And John Sell Cotman

A N D

J O HN S E L L C O T MA N

L A U R E N C E B IN Y O N

° O Mr D e artmm t o P rin t: a n d D ra win ) 8 1 7:i Mal a/m f p f g ;

L O N D O N

EELEY A ND CO LIMITED GREA RU SSELL REE S . , T ST T

NEW YORK : T HE MA CMILL A N COMPA NY

1897

4 L IST OF IL L U STRA TIONS

urh am ath d r l B S o man B ritis h u se u m C e a . t M C . D . y J .

u n o mbe Par S o m n o io n o f e e v e Es D c B . C t a e ct . C . k . y J . . ll J R , q

d S o n e io n R ve Es G r t ri tma . o ct f e B . . C C o e e e a B . . . g y J ll J , q hi in in i Lin o n s re S Co man o e io n o f e v Es . r M c . B . t . ct . e e D a . C g ll , l y J ll J R , q

' P r n e El the d ra Fro m the Etch in b C o tman ri r s En t a C a . S o c . . , y l g y J

C r t o f th e A bbe Ch u rch o f th e Ho T rin it at ae n Fro m th e Etch in b yp y ly y C . g y

S C o tman J . .

T he S w re o tm n i f v E h ado e d St am B . S. a o e t n o e s C . C c o . e e . . y J ll J R , q

Po s wi ro v B S o tm an o e n o f e v s C . ctio e e . t c e . . C . E k G . y J ll J R , q

u n to n Par B S C o tm an B e rmissio n o fMr Pals r . . . . c G k y J y p .

at i N rm n S o E h e au n o a d . C t an o e t io n f ve C . m . C c o . e e s . y By J . ll J R , q

Win S o n r l r dm B C tma . e miss io n r Pa s o f . c ill . y J . . By p M W T h e ate rf . S C o t m an io n f n s a . . Co ma E . C o e ct o . . ll By J . ll J J l , q

Fi in Bo a s o f? Y r o th s h t a m u . C o tm n o io o f C o m an s S. a . C e ct n . E . g By J . ll J J . l , q

T Mis h S C o tm an o e h e a . . C c io n o f s . . C an E t . o m . p By J ll J . J l , q

T h e Ba a e Wa o n S C o tm n o f . . . a . C e ctio n o o man Es C . gg g gg By J ll J . J . l , q

Ba bo ro h s - m u Ca t e . Fro m a so ft ro u n d Etchin b S o tm an g l g g y J . . C

' - T he D e vi s B rid e . Fro m a so ft ro u n d Etchin b S o tm n l g g g y J . . C a W T h e o d A ﬂo at . S Co tman o e ctio n o f v . . C . e e e Es l By J . ll J R , q .

Lan dsca e C o m o s itio n wi h i S n t F u re s . . ma o . o t C io n o f C . e ct p p g By J ll J J .

C o man Es l , q . P R E F A C E

an d N U k Cotman are the glories o f the orwich School . nli e in o f t , in character, in the scope and aim their art , and in the N o f the . their lives , y are alike in possessing genius orwich u o f s two i great n mber excellent painter , but these stand h gh

rest . “ is meant by the Norwich School ? The word school has f o f s . o bo d in several enses It meant , ﬁrst all , the y painters I t o r n . n by a cer ain country , a certain province , a certain tow ' t times o f painting there were fe w migrations and a painter s u o f o B u t rally savo red the soil where he was b rn and bred . f m L a fo r e reer co munication and interaction eon rdo, exampl , M f F e M h ilan rom lorence , impr ssed all the ilanese painters wit cc f o f ; he ounded a school , the characteristics which are de R R his dominant personality and aphael did the like at ome , A fhas a a . o itsel sc rcely produced a p inter gain , in m dern times , “ seen s ch o ols which had their sole unity in holding certain

- E Pre Ra s . in common , such as the nglish phaelite o Im in the primary se nse that we talk f the Norwich School . 0 c h r n o E st what ause we will , t e e is doubt that the a ern Counties o f e o f E The prolific painters than the r st ngland . a r an d o f o n e o f H ve age excellence number their artists remind olland , i l f o f rs so wh ch in actual physica eatures they cou e much resemble . The Norwich School had n o common bond o f theory ; it is their Norwich th an d r A n d if bir t aining which constitute them a distinct body . we are to ai all o i i group p nters into schools at , this is the m st reasonable pr nc ple R fo r i k o f ro to build on . ace counts much in art stic as in all inds p duction ; and though it is easier to be fan ciful than to be just in d is t n the h o f r o n e u l criminating be wee various sc ools a count y , wo d certainl y expect to fin d g eat differe nces resultin g from so great a variet y h r o f race as exists in Engl and . T ese are p obably mo re apparen t to l Of s fo re igne rs than to ourse ves . cour e there has always been the coun ter actin g influence o fan almo s t all- powerful ce n tre in Lond o n ; an d No rwich 6 PR EFA CE

