was  riding on 
his way from ,rome to ,england1 in the  
year #agdf4 ,john ,cozens1  his son1    
being at ,florence in the year #aggf1   
purchased them4 ,when he  returned to   
,london in the year #aggi he delivered  
the drawings to his  father40 ,now      
either the date in this note is wrong   
or1 what seems a more  probable         
explanation1 ,alexander ,cozens's       
journey to ,england in #agdf was  not   
the occasion of his first visit to this 
country1 for there is an  engraved ,view
 of the ,royal ,college of ,eton1 after 
a drawing made by  ,cozens1 which was   
published in #agdb4 ,it was engraved by 
,john ,pine1 whose  daughter afterwards 
became ,alexander ,cozens's wife4 ,the  
existence of  this engraving1 which has 
been noticed by none of the writers on  
,cozens's life1 seems to point to the   
probability that the artist came to     
,england at least four years earlier    

than has been supposed4 ,it also  shows 
how little we know about ,cozens's early
 life1 and it suggests a  certain amount
 of scepticism about the constantly     
repeated statements on  this subject    
which rest1 apparently1 either on       
dubious authority or on  authority which
 has not or cannot be verified4         
,alexander ,cozens's work attracted     
little attention in modern times until  
the late ,mr4 ,herbert ,home perceived  
its beauties4 ,public attention was     
first drawn to it by the 8,historical   
,collection of ,british                 
,water-,colours0 organized by the       
,walpole ,society in the ,loan          
,exhibition  held at the ,grafton       
,galleries at the end of #aiaa1 which   
included five  beautiful drawings by    
,cozens4 ,this was followed1 in #aiaf1  
by an  exhibition of ,mr4 ,home's       
collection of drawings with special     
reference  to the works of ,alexander   
,cozens1 held by the ,burlington ,fine  
,arts ,club4  ,to the catalogue of this 

exhibition ,mr4 ,laurence ,binyon       
contributed a  valuable article on      
8,alexander ,cozens and his ,influence  
on ,english  ,painting40 ,in this       
article ,mr4 ,binyon does justice to    
,cozen's  originality of design and to  
the emotional power of his drawings4    
8,in  his freest vein he uses his brush 
with a loose impetuosity which reminds  
one curiously of ,chinese monochrome    
sketches--the kind of work beloved  by  
those ,chinese artists who valued       
spontaneous freshness and personal      
expressiveness above all else in        
landscape40 8,it was indeed10 ,mr4      
,binyon  adds1 8the naked elements0 7of 
landscape structure7 8rather than the   
superficial aspects of a scene which    
appealed to his imagination2 and in     
nature it was the solitary and the      
spacious rather than the agreeably      
picturesque which evoked his deepest    
feelings40    ,alexander ,cozens used   
colour sparingly and seldom4 ,his best  
drawings are  either in bistre or in    

indian ink1 and he was fond of working  
on  stained1 or perhaps oiled1 paper    
7which was formerly used for tracing74  
,such paper has doubtless acquired a    
darker tone with age1 and it adds to    
the 8sombreness0 of which contemporaries
 complained in his drawings4      ,,john
 ,,robert ,,cozens    ,son of ,alexander
 ,cozens1 born #ageb2 made sketching    
tour in ,switzerland  and ,italy1 with  
,r4 ,payne ,knight1 #aggf-aggi2 again   
visited ,switzerland  and ,italy1 this  
time in company with ,william ,beckford1
 #aghb2 became  insane1 #agid2 died1 it 
is said1 #agii4         ,,exhibited3    
,society of ,artists1 #agfg-'ga2 ,royal 
,academy1 #aggf4         ,,works ,,in   
,,public ,,galleries3 ,v4 and ,a4       
,museum 7,water-,colours72              
,british ,museum2 ,national ,gallery of 
,ireland2 ,manchester ,whitworth        
,institute2 ,fitzwilliam ,museum1       
,cambridge2 ,oldham ,art ,gallery       
7,charles ,e4 ,lees' ,collection72      
,manchester ,art ,gallery 7,james ,blair

       ,bequest74         ,,biographical
 ,,and ,,critical ,,sources3 ,edwards's 
8,anecdotes02 ,leslie's                 
8,handbook02 ,redgrave's 8,century0 and 
8,dictionary02 8,d4 ,n4 ,b40            
,,reproductions3 ,cosmo ,monkhouse's1   
,finberg's1 ,hughes's and ,rich's       
works1 already cited2 ,,the ,,studio1   
,feb4 #aiag4    ,it is really surprising
 that we know so little about this      
artist4 ,during  his lifetime his works 
were much sought after1 and he must have
 been  personally known to a number of  
distinguished people2 both ,payne       
,knight  and the eccentric millionaire1 
,william ,beckford1 the author of       
8,vathek10  and owner and rebuilder of  
,fonthill ,abbey1 with whom he travelled
 in  ,italy and ,switzerland1 and who   
both possessed a large number of his    
drawings1 were voluminous writers1 yet  
neither has deigned to tell us  anything
 of interest about the character1       
personality1 or even outward  appearance
 of this very great artist4 ,both       

,beckford and ,knight wrote  accounts of
 their travels1 but one searches them in
 vain for a single  word that would     
prove that these highly intelligent men 
had the shadow  of a notion that the    
quiet and unobtrusive young             
8draughtsman0 in their  employ was one  
of the greatest artists their country   
had produced4    ,we do not know for    
certain where or when ,john ,cozens was 
born nor when  he died4 ,roget says he  
8appears to have been born abroad when  
his parent  was giving lessons in       
,bath10 but he gives no authority for   
the  statement1 and so far as ,i know it
 has not been verified4 ,the best       
evidence for the date of his birth seems
 to be ,leslie's statement that  he once
 saw a small pen-drawing on which was   
written1 8,done by ,j4  ,cozens1 #agfa1 
when nine years of age40 ,if the date is
 correct ,cozens was  only fifteen when 
he began to exhibit at the ,society of  
,artists4  ,constable stated that       
,cozens died in #agif1 but most of the  

authorities  give the date as #agii4    
,that the artist was modest and         
unobtrusive1 like his drawings1 we may  
feel sure4 ,as ,leslie wrote1 8,so      
modest and unobtrusive are the beauties 
of his drawings that you might pass them
 without notice1 for the painter        
himself never says #8,look at this1 or  
that1' he trusts implicitly to your  own
 taste and feeling2 and his works are   
full of half-concealed beauties  such as
 ,nature herself shows but coyly1 and   
these are often the most  fleeting      
appearances of light4 ,not that his     
style is without emphasis1  for then it 
would be insipid1 which it never is1 nor
 ever in the least  commonplace40       
,constable was one of the first to      
realize ,cozens's true greatness4       
8,cozens10 he said1 8is all poetry10 and
 on another occasion he rather  shocked 
,leslie by asserting that ,cozens was   
8the greatest genius that  ever touched 
landscape40 ,yet this assertion contains
 nothing but the  plain truth4 ,genius  

is the only word we can use to describe 
the intense  concentration of mind and  
feeling which inspires ,cozens's work4  
,to the  analytic eye his drawings are  
baffling and bewildering in the extreme2
  it is impossible to find a trace of   
cleverness or conscious artifice in     
them4 ,they make you feel that you are  
looking at the work of a  somnambulist  
or of one who has painted in a trance4  
,they are1 ,i believe1  the most        
incorporeal paintings which have been   
produced in the ,western  world1 for the
 paint and the execution seem to count  
for so little and  the personal         
inspiration for so much4 ,the painter's 
genius seems to  speak to you direct1   
and to impress and overawe you without  
the help of  any intermediary4    ,in   
this respect ,cozens is quite different 
from ,turner4 ,even when he  trusted    
most implicitly to his genius ,turner   
was always the great  artist1 the great 
colourist1 the incomparable master of   
his technique  whatever medium he was   

working in4 ,beyond the sheer beauty of 
his simple  washes of transparent colour
 there is hardly a single technical or  
executive merit in ,cozens's drawings   
that one can single out for praise  or  
even for notice4 ,their haunting beauty 
and incomparable power are  spiritual1  
not material4 ,and as we can think of a 
spirit too pure and  fine to inhabit a  
gross body like our own1 so ,cozens     
seems to be a  genius too spiritual for 
form and colour and the palpable        
artifices of  representation4 ,certainly
 no ,english artist relied more serenely
 and  confidently on his genius1 and    
subdued his art more absolutely to      
spiritual purposes4 ,and this is what ,i
 think ,constable meant when he  called 
,cozens 8the greatest genius that ever  
touched landscape02 he did  not say that
 he was the greatest artist4    ,as one 
of our illustrations we reproduce the   
drawing ,lake ,albano and  ,castel      
,gandolfo by ,cozens 7,plate ,i7 in the 
collection of ,mr4 ,c4 ,morland  ,agnew4

      ,,thomas ,,girtin    ,born in     
,southwark1 #agge2 apprenticed to       
,edward ,dayes2 first engravings  after 
his drawings published in 8,copper      
,plate ,magazine10 #agic2 sketching     
tours1 in the ,midlands 7,lichfield1    
etc471 #agid1 ,kent and ,sussex #agie1  
,yorkshire and ,scotland #agif1         
,devonshire #agig1 ,wales #agih1        
,yorkshire and  ,scotland #agii2        
8,girtin's ,sketching ,society0         
established1 #agii2 married1  #ahjj2    
went to ,paris1 ,nov4 #ahja1 and        
returned to ,england1 ,may #ahjb2 his   
,eidometropolis1 or ,great ,panorama of 
,london1 exhibited at ,spring  ,gardens1
 ,august1 #ahjb2 died ,nov4 #i1 #ahjb2  
engravings of his views of  ,paris      
published shortly after his death4      
,,exhibited3 ,royal ,academy1 #agid1    
'#ie1 '#ig-ahja4         ,,works ,,in   
,,public ,,galleries3 ,v4 and ,a4       
,museum 7,water-,colours72              
,british ,museum2 ,national ,galleries  
of ,scotland and ,ireland2              

,manchester ,whitworth ,institute2      
,ashmolean and ,fitzwilliam ,museums2   
,oldham ,art ,gallery 7,charles ,e4     
,lees' ,collection74                    
,,biographical ,,and ,,critical         
,,sources3 ,edwards's 8,anecdotes02     
,dayes'       8,professional ,sketches02
 ,redgrave's 8,century0 and             
8,dictionary02       ,b4,f4,a4 ,club's  
,catalogue1 #ahge2 ,roget's 8,history02 
,binyon's 8,life       and ,works10     
#aijj2 ,walpole ,society's ,vols4 ,,ii4 
and ,v4         ,,reproductions3        
,binyon's 8,life02 ,monkhouse's1        
,finberg's1 ,hughes's1       ,lytton's1 
and ,rich's works already cited2 ,,the  
,,studio 7,centenary of       ,thomas   
,girtin ,number71 ,nov4 #aijb2 ,,the    
,,studio1 ,may #aiaf2 ,walpole          
,society's ,vols4 ,,ii4 and ,v4         
,compared with ,john ,cozens's work     
,girtin's appears often self-conscious  
and artificial4 ,his drawings were      
admired by his contemporaries chiefly   
on account of their style2 references to

 the 8sword-play0 of his  pencil1 the   
boldness and swiftness of his washes1   
constantly recur in  their eulogies of  
his work4 ,girtin was nearly always a   
stylist1 and  often a mannerist4 ,but   
his style1 at its best1 is so thoroughly
 in  keeping with the spirit of his work
 that it is difficult to separate the   
two4 ,his love of the sweeping lines of 
the open moorland and his passion  for  
height and space appeal irresistibly to 
our imagination1 while the  broad       
simplicity of his vision1 his restrained
 and truthful colour1 and  his frank1   
bold1 decisive handling seem the only   
adequate means by which  his inspiration
 could find clear and authoritative     
expression4    ,we must remember1 too1  
that ,girtin died at the age of         
twenty-seven4 ,the  knowledge of his    
early and untimely death intensifies our
 admiration for  all he did2 while the  
few supreme masterpieces of poetical    
landscape he  has left us1 like the     
,plinlimmon1 show clearly what our      

national art  lost by the tragedy of his
 early death4    ,girtin seems to have  
mastered his art as ,robert ,louis      
,stevenson mastered  his1 by 8playing   
the sedulous ape0 to the men he admired4
 ,there are now  in the ,british ,museum
 copies he made after ,antonio ,canal1  
,piranesi1  ,hearne1 ,marlow1 and       
,morland4 ,of these masters ,canal seems
 to have  impressed and taught him most4
 ,the spaciousness and breadth of effect
 of  all his topographical work are     
clearly the outcome of his admiration   
for  ,canal's drawings and paintings4   
,the calligraphic quality of his line   
work1 what has been called the          
8sword-play0 of his pencil1 is also due 
to the same influence4    ,his earlier  
drawings1 made about #agib and #agic1   
were1 however1 modelled  on the style of
 his master1 ,edward ,dayes4 ,the       
drawings he made after  ,james ,moore's 
sketches--of which several have been    
recently acquired by  the ,ashmolean    
,museum--might easily be mistaken for   

