Download e-book for kindle: English Watercolors by Graham Reynolds


By Graham Reynolds

English artists have made a different contribution to the paintings of watercolor portray. In no different Western kingdom has this very beautiful medium been used so always, or for works of such stature, as in England among 1750 and the current day. during this normal survey of the complete interval, Graham Reynolds, previously Keeper of work and of Prints and Drawings on the Victoria & Albert Museum, discusses the work of over a hundred artists together with the well known watercolorists equivalent to Cozens, Girtin, Cotman and De Wint, in addition to artists who're both identified for his or her paintings in different media - Gainsborough, Turner, Constable, Sargent, Henry Moore. The a hundred and forty illustrations, sixty four in colour, express the paintings of those and lesser-known artists and exhibit the flexibility of this medium, so the reader can be brought to its use for illustrative comic strip and portraiture in addition to to the best examples of conventional panorama watercolors.

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O). One of thc many artists who s upplied materia l for the print makers was John Collet. On 34 For other artists ca ricature was an occasional alternative to their more usual interests. Samucl Hieronymus Grimm was born in Switzerland, a child of the Stut'tll ulld D rang movcment. ))). But he too fe lt impelled to cast a critica l eye on the excesses of con temporary fashion. and his The Macarotli (Fig. 34) could pass as a direct ca rica lure of Richard Cosway , the foppish but monkey-like miniaturi st.

The early work of Thomas Girtin fits right into this tradition ,md shows how ably he imbibed his master's instruction . It is irrelevan t to the prcsent purpose to rccord how Dayes is said to havc quarrcllcd with his clever apprenticc because he was j calous of his rapid ma ste ry; how he is said to havc put Girlin in prison, and after Girtin's early death to have cast aspersions on his moral c haracter in thc short biograp hical notice which he wrote on him . What is relevant is that Dayes transmittcd to Girtin a craftsmanship of a very high order; but il wa:» not in the manner or idiom he learned from his master that Girlin made his origi nal contribution to the development of watercolour drawing and fashioned his own finest drawing.

W . Turner TheOldRood PassofStGothard T H E EARLY N I NETEENTH CENTURY key and shows in design evidenl marks of the study Turner was giving allhis lime 10 the works of Wilson in his efforts to master the science of composing his pictures . Turner's first visit to Ihe COnlinenl in 1802, when he travelled in France and Switzerland, slirred him profoundly . The excitemenl which he fell in Ihe presence of the sublimities of Alpine scenery is expressed in his sketch of the Pass of 51 Gothard . 4 [).

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