is the only place which possessed artists o f sufﬁcient strength to create No r t s f a rival centre . would his have been po sible had Crome , their chie , f fo r L o f le t his native city ondon , like nearly every other genius the ro vm e p c s . This is a subject which has been little worked at ; and it is not Bu t has o f intended to pursue it here . as there been some tendency late o f N to discount the claims orwich to include Cotman in her school , on in L the ground that he was chieﬂy trained ondon , where also he worked fo r r o f f n the last yea s his li e , it is well to make plai the reasonable o f f . C grounds his inclusion otman himsel , whose heart was always with N N f orwich and with or olk , would assuredly not have wished to be dis ia f so c te d rom them . O n C the other hand , it is right to recognise that Crome and otman far n N w o f are more tha local glories or ich claims them by right birth ,

f B f ' E o . o C ngland by right genius oth these painters, otman especially , ff o f have su ered misconception , since much their best work , indeed all ’ n Cotman s best work , is in private ha ds and unknown to the general public ; and both have been too often judged by imitations o f their ’ C f o f pictures . rome s work in particular has been con used with that his

. O n pupils, besides being most extensively imitated this account the writer has preferred to treat as far as possible with pictures and drawings Fo r that are not only authentic but attested . help in this matter , ff as on every other point connected with the subject , he o ers the most r R l M. o f C M cordia thanks to James eeve , Curator the astle useum at N n s o f orwich , who , with generous kind es , placed his unique collection N ’ original documents relating to the orwich School at the writer s disposal . ’ R f - Mr. eeve s authority on the subject , which he has made his li e long an d study , is acknowledged to be unequalled ; whatever merit this o ff monograph may have as a record acts, is due to him . w o f r f Mr The riter has also to acknowledge help va ious kinds rom . W F Mr. C M R a P rederick edmore , osmo onkhouse , Sir egin ld algrave ,

D r. Mr. L R Histo r o the Ol . . d Cotman , J oget (whose y f Water- co l our Societ o f M D o w e s C . d y has so valuable a notice otman) , essrs wells , and others and would especially thank those who have permitted pictures in their possession to be reproduced in these pages . ’ These illustrations wil l give a more adequate su ggestion o f Crome s ’ and o f Cotman s work than has been hitherto gen erally obtainable in L n e f l o don ; they have b en made rom the exce lent reproductions which , o f A C a with a number others , the utotype ompany are about to issue in f l o f N l port olio il ustrative the orwich Schoo . J O H N C R O ME

1 E a rl Tears a n d A re n tices /z i . y pp p

O H N Wo o o an s p o o u o f C 1 8 8 J , writing a memoir rome in 5 , lamented his fﬁ f di culties in ﬁnding the truth , although it was not orty years since

Cro . me had died , and many who knew him were still alive It is not e as 1 8 l l o f an ce do te y , in 9 7, to unrave the tang e and tradition ; but the f f amount o our in ormation has certainly increased .

W o f hen a man writes the lately dead , he naturally applies to the

’ de ad man s friends and acquaintance ; and these out o f their abundant

o f f recollections fu rnish him with stores matter . This is o ten excellent

’ fffo r f o f u stu orming an impression a man s mind and character . B t on

u o f u f o f f all q estions act al act , niceties chronology , such as must , a ter , m o f f ake the anatomy a memoir , the in ormation thus procured is apt

to . be uncertain , contradictory , and indeﬁnite

’ The n otices o f Crome s life by D awson Turner and Wo ddersp o o n

f f D a are e o . e s pro us generalities, but shun dates ates seemed p rh p triv n o w fo r o f few n s ial then , they are precious ; and most the eve t

' in Crome s life we hav e to turn to the unconscious memory o f parish re o f fo r o f e se gisters , diaries preserved other reasons , newspap r adverti

me t . n s , and catalogues

' Lo n ' acce ted n o n D rn t he g p without i quiry , awson Tu er s authority , ’ da e o f r e s r has e e a l t C om bi th b en given , and is still given , in n r y all

fr n e 2 1 1 Bu esearc es ad in o o ks o f e e e ce De 6 . t b r , as cemb r , 7 9 r h m e