,dayes' work4 ,they  only differ in     
being more accomplished and workmanlike 
than those which  his master made for   
the same patron1 and in their deliberate
 avoidance  of the dark 8repoussoir0 of 
which ,dayes was so fond in his         
foregrounds--an avoidance which gives   
,girtin's drawings a greater unity  and 
a more decorative effect than those of  
,dayes4    ,by about #agie ,girtin's    
real style began to assert itself1 in   
drawings  like those of ,lichfield and  
,peterborough ,cathedrals4 ,from this   
time we  find him pouring forth an      
abundance of superb topographical       
subjects  instinct with style and       
ennobled with poetry and                
imagination--drawings  like ,rievaulx   
,abbey 7#agih71 in the ,v4 and ,a4      
,museum1 ,carnarvon  ,castle1 and ,the  
,old ,ouse ,bridge1 ,york1 both in the  
possession of his  great-grandson1 ,mr4 
,thomas ,girtin4 ,the noble studies for 
his ,panorama of  ,london 7made probably
 in #ahja71 his ,lindisfarne 78#agig7   

and  ,bridgnorth 7#ahjb71 are           
fortunately in the ,british ,museum4    
,the drawings  he made on his return    
from ,paris1 during the last sad months 
of his  fast-ebbing life--drawings like 
the ,porte ,st4 ,denis--are amongst the 
most superb of his splendid productions4
    ,i will close these brief and       
inadequate remarks by copying out two   
advertisements connected with ,girtin's 
8,panorama0 which ,i believe have  not  
been printed or referred to by any one  
of the writers on his life  and work4   
,the first appeared in 8,the ,times0 on 
,august #bg1 #ahjb4 ,it runs  as        
follows3 8,eidometropolis1 or ,great    
,panoramic ,picture of ,london1         
,westminster1 and ,environs1 now        
exhibiting at the ,great ,room1 ,spring 
,gardens1 ,admission #as4 ,t4 ,girtin   
returns his most grateful thanks to a   
generous ,public for the encouragement  
given to his ,exhibition1 and as it  has
 been conceived to be merely a ,picture 
framed1 he further begs leave  to       

request of the ,public to notice that it
 is ,panoramic1 and from its  magnitude1
 which contains #aidd square feet1 gives
 every object the  appearance of being  
the size of nature4 ,the situation is so
 chosen as to  shew to the greatest     
advantage the ,thames1 ,somerset ,house1
 the ,temple  ,gardens1 all the         
,churches1 ,bridges1 principal          
,buildings1 c41 with the  surrounding   
country to the remotest distance1       
interspersed with a  variety of objects 
characteristic of the great ,metropolis4
 ,his views of  ,paris1 etched by       
himself1 are in great forwardness1 and  
to be seen with  the ,picture as above40
    ,the second notice is as follows3   
8,thursday1 #aa ,nov41 #ahjb4 ,the      
,public  are most respectfully informed 
that in consequence of the decease of   
,mr4  ,thomas ,girtin1 his ,panorama of 
,london exhibiting at ,spring ,gardens1 
will  be shut till after his interment1 
when it will be re-opened for the       
benefit of his widow and children1 under

 the management of his brother1  ,mr4   
,john ,girtin40    ,as an example of    
,girtin's work we reproduce ,the ,valley
 of the ,aire with  ,kirkstall ,abbey   
7,plate ,,ii71 from ,mr4 ,thomas        
,girtin's collection4      ,,joseph     
,,mallord ,,william ,,turner    ,born in
 ,maiden ,lane1 ,covent ,garden1 #bc    
,april1 #agge2 worked in ,life          
,academy1 ,r4,a4 schools1 #agib-agii2   
,a4,r4,a41 #agii1 ,r4,a4 #ahjb2 first   
tour on  ,continent1 #ahjb2 first part  
of 8,liber ,studiorum0 issued1 #ahjg2   
,professor  of ,perspective1 ,r4,a41    
#ahjg-ahcg2 ,crossing the ,brook        
exhibited #ahae2  published 8,southern  
,coast0 series of engravings1           
#ahad-ahbf1 8,views in  ,sussex10       
#ahaf-ahbj1 ,hakewill's 8,italy10       
#ahah-ahbj1 8,richmondshire10           
#ahah-ahbc1 8,provincial ,antiquities of
 ,scotland10 #ahai-ahbf1 8,england and  
,wales10 #ahbg-ahch1 ,rogers's 8,italy10
 #ahcj1 and 8,poems10 #ahcd1 8,rivers of
  ,france10 #ahcc-ahce2 exhibited ,rain1

 ,steam1 and ,speed1 #ahdd2 died ,dec4  
#ah1 #ahea4         ,,exhibited3 ,royal 
,academy1 #agij-ahjd1 '#jf-'bj1 '#bb1   
'#bc1 '#be-'dg1       '#di1 '#ej2       
,british ,institution1 #ahjf1 '#h1 '#i1 
'#ad1 '#ag1 '#ce-'da1       '#df2       
,society of ,british ,artists1 #ahcc1   
'#cd2 ,institution for ,enc4 of         
,f4,a41 ,edinburgh1 #ahbd2 ,cooke's     
,exhibitions1 #ahbb-'bd2 ,northern      
,academy of ,arts1 ,newcastle1 #ahbh2   
,r4 ,birmingham ,s4 of ,artists1        
#ahbi1 '#cj1 '#cd1 '#ce1 '#dg2          
,liverpool ,academy1 #ahca1 '#de2 ,r4   
,manchester ,institution1 #ahcd1 '#ce2  
,leeds ,exhibition1 #ahci4              
,,works ,,in ,,public ,,galleries3      
,national ,gallery2 ,v4 and ,a4 ,museum2
       ,british ,museum2 ,national      
,galleries of ,ireland and ,scotland2   
,ashmolean and ,fitzwilliam ,museums2   
,manchester ,whitworth ,institute2      
,bury ,art ,gallery1 etc4 etc4          
,,biographical ,,and ,,critical         
,,sources3 ,peter ,cunningham's ,memoir1

 in       ,john ,burnet's 8,turner and  
his ,works10 #aheb2 ,alaric ,watts's    
,memoir1       in 8,liber ,fluviorum10  
#ahec2 ,ruskin's 8,modern ,painters0 and
       8,preterita02 ,thornbury's       
8,life1 etc410 #b vols41 #ahfb2         
,hamerton's       8,life10 #ahgi2       
,monkhouse's 8,turner0 7in 8,great      
,artists ,series071       #ahhb2 ,c4 ,f4
 ,bell's 8,exhibited ,works of ,turner10
 #aija2 ,sir ,walter       ,armstrong's 
8,turner10 #aijb2 ,finberg's 8,turner's 
,sketches and       ,drawings10 #aiaj2  
etc4 etc4         ,,reproductions3      
,armstrong's 8,turner02 ,wedmore's      
8,turner and ,ruskin02       8,the      
,genius of ,turner0 7,,the ,,studio     
,special ,number1 #aijc72 8,hidden      
,treasures at the ,national ,gallery10  
#aije2 8,the ,water-,colours of ,j4     
,m4 ,w4 ,turner0 7,,the ,,studio ,spring
 ,number1 #aiji72 8,turner's            
,water-,colours at ,farnley ,hall0      
7,,the ,,studio ,special ,number1       
#aiab72       ,walpole ,society's ,vols4

 ,i41 ,,iii41 and ,,vi4    ,turner's    
first exhibited water-colour1 a ,view of
 the ,archbishop's  ,palace1 ,lambeth   
7#agij71 is a poor imitation of         
,malton's least inspired  topographical 
drawings4 ,but he learned quickly4 ,his 
,inside of ,tintern  ,abbey1 7#agid7    
shows that before he was twenty he could
 draw and paint  ,gothic architecture   
better than any of the older            
topographical artists4  ,his            
pre-eminence as a topographical         
draughtsman was firmly established  by  
#agig1 when he had painted such works as
 the ,lincoln ,cathedral  7#agie71      
,llandaff ,cathedral 7#agif71           
,westminster ,abbey3 ,st4 ,erasmus and  
,bishop ,islip's ,chapel 7#agif71 and   
,wolverhampton 7#agif74    ,from #agif  
to #ahjd ,turner's style changed1       
chiefly under the influence of  ,richard
 ,wilson's works1 which he studied and  
copied diligently4 ,these  years saw the
 production of ,norham ,castle 7#agih71 
,warkworth ,castle  7#agii71 ,edinburgh1

 from ,calton ,hill 7#ahjd71 ,the ,great
 ,fall of the  ,reichenbach 7done in    
#ahjd1 but not exhibited till #ahae71   
and the  wonderful sketches in the      
,alps1 ,blair's ,hut1 ,st4 ,gothard1    
etc4  7#ahjb74 ,in these energetic and  
powerful drawings he aims at getting    
depth and richness of tone and colour4  
,from #ahjd to #ahae his energies were  
mainly directed to the production of    
his great sea-paintings1 ,the           
,shipwreck1 ,spithead1 etc41 his lovely 
,english landscapes like ,abingdon1     
,windsor1 ,the ,frosty ,morning1 and    
,crossing the ,brook1 and to making the 
designs in sepia for his 8,liber        
,studiorum0 and helping to engrave the  
plates4 ,his water-colours during  these
 years were not numerous1 but they      
include ,scarborough ,town and  ,castle 
7#ahaa71 ,the ,strid 7about #ahaa71     
,bolton ,abbey from the ,south  7about  
#ahab71 all three at ,farnley ,hall1    
,mr4 ,morland ,agnew's  ,scarborough    
7#ahaj71 ,scene on the ,river ,tavey    

7#ahac7--;called by ,mr4  ,ruskin ,pigs 
in ,sunshine1 now in the ,ruskin ,school
 at ,oxford1 and the  ,malham ,cove     
7about #ahae71 now in the ,british      
,museum 7,salting ,bequest74  ,in these 
drawings the capacities of water-colour 
are not forced so much  into rivalry    
with the depth and power of oil painting
 as in those of the  #agig-ahjd period4 
,about #ahab or #ahac ,turner began     
making the drawings which were engraved 
and published in ,cooke's 8,picturesque 
,views of the ,southern ,coast of       
,england40 ,between #ahae and #ahdj     
nearly all his work in    ,illustration3
 ,,plate ,,iv4    7,in the possession of
 ,j4 ,f4 ,schwann1 ,esq47               
8,,launceston40 ,,by ,j4 ,m4 ,w4        
,,turner1 ,r4,a4    water-colour was    
done to be engraved and published in    
similar  undertakings4 ,turner's fame as
 a water-colour painter rested during   
his  lifetime chiefly on these drawings4
 ,among them are many of the most       
beautiful works which have ever been    

produced in this medium4 ,it is a  pity1
 therefore1 that they are not more      
adequately represented in our  public   
galleries4 ,this remark applies         
particularly to the drawings in         
transparent colour 7like the            
,launceston1 for instance1 which is here
  reproduced1 ,plate ,,iv71 for those in
 body-colour--the 8,rivers of           
,france0--are nearly all either in the  
,national ,gallery1 ,ashmolean or       
,fitzwilliam ,museums4 ,but with the    
exception of ,hornby ,castle 7,v4  ,a4  
,museum7 and most of the originals of   
the 8,rivers0 and 8,ports of ,england0  
series 7in the ,national ,gallery71     
nearly all ,turner's drawings made for  
the engravers are in private            
collections4 ,we may perhaps allow      
ourselves  to hope that some time in the
 future a separate gallery may be       
founded  to do justice to ,british      
water-colours1 in which such drawings   
would  have to be properly represented4 
,after about #ahdj ,turner only worked  

in water-colours for his own  pleasure  
and for that of a small circle of       
friends and admirers4 ,the  drawings    
made for his own pleasure are now nearly
 all in the ,national  ,gallery1 where  
they have never been properly exhibited 
and where most of  them cannot be seen  
by the public4 ,these formed part of the
 ,turners  which the ,trustees wanted to
 sell about a year ago4 ,the drawings   
made  for his friends and admirers      
include the ,constance1 ,lucerne1 and   
others of what have been called 8,the   
,epilogue0 drawings4 ,the public is     
able to catch glimpses of these         
occasionally at loan exhibitions and in 
auction rooms4      ,,john ,,sell       
,,cotman    ,born at ,norwich1 ,may #af1
 #aghb2 went to ,london1 #agih2 gained  
prize for a  drawing from the ,society  
of ,arts1 #ahjj2 returned to ,norwich1  
#ahjf1 and  opened a school for drawing 
and design2 married1 #ahji2 published a 
series of etchings1 #ahaa1 and became   
president of the ,norwich ,society of   

,artists2 published 8,norman and ,gothic
 ,architecture10 #ahag1 and             
8,architectural ,antiquities of         
,normandy10 #ahbb2 ,associate1 ,society 
of  ,painters in ,water-,colours1 #ahbe2
 appointed ,professor of ,drawing at    
,king's ,college1 ,london1 #ahcd1 mainly
 through ,turner's influence2  published
 his 8,liber ,studiorum10 #ahch2 died   
,july #bd1 #ahdb4         ,,exhibited3  
,royal ,academy1 #ahjj-'jf2 ,associated 
,artists1 #ahaj1 '#aa2       ,society of
 ,painters in ,water-,colours1 #ahbe1   
'#bf1 '#bh-'ci2 ,society       of       
,british ,artists1 #ahch2 ,norwich      
,society of ,artists1 #ahjg-'ab1        
'#ae1 '#ah1 '#bj1 '#ba1 '#bc1 '#bd2     
,norfolk and ,suffolk ,institution1     
#ahbh-'cc4         ,,works ,,in ,,public
 ,,galleries3 ,national ,gallery 7an    
oil-painting72 ,v4       and ,a4 ,museum
 7,water-,colours72 ,british ,museum2   
,national ,galleries       of ,scotland 
and ,ireland2 ,norwich ,castle ,museum2 
,manchester       ,whitworth ,institute1

 etc4         ,,biographical ,,and      
,,critical ,,sources3 ,memoir in        
catalogue of ,norwich       ,art        
,circle's exhibition of ,cotman's works1
 ,july #ahhh2 ,laurence       ,binyon's 
8,crome and ,cotman0 7,portfolio        
,monograph71 #ahig1 and       8,cotman0 
in 8,masters of ,english ,landscape     
,painting0 7,,the ,,studio       ,summer
 ,number1 #aijc74                       
,,reproductions3 ,the three works cited 
above1 and histories of       ,british  
water-colour painting by ,monkhouse1    
,finberg1 etc41 already       cited4    
,cotman is the greatest of all the      
,english water-colour painters born     
after ,turner4 ,he is the only one of   
them whose works can be put beside      
,turner's and judged on a footing of    
equality4 ,when we compare ,prout1      
,cox1 ,de ,wint1 and even ,bonington1   
with ,turner we feel that they must be  
judged by some less exacting standard   
than that which we apply to  ,turner4   
,this is not the case with ,cotman4 ,he 

had not the width and  range1 the       
abundance and all-conquering power of   
,turner1 but within his  own limits he  
is every whit as unapproachable4        
,cotman was a member of ,girtin's       
sketching club1 and it is evident that  
,girtin's influence counted for much in 
his early work4 ,from ,girtin he        
learned to rely first and foremost upon 
full-bodied washes of colour  placed    
exactly where they were wanted and left 
to dry just as they had  flowed from the
 brush4 ,cotman's quite early works can 
easily be mistaken  for poor drawings by
 ,girtin or ,francia4 ,but in the       
drawings produced  between #ahjc and    
#ahag1 we find that he was not satisfied
 to paint1 like  the older men1 in his  
studio upon an arbitrarily chosen       
formula of  colouring4 ,in a letter     
written to ,dawson ,turner on ,nov4 #cj1
 #ahje1 he  speaks of his summer        
sketching tour to ,york and ,durham1 and
 adds1 8,my  chief study has been       
colouring from ,nature1 many of which   

are close  copies of that full ,dame40  
,we see one of the results of these     
studies in  what is perhaps his earliest
 masterpiece1 the ,greta ,bridge1       
,yorkshire  7#ahjf71 now in the ,british
 ,museum4 ,its colour-scheme is as      
original as  it is beautiful4 ,the      
colouring is 8natural10 but it is       
,nature simplified  to a system of      
harmoniously coloured spaces1 in which  
light and shade  and modelling are      
suggested rather than rendered4    ,the 
distinctive peculiarity of the          
workmanship of this1 as indeed of all   
,cotman's drawings1 is his reliance on  
the clear stain or rich blotting  of the
 colour on paper preserved in all its   
freshness4 ,the aims of  representation 
are forced so much into the background  
that the artist  seems to be mainly     
intent on the discovery and display of  
8the beauty  native and congenial0 to   
his materials4 ,mr4 ,binyon has drawn   
attention  to the unconscious similarity
 of ,cotman's methods and aims to those 

of  the great schools of ,china and     
,japan of more than a thousand years    
ago4    ,among the better-known of      
,cotman's drawings of this period we may
  mention the ,twickenham 7#ahjg71      
,trentham ,church 7about #ahji71        
,draining ,mill1 ,lincolnshire 7#ahaj71 
and ,mousehold ,heath 7#ahaj72  these   
are all reproduced in 8,masters of      
,english ,landscape ,painting0 7,,the   
,,studio ,summer ,number1 #aijc71 in    
which ,mr4 ,binyon's illuminating essay 
was published4 ,the beautiful drawing of
 ,kirkham ,abbey1 ,yorkshire1 here      
reproduced 7,plate ,,iii7 by the        
courtesy of ,messrs4 ,j4 ,palser  ,sons1
 is  an admirable example of ,cotman's  
wonderful mastery in the use of decided 
washes of pure colour4    ,in #ahag     
,cotman made his first visit to         
,normandy1 and after this date his      
colour becomes warmer1 brighter1 and    
more arbitrary4 ,after about #ahbe he   
indulges himself freely in the use of   
the strong primary colours1  influenced 

probably by ,turner's daring chromatic  
experiments4      ,,david ,,cox    ,born
 at ,deritend1 ,birmingham1 ,april #bi1 
#aghc2 scene-painter in ,london1  #ahjd2
 ,president of the 8,associated         
,artists10 #ahaj2 member of the ,society
  of ,painters in ,water-,colours1      
#ahac2 drawing-master at ,hereford1     
#ahad-ahbf2 published 8,treatise on     
,landscape ,painting10 #ahad1 8,lessons 
in  ,landscape10 #ahaf1 8,young         
,artists' ,companion10 #ahbe1 etc42 took
 lessons  in oil painting from ,w4 ,j4  
,mller1 #ahci2 removed to neighbourhood 
of  ,birmingham1 #ahda1 visiting        
,bettws-y-,coed yearly1 #ahdd-ahef2 died
 ,june #g1  #ahei4         ,,exhibited3 
,royal ,academy1 #ahje-'jh2 '#bg-'bi1   
'#dc1 '#dd2 ,associated       ,artists1 
#ahji-'ab2 ,society of ,painters in     
,water-,colours1 #ahac-'af1             
'#ah-'ei2 ,british ,institution1 #ahad1 
'#bh1 '#dc2 ,society of ,british        
,artists1 #ahda1 '#db4         ,,works  
,,in ,,public ,,galleries3 ,national    

,gallery2 ,v4 and ,a4 ,museum           
7,water-,colours72 ,british ,museum2    
,national ,galleries of ,scotland and   
,ireland2 ,birmingham ,art ,gallery2    
,manchester ,whitworth ,institute2      
,glasgow1 ,manchester1 ,bury1           
,nottingham ,art ,galleries1 etc4       
,,biographical ,,and ,,critical         
,,sources3 8,memoir of the ,life of     
,david       ,cox10 by ,n4 ,neal ,solly1
 #ahge2 ,wedmore's 8,studies in ,english
 ,art10       #bnd series4              
,,reproductions3 ,solly's 8,memoir02    
,masters of ,english ,landscape         
,painting 7,,the ,,studio ,summer       
,number1 #aijc72 8,drawings of ,david   
,cox0       7,newnes's 8,modern ,master 
,draughtsmen0 ,series74    ,it was not  
till about #ahdj1 when he was           
fifty-seven years of age1 that  ,cox    
managed to break free from the drudgery 
of teaching4 ,this drudgery  during the 
greater part of his life undoubtedly    
exercised a mischievous  effect upon his
 art4 ,besides wasting so much of his   

time1 and thus  preventing him from     
attempting works which required         
sustained efforts1  it forced him to    
develop a mechanical and facile         
dexterity of style4 ,he  got into the   
habit of 8slithering0 over the          
individual forms of objects1  making his
 rocks and trees as rounded and         
shapeless as his clouds1 in a  way that 
irritates any one who has learned to use
 his eyes4 ,there is  some truth in     
,john ,brett's remark that 8the daubs   
and blots of that  famous sketcher      
7,david ,cox7 were just definite enough 
to suggest 444 the  most superficial    
aspects of things10 though it may have  
been prompted by  envy and exasperation4
    ,cox's reputation nowadays rests to 
a large extent on the drawings he  made 
after #ahdj4 ,hayfield with ,figures1   
,the ,young ,anglers 7#ahdg71  the      
,welsh ,funeral 7#ahej71 ,the ,challenge
 7#ahec71 and ,snowden from  ,capel     
,curig 7#aheh7 were among the fine      
things produced by the grand old  artist

 during the last years of his life4     
,such moving and powerful  works are    
stamped with the sincerity1 simplicity1 
and rugged dignity of  ,david ,cox's own
 character4      ,,samuel ,,prout       
,born at ,plymouth1 ,sep4 #ag1 #aghc2   
settled in ,london1 #ahaa2 member of the
  ,society of ,painters in              
,water-,colours1 #ahai2 published       
8,rudiments of  ,landscape10 etc41      
#ahac1 8,a ,new ,drawing ,book for the  
,use of ,beginners10  #ahba1 and other  
drawing books2 published lithographs of 
his ,continental  drawings1 ,the ,rhine1
 #ahbd1 ,flanders and ,germany1 #ahcc1  
,france1  ,switzerland1 and ,italy1     
about #ahci2 died at ,denmark ,hill1    
,feb4 #aheb4         ,,exhibited3 ,royal
 ,academy1 #ahjc-'je1 '#jh-'aj1         
'#ab-'ad1 '#ag1 '#bf1       '#bg2       
,british ,institution1 #ahji-'aa1       
'#af-'ah2 ,associated ,artists1         
#ahaa1 '#ab2 ,society of ,painters in   
,water-,colours1 #ahae-'ea4             
,,works ,,in ,,public ,,galleries3      