’ f Ge r s T o mblan d at N rwi so e ears a o the re ste rs o . e gi St o g o ch , m y g ,

h was o n o n De e e 2 2 1 8 r ved t a e 6 . p o h t b r c mb r , 7

His fa er was u n e ma e ve r who e t e r ke t o r was a th a jo r y n w a , i h p 8 7OHN CROME

l - u in o f N lodger in a little pub ic ho se the least reputable quarter orwich ,

l M d l r the Cast e ea ow on the hill beneath the cast e , a pa t then known as the Castle Ditches .

n o f Whatever educatio Crome received was the simplest sort .

an fo r It was ancient custom , prolonged to days within living memory ,

o f s the boys and girls the city who sought a place in service , to as emble

o f D P at early morning on the site the old ucal alace , there to await f o . the chance an employer The boy Crome , when he had reached “ “ ' o f the age twelve , went like others on the palace , in the phrase

f r R o f N o D . the orwich lads ; and attracted the notice igby , who took

’ - D r. R him into his service as errand boy . In igby s house he remained two years or more , playing many a prank , according to his own tales

f - l in a ter times , and once ambitiously bleeding a patient a most to death . A Bu t . t the doctor was pleased with him any rate , he lent him help f in getting himsel apprenticed .

o f A 1 8 The apprenticeship began on the ﬁrst day ugust 7 3 , and

' Mr F W fo r . . was seven years Crome s new master was rancis hisler ,

” P o f 1 B ' H . a Coach , ouse , and Sign ainter , 4 ethe Street It is impossible not to think that this trade was the boy ’ s own f B n . choice . or painters are never slow in mani esting their predilection

' D s —fo r was oubtle s , to be with colours at ﬁrst it Crome s business — only to grind them was delight ; and later on , to handle brushes

if - and to use them, only on coaches and wall panels , was a ﬁne ambition .

’ The extraordinary breadth o f tou ch in Crome s early pictures is

n P - m due to this trai ing . aint upon sign boards and coaches has to ake its effect at some distance and the result is no less manifest in Crome ' s

’ ’ Ve r i ro cch o s . pictures than , say , the sculptor s training in

The seven years passed , bringing to the young apprentice a certain

o f f o f amount amiliarity with paints and brushes , and about the end f la f o f . o f f his time more particu r gi ts ortune The ﬁrst these was a riend .

L k o f Robert adbroo e , the same age as Crome , had been apprenticed

n to a printer . The two met , and became close compa ions . They had

in A a passion common both were determined to be painters . ccording

D o f fo r to awson Turner , the two entered into a sort partnership a

time . They hired a garret , and clubbed together in buying prints to f C copy . It was in these youth ul enthusiastic days that rome would 70HN CR011415 9

o ff o n o f wander into the ﬁelds and sketch a piece pasteboard , with

- His f his colours in an oyster shell . ﬁrst sketch in oils , we know rom

o f e o f 1 82 1 was 1 0 a the catalogue the xhibition , made in 79 , the ye r

his a e e s in which ppr ntic hip e xpire d .

/fmm E r . C ro me C o/lo ction . C o ro w A bbe B . C ar . y y of J J , o

’ r o/irked Mr A u tot r C off/ o n . Fr o m t/fe p M yp p y

e to Having served his term , he still , it s ems , continued work as

W He n a journeyman painter fo r hisl e r . is k own to have painted

o n e N several signs , and at least is still preserved at orwich , in the f S B . o Pockthorpe rewery It is the sign the awyers, painted on both 10 yOHN CROME

o f sides , the sawyer standing astride the pit , and the ﬁgure boldly and

l . broad y put in , with vigorous touches W C ith such jobs as these rome managed to save enough , we may suppose , to enable him to occupy his spare time with drawing and

' fo r o wn Ladbro o ke s f painting his pleasure , in company ; and be ore

fo r long the pair seem to have been able to get some money their work .

N - f Smith and Jaggers, the orwich print sellers , rom whom they bought ff prints when they could a ord it , noticed the young enthusiasts and bought some o ftheir drawings . It was probably through the print - sellers that Crome and his sketches became known to an amateur and collector o f the neighbour

f f . H o . He hood , Thomas arvey Catton proved a most valuable riend Harvey could give him instruction in painting : there were several ' ’ A d o f H . n arvey s pictures in Crome s collection when he died more ,

e f C n o w he had a choice collection hims l , which rome was at liberty

H . Mr . to study and to copy . ere was an inestimable privilege

’ H e arvey s collection has b en long dispersed , and we do not know

f Cotta e what pictures it contained , except the beauti ul and celebrated g

D oor o f G We ainsborough ; and this we know Crome copied . may also conﬁdently conjecture that there were pictures by Richard Wilson ; — and through a connection with Holland he had married the daughter o f R — r H a otterdam merchant M. arvey had collected some Dutch