,national ,gallery2 ,v4 and ,a4 ,museum 
7,water-,colours72 ,british ,museum2    
,national ,galleries of ,scotland and   
,ireland2 ,fitzwilliam and ,ashmolean   
,museums2 ,manchester ,whitworth        
,institute2 ,birmingham1 ,manchester1   
,bury ,art ,galleries1 etc4             
,,biographical ,,and ,,critical         
,,sources3 ,ruskin1 in 8,art ,journal10 
#ahdi1       8,modern ,painters10 and   
8,notes on ,s4 ,prout and ,w4 ,hunt02   
,roget's       8,history of the ,old    
,water-,colour ,society10 #ahia2 8,d4   
,n4 ,b410       8,sketches by ,samuel   
,prout0 7,,the ,,studio ,winter ,number1
 #aiad-'ae71       with text by ,e4 ,g4 
,halton4         ,,reproductions3       
,ruskin's 8,notes10 etc41 #ahgi-'hj2    
8,sketches by       ,samuel ,prout0     
7,,the ,,studio ,winter ,number1        
#aiad-'ae74    ,up to #ahai ,prout's    
work was confined to the making of      
,english  topographical drawings and    
marine subjects4 ,they show ,girtin's   
influence  mainly1 and they are stolid1 

heavy-handed1 and rather dull4    ,in   
#ahai ,prout went to ,france1 and in    
#ahba to ,belgium and the ,rhine        
provinces4 ,the drawings made from his  
sketches appeared in the  exhibitions of
 the ,society of ,painters in           
,water-,colours and attracted a  great  
deal of interest and admiration1 partly 
on account of their novel               
subject-matter--for the public was      
beginning to weary of the numberless    
views of ,tintern ,abbey1 ,harlech1     
,conway and ,carnarvon ,castles1 and    
other  ,english subjects1 with which it 
had been surfeited during the preceding 
twenty years--and partly on account of  
,prout's boldness of manner and  marked 
feeling for the picturesque4 ,having    
struck this successful vein  of         
subject-matter ,prout continued to work 
it till the end of his life1  producing 
a great quantity of water-colours of    
,continental buildings1  all executed on
 the same general principles1 and       
several series of  admirable lithographs

 from his sketches and drawings4        
,ruskin liked ,prout and admired his    
work inordinately4 ,in 8,modern         
,painters0 he calls him 8a very great   
man0--which is absurd--and says  that   
his rendering of the character of old   
buildings is 8as perfect and  as        
heartfelt as ,i can conceive possible40 
,some people may prefer the  buildings  
in ,turner's early drawings1 in         
,cotman's1 ,girtin's1 and  ,bonington's 
works4 ,but ,prout's work is uniformly  
successful within its  own limitations2 
it is bold1 workmanlike1 and            
picturesque1 and its  subject-matter is 
full of inexhaustible interest and      
delight4      ,,peter ,,de ,,wint       
,born at ,stone1 ,staffordshire1 ,jan4  
#ba1 #aghd2 apprenticed to ,john        
,raphael ,smith1 #ahjb2 student ,r4 ,a4 
,schools1 #ahji2 ,associate1 ,society of
  ,painters in ,water-,colours1 #ahaj1  
member1 #ahaa1 and #ahbe2 died at #dj   
,upper ,gower ,street1 ,june #cj1 #ahdi4
         ,,exhibited3 ,royal ,academy1  

#ahjg1 '#aa1 '#ac-'ae1 '#ai1 '#bj1 '#bh2
       ,british ,institution1 #ahjh1    
'#ac-'ag1 '#ba1 '#bd2 ,associated       
,artists1       #ahjh1 '#ji2 ,society of
 ,painters in ,water-,colours1          
#ahaj-'ae1 '#be-'di4         ,,works    
,,in ,,public ,,galleries3 ,v4 and ,a4  
,museum 7,oil and                       
,water-,colours72 ,british ,museum2     
,national ,galleries of ,scotland and   
,ireland2 ,manchester ,whitworth        
,institute2 ,birmingham1 ,manchester1   
,glasgow1 ,bury1 ,norwich1 ,nottingham  
,art ,galleries1 etc4                   
,,biographical ,,and ,,critical         
,,sources3 ,sir ,walter ,armstrong's    
8,peter ,de       ,wint10 #ahhh2        
,roget's 8,history10 etc42 8,d4 ,n4 ,b40
         ,,reproductions3 ,armstrong's  
8,de ,wint02 8,masters of ,english      
,landscape       ,painting0 7,,the      
,,studio ,special ,summer ,number1      
#aijc74    ,de ,wint's work may be      
described as a cross between that of    
,girtin and  ,cotman4 ,girtin was his   

first source of inspiration4 ,from him  
he learned  the value of breadth of     
effect and simplicity of design4 ,from  
,cotman he  learned to distil his colour
 harmonies from ,nature4 ,as a          
draughtsman he  was less of a mannerist 
than ,girtin1 and he had not ,cotman's  
marvellous  feeling for the beauties of 
abstract design4    ,de ,wint had ,dutch
 blood in his veins1 and he had a good  
deal of the  ,dutchman's solidity of    
character and stolid realism4 ,his      
drawings always  look like bits of real 
life4 ,they are nearer to the common    
experience of  ,nature than either      
,turner's1 ,cozens'1 ,girtin's1 or      
,cotman's works4 ,but  his homely       
realism is always restrained by his     
respect for the medium he  worked in and
 by his innate sense of style4    ,his  
work is well represented in the         
,victoria and ,albert ,museum by        
drawings like ,bray on the ,thames1 from
 the ,towing ,path1 ,hayfield1          
,yorkshire1 and ,westmoreland ,hills1   

bordering the ,ken1 all lent to  that   
,museum from the ,national ,gallery2 and
 of his famous works in  private        
collections we may mention              
,cookham-on-,thames1 recently in the    
,beecham ,collection1 ,the ,thames from 
,greenwich ,hill1 once in the           
collection of ,james ,orrock1 and ,near 
,lowther ,castle4    ,for all his       
8objectivity10 his steadiness of poise1 
his calm strength of  character1 ,de    
,wint's work is intensely personal and  
original4 ,the number  of admirers of   
his manly and felicitous work has       
steadily increased  since his death1 and
 can only go on increasing as the public
 gets more  opportunities of seeing his 
noble works with their superb mosaic of 
rich1 deep1 and harmonious colour4      
,,richard ,,parkes ,,bonington    ,born 
at ,arnold1 near ,nottingham1 ,october  
#be1 #ahjb2 received some  instruction  
from ,francia at ,calais1 #ahag2 studied
 at the ,louvre and  ,institute1 and    
under ,baron ,gros1 at ,paris2 first    

exhibited at the  ,salon1 #ahbb2 made   
lithographs for ,baron ,taylor's        
8,voyages ,pittoresques  dans l'ancienne
 ,france10 8,vues ,pittoresques de      
l',ecosse0 7#ahbf7 and  other works2    
visited ,england with ,delacroix1 #ahbe2
 died during a visit  to ,england1      
#ahbh4         ,,exhibited3 ,salon      
7,paris71 #ahbb 7,water-,colours71 '#bd 
7,water-,colours71 '#bg 7,oils and      
,water-,colours72 ,royal ,academy1      
#ahbg1       '#bh2 ,british             
,institution1 #ahbf-'bi4         ,,works
 ,,in ,,public ,,galleries3 ,louvre2    
,national ,gallery2 ,national           
,portrait ,gallery 7a small drawing of  
himself72 ,v4 and ,a4 ,museum           
7,oil and ,water-,colours72 ,british    
,museum2 ,wallace ,collection2          
,manchester ,whitworth ,institute2      
,nottingham1 ,birmingham1 ,manchester1  
and ,glasgow ,art ,galleries2 ,national 
,gallery of ,ireland4                   
,,biographical ,,and ,,critical         
,,sources3 8,annual ,register0 and      

8,gentleman's ,magazine10 #ahbh2        
,cunningham's 8,lives10 etc42           
,redgrave's 8,dictionary02 ,,the        
,,studio1 ,nov4 #aijd2 ,catalogue of    
,bonington's ,lithographs1 by ,aglas    
,bonvenne 7,paris71 #ahgc2              
8,influence de ,bonington et de l',ecole
 ,anglaise sur la ,peinture de          
,paysage en ,france10 by ,a4 ,dubuisson 
7,walpole ,society's ,vol4 ,,ii474      
,,reproductions3 8,series of ,subjects  
from ,bonington's ,works10              
lithographed by ,j4 ,d4 ,harding        
7twenty-one plates71 #ahbh2             
,monkhouse's and ,hughes's works cited  
above4    ,bonington was the most       
brilliant of the later school of        
topographical  artists--those who used  
the full resources of water-colour for  
the  production of pictorial effects4   
,the drawings he produced during his    
short life--for he died at twenty-six1  
may be divided into purely              
topographical subjects1 like the ,street
 in ,verona 7,v4 and ,a4 ,museum72      

river and coast scenes1 like the ,rouen 
7,wallace ,collection72 and  figure     
subjects1 in which historical costume   
played the chief part1 like  the        
,meditation and several other drawings  
in the ,wallace ,collection4    ,his    
drawings are amazingly dexterous1 firm  
and large in handling1 finely  composed1
 and wonderfully rich in tone and       
colour4 ,his influence on  ,english     
artists was considerable1 particularly  
on ,w4 ,j4 ,mller1 ,t4  ,shotter ,boys1 
and ,william ,callow4    ,as he worked  
mostly in ,paris his best paintings and 
drawings are  generally to be found in  
the ,french private collections4 ,that  
is  probably why he is better known and 
more warmly appreciated in ,france  than
 in ,england4 ,an authoritative book on 
,bonington's life and work is  much     
needed4 ,just before the war broke out  
it was rumoured that a work  of this    
kind1 the joint production of ,monsieur 
,a4 ,dubuisson and ,mr4 ,c4  ,e4        
,hughes1 was about to be published by   

,mr4 ,john ,lane4 ,such a work will  be 
doubly welcome1 for it will help us to  
realize the amazing quantity  of work   
,bonington managed to produce in his    
short life1 and its  wonderful quality2 
and it should benefit ,bonington's      
reputation by  drawing attention to the 
large number of drawings and paintings  
to  which1 in our public and private    
collections1 his name is wrongly and    
ignorantly given4      ,,myles ,,birket 
,,foster    ,born at ,north ,shields1   
,february #d1 #ahbe1 of an old ,quaker  
,family2  educated at the ,quaker       
,academy at ,hitchin1 ,herts1 where he  
had lessons  from ,charles ,parry1 the  
drawing master2 apprenticed to ,ebenezer
  ,landells1 the wood-engraver1         
#ahda-ahdf2 engaged chiefly on          
book-illustration till #aheh1 after that
 time devoted mostly to painting2       
,associate 8,old0 ,water-,colour        
,society1 #ahfj1 member1 #ahfb2 painted 
in  oils #ahfi-ahgg1 after which he     
abandoned it in favour of water-colours2

  died at ,weybridge1 ,march #bg1 #ahii4
         ,,exhibited3 ,royal ,academy1  
#ahei1 '#fi-'gg1 '#ha2 ,society of      
,painters       in ,water-,colours1     
#ahfj-'ii2 ,society of ,british         
,artists1 #ahgf2 ,royal       ,scottish 
,academy1 #ahga1 '#ge4         ,,works  
,,in ,,public ,,galleries3 ,national    
,gallery2 ,v4 and ,a4 ,museum           
7,water-,colours72 ,birmingham1         
,manchester1 and ,bury ,art ,galleries4 
,,biographical ,,and ,,critical         
,,sources3 8,art ,annual10 #ahij2       
8,athenum10       ,april #a1 #ahii2 8,d4
 ,n4 ,b40 7,supplement72 8,birket       
,foster10 by ,h4 ,m4       ,cundall1    
#aijf4         ,,reproductions3 8,art   
,annual10 #ahij2 ,cundall's 8,birket    
,foster40    ,in his choice of subjects 
,birket ,foster confined himself        
generally to  roadside and woodland     
scenes1 and in these he sought          
prettiness rather  than the deeper and  
more profoundly poetical emotions4 ,his 
work is neat  and extraordinarily       

accomplished1 but his style being always
 the same  made its many merits seem    
mechanical and unfeeling4 ,unlike the   
older men  he avoided the use of broad  
washes of transparent colour1 used      
body-colour freely1 and finished his    
work with elaborate stipplings4    ,his 
standard of excessive finish1 his       
general methods of work and choice  of  
subject-matter1 were violently opposed  
to those of the younger men  who came   
after him4 ,for this reason1 and also   
because of the great  popularity he     
enjoyed1 ,birket ,foster's work has     
excited the animosity of  8superior     
persons0 and sthetes4 ,but their cheap  
and easy sneers merely  mark the        
inevitable reaction which follows a     
period of indiscriminating  praise4     
,doubtless ,birket ,foster was not the  
great artist his  contemporaries thought
 him to be4 ,but his work must figure in
 any  well-balanced history of ,british 
landscape painting1 if only because it  
expresses so fully and abundantly1 and  

with so much technical success1  the    
artistic ideals of a large part of the  
nineteenth century4 ,but it  also       
deserves consideration for other        
reasons4 ,birket ,foster's grace and    
prettiness were the results of his      
sincere and unaffected love of the      
orderliness and real beauty of the life 
of the ,english countryside4 ,he  had a 
genuine affection for the themes he     
painted1 and he painted them  in the way
 he thought best4 ,fashions in technical
 matters change1 slowly  perhaps but    
inevitably1 and ,i shall be very much   
surprised if the future  will not be    
readier than we are to-day to give      
,birket ,foster's work its  due meed of 
affectionate admiration4      ,,alfred  
,,william ,,hunt    ,born in ,bold      
,street1 ,liverpool1 ,nov4 #ae1 #ahcj2  
educated at ,liverpool  ,collegiate     
,school and at ,corpus ,christi         
,college1 ,oxford1 which he  entered    
with a scholarship1 #ahdh2 a fellow of  
,corpus1 #ahec-ahfa2  ,associate of     

,liverpool ,academy1 #ahed1 member1     
#ahef2 ,associate ,society of  ,painters
 in ,water-,colours1 #ahfb1 member1     
#ahfd2 died ,may #c1 #ahif4             
,,exhibited3 ,royal ,academy1 #ahed1    
'#ef1 '#eg1 '#ei-'fb1 '#gj-'ge1 '#gg1   
'#gi-'hc1 '#he-'hh2 ,society of         
,painters in ,water-,colours1 #ahfj-'ic2
       ,society of ,british ,artists1   
#ahdf1 '#ei1 '#fj1 '#gj1 '#gc1 '#gd2    
,grosvenor ,gallery1 #ahhb1 '#hg2 ,new  
,gallery1 #ahhh1 '#ij2 ,portland        
,gallery1 #ahed-'ef1 '#fj2 ,dudley      
,gallery 7,oil71 #ahgb4         ,,works 
,,in ,,public ,,galleries3 ,national    
,gallery2 ,v4 and ,a4 ,museum           
7,water-,colours72 ,liverpool1 ,glasgow1
 and ,birmingham ,art ,galleries4       
,,biographical ,,and ,,critical         
,,sources3 8,athenum10 ,may #i1 #ahif2  
,catalogue ,b4 ,f4 ,a4 ,club's          
,exhibition1 #ahig2 8,d4 ,n4 ,b40       
7,supplement72 8,one ,way of ,art10 by  
,violet ,hunt1 8,st4 ,george's          
,review10 ,june #aijh4                  

,,reproductions3 ,one in 8,the ,old     
,water-,colour ,society0 7,,the ,,studio
       ,spring ,number1 #aije74    ,of  
all the artists influenced by ,ruskin's 
propaganda in favour of  ,naturalism    
,alfred ,william ,hunt was probably the 
most sensitive and the  most poetical4  
,he was as ardent a student of 8natural 
facts0 as ,john  ,brett1 ,holman ,hunt1 
or any other of ,ruskin's protgs1 but   
his work was  never1 like so much of    
theirs1 merely literal and tedious4 ,his
 works  prove to demonstration how      
little artistic theories count in       
determining  the value of a work of art4
 ,we know ,ruskin's theories of realism 
were  all wrong1 but the sensitiveness  
of ,alfred ,hunt's nerves1 the intensity
  and rightness of his emotions1        
redeemed his work and gave it an        
inevitable stamp of greatness4    ,in   
the absorbingly interesting account of  
her father's methods of work            
contributed by ,miss ,violet ,hunt to   
8,st4 ,george's ,review0 7#aijh7 the    

demands made by his art on the nerves   
and character of the artist are  vividly
 described4 ,his daughter tells us that 
she has seen 8delicately  stained pieces
 of ,whatman's ,imperial subjected to   
the most murderous  #8processes1' and   
yet come out alive in the end40 ,hunt   
8scrupled not to  #8work on the feelings
 of the paper1' as his friend ,george   
,boughton used  to tell him1 8,he       
severely sponged it into submission2 he 
savagely  scraped it into rawness and a 
fresh state of smarting receptivity4    
,yet  some of the drawings that have    
suffered peine forte et dure are among  
the most cherished assets of certain    
private collectors1 such as ,mr4        
,newall and the late ,mr4 ,humphrey     
,roberts40    ,the 8subtle finish and   
watchfulness of nature0 which ,ruskin   
praised in  ,hunt's work was only the   
raw material of his art4 ,it was the    
fervour and  energy with which he       
subdued his facts to a genuinely poetic 
unity of  feeling and expression that   

make ,hunt's drawings so significant and
  beautiful4 ,to-day ,hunt seems to be  
forgotten by all but a small number  of 
admirers1 but works like his ,durham    
,misty with ,colliery ,smoke1           
,bamborough from the ,sands1 ,cloud     
,march at ,twilight1 and many others  as
 poignant and as beautiful1 are         
sufficient guarantees that he will not  
always be neglected4      ,,james       
,,abbott ,mc,n,e,i,l,l ,,whistler       
,born at ,lowell1 ,massachusetts1 ,july 
#aj1 #ahcd2 lived in ,russia1           
#ahdc-'di2 studied at the ,military     
,academy1 ,west ,point1 #ahea-ahed2     
engaged on ,united ,states coast and    
geodetic survey for about a year2  went 
to ,paris1 #ahee1 and studied in        
,gleyre's studio2 published set of      
thirteen etchings--8,the ,french        
,set0--#aheh2 settled in ,london1 #ahfj2
  published 8,the ,thames0 set of       
etchings1 #ahga2 libel action against   
,ruskin1 #ahgh2 bankrupt1 #ahgi2        
8,ten-o'clock0 lecture1 #ahhd2 portrait 

of  ,carlyle bought for ,glasgow1 #ahia2
 8,grand ,prix0 for painting1 and       
another  for engraving1 at ,paris       
exhibition1 #aijj2 died at #gd ,cheyne  
,walk1 ,july  #ag1 #aijc4               
,,exhibited3 ,royal ,academy1 #ahei-'fe1
 '#fg1 '#gj1 '#gb1 '#gi2 ,society of    
,british ,artists1 #ahhd-'hg2 ,grosvenor
 ,gallery1 #ahgg-'gi1 '#ha-'hd2         
,dudley ,gallery 7,oil71 #ahga-'gc1     
'#ge2 ,dudley ,gallery 7,black and      
,white71 #ahgb1 '#gi1 '#hj2 ,society of 
,portrait ,painters1 #ahia-'ic2         
,royal ,scottish ,academy1 #ahii1       
#aija-'jd4         ,,works ,,in ,,public
 ,,galleries3 ,national ,gallery2       
,glasgow ,art ,gallery4                 
,,biographical ,,and ,,critical         
,,sources3 8,the ,art of ,whistler10 by 
,t4 ,r4       ,way and ,g4 ,r4 ,dennis1 
#aijc2 8,life of ,whistler10 by ,e4 ,r4 
and ,j4       ,pennell1 #b vols41 #aijh2
 8,memoirs of ,whistler10 by ,t4 ,r4    
,way1 #aiab2       ,wedmore's           
8,whistler's ,etchings02 8,d4 ,n4 ,b40  

7,supplement74         ,,reproductions3 
,the 8,whistler ,portfolio0 7,,the      
,,studio ,special       ,publication1   
#aijd72 the monthly issues of ,,the     
,,studio2 in ,way's and       ,pennells'
 works cited above1 etc4    ,in         
,turner's and ,alfred ,hunt's works the 
multitudinous objects of ,nature  are   
subdued to poetical and decorative      
purposes chiefly by the influence  of   
the atmosphere4 ,but though subdued in  
the final result the facts were  always 
vividly present to the minds of these   
artists4 ,with ,whistler and  all those 
who like him were influenced by the     
theories of ,impressionism1  such facts 
were less considered4 ,they began with  
the study of values and  tones1 and     
relied almost entirely on the justness  
with which these were  rendered1 being  
content with a merely slight and        
grudging suggestion of  the objects     
which were veiled in their envelopment  
of atmosphere4 ,the  difference1 ,i     
admit1 is only one of degree4 ,but it   

accounts1 ,i think1  for the difference 
between a drawing like ,whistler's      
water-colour of  ,london ,bridge        
7reproduced in ,mr4 ,way's 8,the ,art of
 ,james ,mc,neill  ,whistler10 p4 #if7  
and1 say1 ,alfred ,hunt's ,coast ,scene 
near ,whitby  7#ahgh74    ,the advantage
 of ,whistler's method of approach is   
that it throws greater  emphasis on the 
decorative quality of the picture1 the  
tones being  capable of treatment as a  
unity of colour harmonies--an advantage 
which  ,whistler clearly realized and   
diligently exploited4    ,it was not    
till about #ahhj that ,whistler took up 
water-colour painting4  ,the ,london    
,bridge referred to above was done soon 
after his return  from ,venice4 ,he then
 used this medium for some fine drawings
 made in the  ,channel ,islands1 and    
from time to time in various places in  
,england and  abroad1 chiefly at ,st4   
,ives and ,southend4 ,it is almost      
unnecessary to  say that he used        
water-colour with the same unerring     

mastery he  displayed in his etchings   
and pastels4 ,but the curious will      
notice the  use he made in nearly all   
his water-colours of the grey           
underpainting  which played such an     
important part in the drawings of the   
early  topographers4 ,he did not1       
however1 use this grey underpainting1 as
 they  did1 merely to establish the     
broad division of light and shade4 ,in  
his  bold and skilful hands it did more 
than this2 it formed the unifying       
element--the ground tone or             
harmony--which knit together the lovely 
tones and colours which made his works  
so charming and delightful to the  eye4 
,the influence of ,whistler's methods   
and ideals is clearly marked in the     
works of men like ,j4 ,buxton ,knight   
and ,c4 ,e4 ,holloway1 two artists who  
produced a greater volume of fine work  
in water-colour than ,whistler4 ,we     
might have chosen them on this account  
to take his place in our small  gallery 
of representative water-colour painters1

 but the quality of  ,whistler's work   
seemed to us of more consequence than   
their quantity4  ,and though both these 
men--especially ,buxton                 
,knight--urgently demand  fuller        
recognition than they have yet received1
 we are bound to admit  that ,whistler  
was a greater genius than either2 and   
that seems to settle  the matter4       
7#e7 ,,the ,,work ,,of ,,to-,,day       
,we have now traced the development in  
the past of subject-matter and          
technique in ,british landscape painting
 in water-colour1 and we have  surveyed 
as well as our poor memories would      
enable us to do so--for the  ,museums   
have long been closed and most private  
collections are  inaccessible1 and it is
 therefore impossible either to verify  
or renew  our earlier impressions--the  
differing aims and diverse achievements 
of  a few of those who have made our    
national art so glorious and so         
memorable4 ,we have done this because   
the careful and attentive study of  the 

history of an art provides the best1    
and1 indeed1 the only1 means by  which  
we can educate ourselves to value and   
appreciate it4 ,historical  studies     
enable us to enlarge our sympathies and 
discipline our tastes1  so that the man 
who knows best what has been done in the
 past will be  the first to appreciate  
the good work which is being done by    
living  artists4 ,he will also be the   
most indulgent critic of a young        
artist's  shortcomings1 and the readiest
 to help and encourage him in his       
difficult struggle toward               
self-expression and mastery over his    
intractable material4    ,it is not1    
however1 our business on the present    
occasion to praise the  works with which
 this volume is enriched4 ,in the first 
place1 to do so  is quite unnecessary1  
because the works are here to speak for 
themselves1 or rather such excellent    
colour-reproductions of them that       
almost all their charm and beauty have  
been preserved2 and1 in the  second     

place1 to do so would be impertinent1   
because the fact that these  drawings   
have been selected by the ,editor of    
,,the ,,studio for publication  in this 
way is a sufficient guarantee of their  
merit and importance4 ,i  shall1        
therefore1 confine my remarks rather to 
the general character of  their         
subject-matter and treatment than to    
their individual excellences4  ,in this 
way the following observations may be   
taken as an attempt to  continue to the 
present day the survey of the past which
 occupied us in  a previous chapter4    
,in tracing the development of          
subject-matter in the works of the      
artists  of the nineteenth century we   
have seen that they generally gave      
prominence to the place represented1    
with all its historical and  literary   
associations4 ,whistler was the chief   
exception to this  tendency1 as in his  
work the decorative and emotional       
elements of the  picture itself were    
most prominent4 ,whistler's example has 

been followed  by many of the living    
artists4 ,men like ,clausen and ,mark   
,fisher are shy  of any suggestion of   
what has been called 8literary subject0 
or  8guide-book0 interest4 ,but though  
the works of such artists1 from their   
absence of topographical interest1 seem 
to claim classification as  poetical    
landscapes1 yet1 if we compare them with
 the earlier poetical  landscapes of men
 like ,lambert1 ,zuccarelli1 ,george    
,smith of ,chichester1  and the elder   
,barret1 we find they have undergone a  
very thorough change  of character4 ,the
 older work owed more to the study and  
imitation of the  ,old ,masters than to 
the study and representation of ,nature4
 ,in the place  of formulas and motives 
borrowed from ,claude and ,poussin the  
modern men  give us their own           
interpretations of what they have seen  
and felt in the  presence of ,nature4   
,so that if we take a drawing like ,mark
 ,fisher's  ,landscape1 reproduced in   
the present volume 7,plate ,,vi71 we    

find that  it is1 or at any rate that it
 looks as though it is1 the             
representation  of an actual place1     
though the place is unnamed and         
therefore devoid of  any historical or  
literary interest to the spectator4     
,such a drawing may  therefore very well
 be classed as topographical1 though the
  topographical matter is used in the   
service of other than strictly          
topographical purposes4    ,however1 in 
the works of other distinguished living 
artists1 like  ,matthew ,hale1 ,albert  
,goodwin--whose ,lincoln is here        
reproduced 7,plate  ,,viii71            
,hughes-,stanton1 ,lamorna ,birch1      
,wilson ,steer1 ,rich1 ,gere1 etc41 we  
often find a similar use of             
topographical matter for the purposes of
  poetical expression1 but at the same  
time they show a marked preference  for 
the choice of subject-matter enriched by
 historical and literary  associations4 
,the majority of drawings here          
reproduced are the outcome of their     

painters' loving and tireless effort to 
render the appearances of ,nature  in   
their exact tones and colours4 ,there is
 little of conscious artifice  or       
preoccupation with abstract design of   
form or colour in drawings like  ,c4 ,m4
 ,gere's vivid presentment of           
light--,the ,round ,house 7,plate       
,,vii71  ,eyre ,walker's ,pool in the   
,woods 7,plate ,,xiii71 ,r4 ,w4 ,allan's
 ,maple in  ,autumn 7,plate ,,xv71      
,george ,houston's ,iona 7,plate ,,xx71 
or in ,mark  ,fisher's ,landscape4 ,but 
though their aims1 broadly speaking1 are
 the  same1 viz4 the truthful rendering 
of particular effects of light and      
particular scenes1 yet each work is     
different from each1 and each is        
personal and individual1 because the    
artist has painted only what he  liked  
and knew best4    ,in other cases1      
generally in the choice of              
subject-matter1 one is often  reminded  
of the works of the older men1 only to  
realize as the result  of the           

comparisons thus provoked the important 
differences which  distinguish the new  
treatment and justify the repetition of 
the same  motives4 ,sir ,ernest         
,waterlow's ,in ,crowhurst ,park 7,plate
 ,,xiv71 for  instance1 calls up        
memories of ,david ,cox1 of ,e4 ,m4     
,wimperis1 ,tom ,collier  and many      
others who have delighted in such wide  
surveys of rolling down  and moving     
cloud4 ,but ,sir ,ernest's work holds   
its own against all our  historical     
reminiscences2 it is so vivid1 so       
evidently the outcome of  the artist's  
experiences1 so freely and confidently  
set up4 ,robert  ,little's ,tidal       
,basin1 ,montrose 7,plate ,x71 ,lamorna 
,birch's ,environs  of ,camborne 7,plate
 ,v71 and ,murray ,smith's ,on the ,way 
to the ,south  ,downs 7,plate ,,xxii71  
justify themselves in the same way4 ,how
 easily1  too1 can we imagine ,girtin or
 ,cozens painting the scene which       
,russell  ,flint has portrayed so       
vividly in his ,april ,evening1 ,rydal  

,water  7,plate ,,xix74 ,yet how        
differently they would have painted it6 
,in all this one sees the ,naturalistic 
movement begun in the nineteenth        
century still at work1 with its         
inevitable tendency towards             
,pantheism--its exaltation of ,nature at
 the expense of man and the  individual4
 ,moralists have dwelt upon its dangers 
in the deadening  effect it is supposed 
to produce upon the sense of individual 
responsibility and freedom of will4 ,but
 with results like these before  our    
eyes we are more inclined to dwell upon 
its advantages1 its  enlargement of our 
sympathies and knowledge4    ,but the   
tendency is not altogether in the       
direction of ,pantheism4 ,there  is a   
group of artists1 among whom ,i will    
only mention ,d4 ,y4 ,cameron1 ,a4  ,w4 
,rich1 ,albert ,goodwin1 and ,c4 ,j4    
,holmes1 which manfully upholds the     
supremacy of the artist over ,nature4   
,the influence of the art of the  past  
has counted for more in works like      

,cameron's ,autumn in ,strath ,tay      
7,plate ,,xviii71 ,rich's ,swaledale    
7,plate ,,xi71 ,goodwin's ,lincoln1 and 
,holmes's ,near ,aisgill 7,plate ,,ix71 
than ,nature herself4 ,in these         
drawings the free-will of the individual
 triumphantly asserts itself4  ,they are
 what they are because their makers     
loved art and particular  forms of art  
first of all1 and wanted to imitate     
them4 ,their inspiration  came from     
within 7from human nature7 and not from 
without 7from physical  nature74 ,but   
this is not to say that they are mere   
copies of other men's  works1 for       
obviously they are nothing of the kind4 
,they are at least as  original and     
individual as any of the other drawings 
of which we have  spoken4 ,and these    
artists1 too1 study ,nature just as     
keenly and as  indefatigably as the     
realists1 only their methods of study   
are  different4 ,with works like those  
illustrated in this volume--so          
different in aim and method1 yet each so

 virile1 sincere and  personal--it is   
evident that water-colour painting is   
still a distinctly  living art in this  
country4 ,the ,british water-colour     
painters of to-day  are 8keeping their  
end up0 as well as our soldiers1 sailors
 and workers  in other spheres1 and1    
like them1 they have earned the right to
 face the  future with hearts full of   
confidence and hope4    ,illustration3  
,,plate ,v4    8,,environs ,,of         
,,camborne40 ,,by ,s4 ,j4 ,,lamorna     
,,birch1 ,r4,w4,s4    7,in the          
possession of the ,fine ,art ,society47 
,illustration3 ,,plate ,,vi4    7,in the
 possession of ,messrs4 ,ernest ,brown  
,phillips1 the ,leicester  ,galleries47 
,,landscape4 ,,by ,,mark ,,fisher1      
,a4,r4,a4    ,illustration3 ,,plate     
,,vii4    8,,the ,,round ,,house40 ,,by 
,,charles ,m4 ,,gere4    ,illustration3 
,,plate ,,viii4    7,in the possession  
of ,e4 ,weber1 ,esq47    8,,lincoln40   
,,by ,,albert ,,goodwin1 ,r4,w4,s4      
,illustration3 ,,plate ,,ix4    8,,near 

,,aisgill40 ,,by ,c4 ,j4 ,,holmes4      
7,in the possession of ,d4 ,m4          
,carnegie1 ,esq47    ,illustration3     
,,plate ,x4    8,,tidal ,,basin1        
,,montrose40 ,,by ,,robert ,,little1    
,r4,w4,s41 ,r4,s4,w4    ,illustration3  
,,plate ,,xi4    8,,swaledale40 ,,by    
,,alfred ,w4 ,,rich4    ,illustration3  
,,plate ,,xii4    8,,caught ,,in ,,the  
,,frozen ,,palms ,,of ,,spring40 ,,by   
,,lionel ,,smythe1 ,r4,a41 ,r4,w4,s4    
7,in the possession of ,w4 ,lawrence    
,smith1 ,esq47    ,illustration3 ,,plate
 ,,xiii4    8,a ,,pool ,,in ,,the       
,,woods40 ,,by ,w4 ,,eyre ,,walker1     
,r4,w4,s4    ,illustration3 ,,plate     
,,xiv4    8,,in ,,crowhurst ,,park1     
,,sussex40 ,,by ,,sir ,e4 ,a4           
,,waterlow1 ,r4,a41 ,r4,w4,s41          
,h4,r4,s4,w4          ,,the             
,,development ,,of ,,british ,,landscape
 ,,painting ,,in ,,water-,,colours3     
,,scottish  ,,painters4 ,,by ,e4 ,a4    
,,taylor      ,to lift the veil         
enshrouding the past and1 though but    

dimly1 recall its  artists' lives and   
works may appeal to a few only4 ,the    
secrets of the  great are already known2
 their deeds1 as modern times desire1   
will be  more rapidly found tabulated in
 any biographical dictionary2 those whom
  chance and fate have less favoured    
will serve no other purpose than that   
of a poor remembrance4 ,nevertheless to 
separate those who followed the  ways of
 art in other than water-colour         
landscape painting1 ,i must recall  some
 at least whose influence of mind and   
work aided to attain in  ,scotland the  
important position it commands to-day4  
,amongst the first  connected with      
landscape painting the names of ,john   
and ,robert ,norie  cannot fairly be    
omitted4 ,carrying on a business in     
,edinburgh at the  beginning of the     
eighteenth century as house painters and
 decorators1 it  was in their decorative
 schemes that landscape played the most 
significant part1 a form of decoration  
of considerable fashion in the          

,scottish capital at that time1 and     
applied in various ways to doors1       
panels1 mantelpieces1 etc41 of private  
houses2 and apart from their  business1 
both father and sons painted some       
landscapes of no mean order4  ,it was in
 their workshops1 too1 that some        
afterwards notable artists1 in  their   
early life1 served as apprentices1      
famous amongst them being  ,alexander   
,runciman 7#agcf-aghe71 ,john ,wilson   
7#aggd-ahee71 and ,james ,howe          
7#aghj-ahcf74    ,landscape painting1   
however1 apart from such as was utilized
 in  decorative schemes1 had little or  
no public appreciators4 ,portraits and  
deeds of tragedy and valour seemed to   
occupy the artists' minds2 yet1  like   
the curlew's haunting note on loch and  
mountain side1 there was an  influence  
astir towards more peaceful scenes1 a   
call that knew no  limited geography1 no
 definite law4 ,in ,ayrshire1 ,robert   
,burns  7#agei-agif7 was weaving his    
nature songs2 while ,alexander ,nasmyth 

7#ageh-ahdj71 in ,midlothian1 was       
preparing his palette to capture similar
  themes in paint4 ,but perhaps the     
greatest impetus given to a wider       
public appreciation of the scenery of   
his own country was the  publication in 
#ahaj of ,sir ,walter ,scott's 8,lady of
 the ,lake10 followed  in #ahad by his  
more distinguished 8,waverley ,novels40 
,yet previous to  that universal        
awakening1 in #agic ,alexander ,nasmyth 
resigned his  portrait and figure work  
for that of landscape1 and it is from   
that  period that this branch of        
painting in oils most vigorously        
commenced2  while apart from the use of 
water-colour by topographical artists1  
perhaps the first few landscapes of     
importance were of a slightly  earlier  
date1 by the renowned architect ,robert 
,adam 7#agbh-agib74 ,not1  however1     
until the time of ,hugh ,william        
,williams 7#aggc-ahbi7 did the art      
become more pictorially practised4 ,as  
,nasmyth has been credited with  being  

the father of ,scottish landscape       
painting in oils1 ,hugh ,william        
,williams might be more universally     
noted as1 if not the father1 at least   
one of the principal pioneers of        
landscape painting in water-colours4    
,taking a short extract from a criticism
 of an exhibition of his work in  that  
medium opened in ,edinburgh in #ahbb1   
the writer states3 8,there is  room for 
more unqualified praise than in the     
works of any single artist  in landscape
 painting to which this country has yet 
given birth40  ,williams1 however1 was  
of ,welsh parentage and born on board   
his father's  ship when at sea1 his     
early upbringing being entrusted to an  
,italian  grandfather in ,edinburgh1    
where his name as an exhibitor and      
water-colour painter became prominent in
 #ahaj4 ,his successes at that  time    
enabled him to undertake a long sojourn 
in ,italy and ,greece1 of  which he     
published an account in #ahbj           
illustrated with engravings and  some of

 his own drawings1 following it up with 
his exhibition in #ahbb  almost entirely
 composed of work done during his       
continental travels4  ,artistically his 
paintings are distinctly personal1 and  
technically they  are treated with broad
 simple washes over delicately outlined 
compositions4 ,another artist of the    
period remembered for his  water-colour 
work was ,andrew ,wilson1 born in       
,edinburgh 7#aghj-ahdh71 who1  after a  
varied art life in ,italy and ,england1 
occupied the post of  master in the     
,trustees ,academy of his native city in
 #ahah4 ,it was during  this year that  
the remarkable ,david ,roberts1 who is  
said to have had a  week's tuition under
 ,wilson1 started to exhibit his famed  
architectural  subjects2 while a few    
years later ,andrew ,donaldson1 whose   
work in the  style of ,prout1 and little
 known beyond ,glasgow1 contributed in  
no  slight degree to the advancement of 
water-colour painting in that city4     
,it was not1 however1 until #ahcb that  

the water-colour landscapes of  ,william
 ,leighton ,leitch began to make their  
public appearance1 and  biographical    
records place this artist and ,williams 
as the two most  prominent water-colour 
painters in ,scotland in those days4    
,from a  ,glasgow weaver to             
house-painter and scene-painter1        
ultimately  instructing the ,queen and  
other members of the ,royal ,household1 
,leitch's  life was certainly inspiring 
to young enthusiasts1 and his work being
 of  rather the 8pretty0 order was      
undoubtedly popular4 ,but ,england      
claimed  the later and more important   
days of his life4    ,to revive more    
distinctly local ,scottish memories one 
must turn to the  name of ,thomas       
,fairbairn 7#ahba-ahhe74 ,originally a  
shop-lad with a firm  of dyers in       
,glasgow1 ,fairbairn had no rose-paved  
road to travel to  attain his desires1  
and it is by his sketches of old houses 
and  localities around ,glasgow that he 
at first became known1 and latterly by  

his literal paintings of forest scenery4
 ,attracted by the wealth of  subject at
 ,cadzow1 in ,hamilton1 it was there    
that in #aheb he met ,sam  ,bough1 who  
greatly influenced his further artistic 
outlook1 as the  ,english borderer did  
that of many other painters1 and who    
twenty-three  years later was lauded as 
being one of the most important figures 
in  ,scottish art4    ,another prominent
 artist at the time was ,j4 ,crawford   
,wintour 7#ahbe-ahhb7  who1 though      
chiefly concerned with oil painting1    
showed his rarest  artistic achievements
 in water-colour landscapes4 ,to him and
 ,bough the  credit is due for creating 
a greater interest in that medium and   
branch  of art than it had hitherto     
enjoyed4 ,nevertheless the various      
exhibitions gave but scanty appreciation
 to the water-colour painters4  ,in     
their organizers' minds the medium      
employed seemed to be rated higher  than
 a work of art1 despite water-colour    
being the one almost entirely  employed 

by the supreme artists of ,china and    
,japan4 ,works in it were               
exhibitionally a little less than       
ignored1 with the result that in        
,glasgow on ,december #ba1 #ahgg1 ten   
enthusiasts held the first preliminary  
meeting of the now important ,royal     
,scottish ,society of ,painters in      
,water-,colours4 ,the only member of    
that faithful gathering now living is   
the ,society's present ,vice-,president1
 ,a4 ,k4 ,brown1 ,r4,s4,a4 ,it was not1 
however1 until two months later that the
 ,society was definitely formed1  due to
 the proposition of ,sir ,francis       
,powell and seconded by ,william        
,mc,taggart1 ,powell being elected its  
first president and the virile ,sam     
,bough vice-president on ,march #d1     
#ahgh4 ,in ,november of the same year   
the  new ,society held its first        
exhibition in which #agb pictures were  
shown2  and in ,february #ahhh1 as the  
only representative art body of its kind
 in  ,scotland1 it was empowered to use 

the prefix 8,royal40 ,its present       
membership numbers seventy-nine1 of     
which eight are honorary1 under the     
presidency of ,e4 ,a4 ,walton1 ,r4,s4,a4
 ,that the ,society has been the means  
of promoting a wider public interest in 
water-colour painting in  ,scotland has 
been clearly evinced1 and of recent     
years its exhibitions  7now and again   
not entirely confined to the work of its
 members7 have  unquestionably          
stimulated a general interest in the    
art4 ,yet the day  seems still far off  
when a more united appreciation will be 
based on a  picture as a work of art1   
regardless of the value placed upon the 
medium  in which it is produced4    ,in 
comparison with the old                 
water-colourists' slightly tinted       
drawings1 p  the chief elements most    
markedly notable in the modern          
development are  the more extensively   
varied methods employed1 aided          
considerably by the  scientifically     
discovered greater range and assured    

permanency of  pigments and materials4  
,technically1 ,i think1 the art of      
painting is  closely allied to the art  
of acting2 the actor utilizes voice and 
make-up according to the emotions and   
character he wishes to express1 in  the 
same way that the painter's subject and 
thought to be fully  indicated call for 
a process and technique affinitive with 
them4 ,within  recent years it became   
the fashion amongst water-colour artists
 to  strain the medium beyond its       
limited powers1 the result being heavily
  framed works competing in a feeble way
 with oils1 and subjects that  would    
certainly have been better rendered     
artistically had this medium  been      
employed4    ,with the exception of the 
work of ,de ,wint and ,cox1 the greatest
  influence recognizable in the work of 
many of the ,scottish  water-colourists 
is of ,dutch origin and easily traced to
 such masters as  ,anton ,mauve1 ,josef 
,israls1 ,bosboom and the ,maris        
brothers2 so much so  in fact that with 

certain artists it has been difficult to
 discern the  difference between many of
 their own paintings and those of the   
men by  whom they were so obviously     
inspired4 ,the method employed was as   
follows3 after the drawing had been     
roughly suggested1 the paper was        
submitted to a tubbing and scrubbing1 so
 that the colour ate its way in  until  
finally more direct and stronger touches
 were applied1 desired  lighter portions
 being wiped out while wet1 or slicked  
up with a little  body-colour4 ,the     
method1 though losing much that is      
inherently beautiful  in water-colour1  
is nevertheless one which most aptly    
suggests certain  phases of landscape   
dealing with poetic sentiment and       
mystery4    ,the one perfect artist in  
,scotland who most originally adopted   
the  process was ,arthur ,melville      
7#ahee-aijd74 ,what good there was in it
 he  certainly extracted2 ,melville1    
too1 seldom resorted to the aid of      
body-colour4 ,i have known him1 if      

unsatisfied with any portion of his     
painting1 to deliberately cut it out and
 dexterously insert a fresh  piece of   
paper1 and much trouble and experience  
went to bring about the  apparent ease  
with which his work appears to have been
 done4    ,another method extremely     
popular with some artists1 though       
perhaps  practised more on the          
,continent1 was the almost entire use of
  body-colour on a tinted ground1 a     
method which brings water-colour        
painting into a closer relation to that 
of oils4 ,in other than capable  hands  
it has a tendency to lack freshness1    
giving an opaque and chalky  quality to 
the work4 ,but when used by a few       
artists in this country who  have fully 
realized its possibilities and          
limitations1 some excellent  results    
have been achieved1 pre-eminent amongst 
them being those by the  ,newcastle     
artist1 ,joseph ,crawhall1 by whom his  
many ,scottish associates  were inspired
 to a remarkable degree4 ,his paintings1

 principally of  birds and animal life1 
in the various exhibitions were always  
outstanding1 and to-day there is little 
if any work of this character  being    
done that can surpass it4               
,water-colour1 however1 used direct     
without the assistance of scrubbing1    
scraping and body-colour shows without  
question the medium at its best4  ,as a 
process used in what is termed the      
purist's method1 there certainly  is no 
other that can compete with it for      
affinitive landscapes1 and what  has    
been done even experimentally in it1 by 
other than water-colour  artists1       
represents1 perhaps1 the finest examples
 of genuine art they  have left us4     
,with the exception of the short-lived  
,george ,manson  7#ahej-ahgf71 ,tom     
,scott1 ,r4,s4,a41 ,r4 ,b4 ,nisbet1     
,r4,s4,a41 and ,ewen ,geddes1           
,r4,s4,w41 one might safely say that all
 the ,scottish water-colourists are     
equally conversant with oils1 though in 
recent years ,nisbet has been  devoting 

much of his time to the latter medium4  
,perhaps the first artist in ,scotland  
to realize the brilliancy of ,nature  in
 water-colour was the late ,william     
,mc,taggart 7#ahce-aiaj72 his           
landscapes are all veritably untricked  
effects of the land's and sea's  sunlit 
and wind-swept moods in which his       
spontaneous and untrammelled  method    
aided to a considerable extent his      
ability to maintain the high  artistic  
quality of his pictures in oils4    ,a  
less vivid outlook attracts the         
essentially water-colour artist1 ,r4 ,b4
  ,nisbet1 his landscapes being almost  
exclusively low-toned aspects of        
,nature1 and technically similar to the 
works of the previously mentioned       
,dutch masters4 ,universally his work   
has been vastly appreciated and         
probably he can claim more official     
honours than any other ,scottish        
water-colour painter4 ,not a few of the 
younger men owe some of the rarer       
qualities in their work to his          

sympathetic influence4    ,in           
companionship with ,nisbet1 ,tom ,scott 
is probably now1 with the  exception of 
,ewen ,geddes1 the only entirely        
water-colour painter in  ,scotland4 ,his
 motifs1 however1 being chiefly inspired
 by the glamour  surrounding the        
,borderland1 are more of a figured      
historical nature1 but  not the least   
emotional pleasure is derived from their
 distinctive  landscape settings4       
,incidentally humble crofts and lowland 
scenery attract the artist in  ,ewen    
,geddes1 and as a painter of snow       
landscapes1 ,i doubt if there is        
another water-colourist who as          
sensitively portrays the spirit of the  
wintry day4 ,but to pick and choose from
 amongst the many artists whose  work   
entitles them to be more than briefly   
mentioned1 regardless of  individual    
precedence1 one may not omit ,w4 ,y4    
,mac,gregor1 ,a4,r4,s4,a41 whose        
inspiring enthusiasm as father of the   
famed ,glasgow ,school of ,painters  is 

historically honoured1 and whose        
latter-day charcoal and water-colour    
landscapes are not the least distinctive
 expressions of genuine art2  while     
amongst younger men1 prominently known1 
are the distinguished  exponent ,c4 ,h4 
,mackie1 ,r4,s4,a41 ,r4,s4,w41 whose    
work and ideas declared in  various     
mediums are extremely invigorating1 and 
,j4 ,hamilton ,mackenzie1  ,r4,s4,w41   
,a4,r4,e41 who1 as well as a painter in 
oils1 pastellist and  etcher1 is an     
admirable water-colourist4 ,to further  
enumerate one must  include the names of
 such personal landscape artists as ,j4 
,whitelaw  ,hamilton1 ,a4,r4,s4,a41     
,r4,s4,w41 ,archibald ,kay1             
,a4,r4,s4,a41 ,r4,s4,w41 ,t4,m4 ,hay1   
,r4,s4,w41 ,alexander ,mac,bride1       
,r4,i41 ,r4,s4,w41 ,stanley ,cursiter1  
,r4,s4,w41  ,james ,herald1 and ,stewart
 ,orr4    ,but to deal more minutely    
with the artists who are here           
represented1 ,a4  ,k4 ,brown 7,plate    
,,xvi7 must take precedence for his     

untiring services  rendered to the      
promotion of the delightful art of      
water-colour painting  in ,scotland4    
,though born in ,edinburgh in #ahdi1 it 
has been in ,glasgow  that the greater  
part of his life has been lived1 and    
with the art  affairs of that city he   
has been most directly connected4 ,his  
early  years were spent there as a      
calico-print designer1 the artistic     
relationship of which soon led him to   
the higher ideal of landscape  painting1
 the hills and glens as seen from a     
moorland road or mountain  burn being   
the themes that most intimately allured 
him2 yet not that  aspect of the rugged 
inhumanity of the hills1 but where man  
has trod1  and where the shepherd's     
whistle may be familiarly heard4 ,it is1
 too1  that sensation of friendliness   
felt amongst the hills that pervades his
  works4 ,treated with a methodical     
tenderness1 they never exhibitionally   
assert themselves1 but must be seen     
singly to convey their full             

attractiveness4    ,in early association
 next to ,a4 ,k4 ,brown would be ,r4 ,w4
 ,allan1 born in  ,glasgow in #aheb     
7,plate ,,xv74 ,in his young days1      
inspired by his father  who was a       
well-known lithographer in the city1 he 
certainly had not the  usual students'  
struggles to contend with1 and was soon 
one of the few  ,scottish painters in   
water-colour who fully realized the     
beauty of the  unsullied quality the    
medium possessed1 by his broad decisive 
handling  in comparison with the        
prevalent minute finish indulged in4 ,it
 is now1  however1 about thirty-five    
years since he left his native city for 
,london1 where he has not only become a 
distinguished painter in oils1  but also
 a prominent member of the 8,old0       
,water-,colour ,society4    ,two years  
later than ,r4 ,w4 ,allan1 ,james       
,paterson 7,plate ,,xxi7 was born in    
,glasgow1 and is noted there as one of  
the first artists energetically  active1
 with ,w4 ,y4 ,mac,gregor1 in forming a 

bolder style of painting than  had been 
previously fashionable1 and who1 with   
the grouping of a few  other enthusiasts
 later1 became known to the art world as
 the ,glasgow  ,school of ,painters4    
,their revolutionary aims and ideals    
influenced to a  remarkable extent      
artists and painting in general         
throughout ,scotland4  ,though equally  
well known as a painter of the figure   
and occasional  portraits1 it is as a   
landscapist that ,paterson's reputation 
has been  most uniquely established1 his
 present ,dumfriesshire home providing  
him  extensively with subjects in       
harmony with his earlier technically    
broad  sympathies4    ,not so closely   
connected with the ,glasgow ,school     
movement as ,james  ,paterson1 ,james   
,cadenhead1 born in ,aberdeen in #aheh  
7,plate ,,xvii71 became  somewhat imbued
 with its views4 ,like the majority of  
now celebrated  water-colourists1 oil   
painting claimed his first attention4   
,less  realistic in outlook than his    

brother artists1 his work assumed a more
  conceptionally decorative tendency and
 displayed a flat treatment1            
technically similar to that which one   
associates with the landscape  artists  
of ,japan4 ,it was by such individual   
features that attention was  drawn to   
his work1 and in #ahic he was elected a 
member of the ,royal  ,scottish ,society
 of ,painters in ,water-,colours1 and   
nine years later an  associate of the   
,royal ,scottish ,academy1 where1 in    
both exhibitions1 his  work shares with 
that of other leading artists a         
distinctive admiration4    ,turning to  
the illustration ,suffolk ,pastures1 by 
,e4 ,a4 ,walton 7,plate  ,,xxiv71 one   
finds the work of an artist whose       
ability as a painter is  unanimously    
respected amongst his fellows4 ,born in 
,renfrewshire in #ahfj1  he is also one 
who has been historically associated    
with the  revolutionary ,glasgow        
,school2 originally a landscape artist1 
he is  nevertheless one of the leading  

,scottish portrait painters4 ,but to    
confine my appreciation to his landscape
 work1 it is with a lingering  doubt    
whether it be his examples in oils or   
water-colours which are the  more       
enticing if a choice were demanded4 ,it 
is probably to his work in  the gentler 
medium ,i would assign the talent of the
 man and the artist  as being most      
completely revealed1 especially         
favouring those drawings  executed on a 
grey-brown millboard1 or some other     
similarly tinted  paper1 with which his 
skilful use of body-colour mingles and  
expresses  his prenurtured vision of    
design and colour harmonies for which he
 is so  greatly esteemed4    ,five years
 later than ,e4 ,a4 ,walton1 ,d4 ,y4    
,cameron was born in ,glasgow  7,plate  
,,xviii74 ,with the exception of        
,muirhead ,bone1 there is no other      
,scottish artist whose pre-eminence as  
an etcher is as universally  admitted4  
,within recent years his reputation as a
 painter has been  rapidly becoming as  

widely acknowledged4 ,in his early      
etchings1 oils1  and water-colours1     
though previous masters' influences were
 easily  detected1 his gift of selection
 and fitness placed his results on a    
higher artistic plane than those by whom
 he had been evidently inspired1  and   
to-day his work is always amongst the   
most dignified and refined in  any      
exhibition4 ,technically he resorts to  
no fumbled trickery1 nor does  he strain
 any of the means he uses beyond their  
own inherent powers4  ,before his       
landscapes one feels the mood of time   
and place charmingly  interpreted1 such 
moods of ,nature1 when the trivialities 
of the day have  passed1 or only those  
remain which fittingly appeal1 with     
their silent  ponderings4    ,in #ahfi1 
at ,dalry1 ,ayrshire1 ,george ,houston  
was born 7,plate ,,xx71 and it  is as a 
painter of that part of ,scotland that  
his name became most in  evidence before
 the ,scottish art world in #aijd by a  
large-scaled canvas1  ,an ,ayrshire     

,landscape1 shown at the exhibition of  
the ,glasgow ,fine  ,arts ,institute4   
,no little praise was bestowed upon it  
by artists and  public alike1 resulting 
in its being purchased for the ,city's  
permanent  collection4 ,but memories    
recall other earlier and smaller works  
creatively quite as important4 ,to place
 ,houston amongst the ,scottish  artists
 is to do so individually1 as his work  
is extremely personal1  both technically
 and compositionally4 ,late winter and  
early spring  landscapes attract him    
most1 the time1 too1 when the earth is  
just  dappled with snow1 and the        
atmosphere and undergrowth alive in all 
their  gentle colour-harmony4 ,a keen   
lover of ,nature1 little escapes his    
observation1 and it is those qualities  
of his mind and outlook1 so  carefully  
expressed in his oil paintings1 that    
arrest admiring attention  in his       
water-colours of similar themes4    ,by 
age1 ,w4 ,russell ,flint and ,d4 ,murray
 ,smith belong to the group of  younger 

,scottish painters1 and otherwise1      
similarly1 both artists have  been      
resident in ,england for a considerable 
time4 ,it is only within  recent years  
that their work has appeared1 as it     
were1 anew in the  ,scottish            
exhibitions4 ,w4 ,russell ,flint 7,plate
 ,,xix7 was born in ,edinburgh  in      
#ahhj2 originally studying in the art   
school there1 he made his home  in      
,london in #aijj1 where1 after a short  
course at ,heatherley's ,academy1  his  
name and work came rapidly into         
prominence4 ,in #aiac he was awarded    
the silver medal for his water-colours  
in the ,salon des ,artistes  ,franais4  
,the following year he was elected an   
associate of the ,royal  ,society of    
,painters in ,water-,colours1 and a full
 member in #aiag4 ,as an  artist both   
figure and landscape equally reveal his 
versatile ability4  ,as an illustrator1 
too1 he can claim no less distinctive   
recognition by  his charming imagery    
expressed in that phase of his talent in

 the  publications of the ,riccardi     
,press4 ,thoroughly acquainted with the 
medium of water-colour1 he applies it   
with no special mannerism other  than   
the choice his vision dictates and the  
subjects of his mind most  emotionally  
demand4    ,though less varied paths    
tempt the outlook of ,d4 ,murray ,smith 
7,plate  ,,xxii71 his spacious          
conceptions of landscapes are uncommonly
  interesting4 ,the admirable           
characteristics of largeness and        
freedom1  which earlier prophesied a    
coming artist in the ,scottish capital  
where  he was born1 have altered little4
 ,as an etcher of illustrative          
landscapes in those days he gained no   
meagre reputation1 which he has  vastly 
enhanced in ,england1 where he settled  
some twenty-four years ago4  ,in all his
 works there pervades a strong affection
 for flat expanses of  ,nature1         
unhampered in the composition by the    
human element1 save for  friendly       
wayside cottages or distant villages4   

,it is1 however1 those  examples where  
even such features are the least        
prominent1 like his  unpeopled roads1   
that have a most abiding charm1         
manifesting at times a  vision and      
technical qualities akin to the rare    
landscapes by the old  ,dutch and early 
,english masters1 and to the ,french in 
their ,corotesque  and lyrical love of  
trees4 ,and it is1 perhaps1 to the      
lyrical aspects of  ,nature that        
water-colour is most closely allied1 and
 in such of her  voiceless poems most   
expressively lives the spirit of the    
medium4  ,illustration3 ,,plate ,,xv4   
8,,the ,,maple ,,in ,,autumn40 ,,by     
,,robert ,w4 ,,allan1 ,r4,w4,s41        
,r4,s4,w4    ,illustration3 ,,plate     
,,xvi4    8,,ben ,,more40 ,,by ,a4 ,k4  
,,brown1 ,r4,s4,a41 ,r4,s4,w4    7,in   
the possession of ,j4 ,whitelaw         
,hamilton1 ,esq41 ,a4,r4,s4,a47         
,illustration3 ,,plate ,,xvii4    8,a   
,,moorland40 ,,by ,,james ,,cadenhead1  
,a4,r4,s4,a41 ,r4,s4,w4                 

,illustration3 ,,plate ,,xviii4         
8,,autumn ,,in ,,strath ,,tay40 ,,by ,d4
 ,y4 ,,cameron1 ,a4,r4,a41 ,r4,s4,a41   
,r4,w4,s41 ,r4,s4,w4    7,in the        
possession of ,r4 ,skinner1 ,esq47      
,illustration3 ,,plate ,,xix4           
8,,april ,,evening1 ,,rydal ,,water40   
,,by ,w4 ,,russell ,,flint1 ,r4,w4,s41  
,r4,s4,w4    7,in the possession of     
,messrs4 ,ernest ,brown  ,phillips1 the 
,leicester  ,galleries47                
,illustration3 ,,plate ,,xx4            
8,,iona40 ,,by ,,george ,,houston1      
,a4,r4,s4,a41 ,r4,s4,w4                 
,illustration3 ,,plate ,,xxi4           
8,,frenchland ,,to ,,queensberry1       
,,moffat ,,dale40 ,,by ,,james          
,,paterson1 ,r4,s4,a41  ,r4,w4,s41      
,r4,s4,w4    ,illustration3 ,,plate     
,,xxii4    8,,on ,,the ,,way ,,to ,,the 
,,south ,,downs40 ,,by ,d4 ,,murray     
,,smith1 ,a4,r4,w4,s4    ,illustration3 
,,plate ,,xxiii4    8,a ,,bit ,,of      
,,high ,,corrie40 ,,by ,e4 ,a4 ,,taylor4
    7,in the possession of ,charles     

,holme1 ,esq47      ,illustration3      
,,plate ,,xxiv4    8,,suffolk           
,,pastures40 ,,by ,e4 ,a4 ,,walton1     
,r4,s4,a41 ,p4 ,r4,s4,w4    7,in the    
possession of ,john ,tattersall1 ,esq47