H . pictures, among them a obbema

C o f f f rome had no reason to complain ortune . In ﬁnding one riend ,

f On e o f he also ound others . those to whom Harvey introduced him

W Be e he was illiam c y. f f It was while Crome was still a child , and be ore he had begun li e

’ - W l Bee che f as the doctor s errand boy , that il iam y, a ter painting and

s L exhibiting portraits with ome success in ondon , saw an opening at N r . A o wich and came down there to live ccording to one account ,

Be e che f - N indeed , y himsel had begun as a house painter in orwich ; but this is probably a legend . The accepted story is that he was born in O f B t w x ordshire and articled to a solicitor . u that he came to Nor ich

1 81 f f M in 7 is certain ; and there , too, he ound a wi e , iss Jessup , who

f o f A was hersel a painter miniatures . fter working in Norwich fo r

f s Be e che L our or ﬁve year , y returned to ondon , and was soon on the 70l CROA/IE 1 1

f v . He n o t road to prosperity , sunned by royal a our did , however , lose N touch with orwich and his Norwich friends ; and Harvey o f Catton

’ was o f . A Be e che s C one these ccording to y account , rome was about

e y me t . 1 twenty when th ﬁrst This would imply that it was in 789 . 1 ' P e ar o r t wo t In B he robably it was a y la er . e e c y s descripti o n we come

fo r fi t e f the rst im near to the man himse l .

“ h ? C o e w e n n r r I k n e w him n u n h a v e be e n abo u t twe n t r m , , y ye ars

r wa s a v : k warrl u n in fo rm e d co u n t r lad bu t e x t e old , and , , y , r me ly

ll his re m a rk s u o n rt o shrewd in a p a th u gh he wan te d wo rds an d te rms

n in e e s s his m e a . K s o fte as he ca e to o he n to xpr g n m t wn , e ve r fail e d

on m e a n d t o e t to call up . g what info rmati o n I was abl e to give him

o t he s u hie ct o f t h at a c a o f up n p rti ular br nch art which he had mad e his

1 n a w m - Icn ln t C ro m e . In the o rt rait s e tch by g g p k C o tman h e do e s n o t l o o k

n ' y v e ar: o ld . o n u de in l lIOt fo rt ) . 12 7OHN CROME

is f was t study . H visits were requent ; and all his time spen in my

- H painting room when I was not particularly engaged . e improved

He so rapidly that he delighted and astonished me . always dined an d

spent his evenings with me . It is evident that Crome was one o f those men whose gifts are

f is entirely concentrated on a single mode o expression . H genius was

o f graphic , and had no need literary acquirement and cultivation . In this he was like Rembrandt and like Gainsborough ; and his art gained

rather than lost by his not having a reﬁned and cultivated personality . Ye t there is abundant testimony that his manners were winning and H wit his talk attractive . omely in appearance , he had native and the

o f . charm simplicity , and a droll and ready tongue

Vis its to L on do n — Ma rr ia e— Firrt Work: II . g

' From Be e che y s account it would appear that Crome paid n o t in

P S r W l f L . i requent visits to ondon robably il iam , when writing , had a period o f many years in his mind ; but it is reasonable to infer that his ﬁrst visits were made while he was still a learner , anxious to gain

f o f all he could rom the hints and practice the older painter .

’ A t Be e che y s studio he would learn the general method o fpainters in

o f M r. H vogue , and could add the precepts the schools to what arvey

o f had already taught him . The method painting which we ﬁnd in

' Crome s pictures is substantially the same that we ﬁnd in Hogarth ; a

' f o f D Ho method ounded on the general tradition the utchmen . garth s

o f pictures are especially good examples this method , because his touch

His is so decisive and direct , abhorring tentative experiment . practice was o f to cover his canvas with a tone warm gray , choosing the precise character o f the tone with the subject and the lighting o f the particular picture always in view ; and on this he painted lightly and ﬁrmly ,

o f fo r f h making use the ground shadows , and o ten leaving it in suc

Shrim Girl places entirely untouched . The unﬁnished p in the National f Gallery shows this method per ectly . If we turn now to Mo use/told Heat/z or l e Win dmill we ﬁnd the 7OHN CROME 13

same s lo e In f re wa - a n n is p ro ces e mp y d . the o ground the rm under p i ti g largely u tilise d an d in the sky o f Mou se/to ld Heath the beautifu l trans pat e n cy o fthe clo uds is got by the under - painting showing through the cool Of t an d earl l . p y co our laid above it course , it is not to be assumed tha the pre cise method is the same in every picture ; but the general principle F is that des cribed . To paint thus requires absolute decision . umbling

’ ru i A n d f is nous . Crome s gi t was such as to develop the advantages

f f He v . o this method to the ull . seems rarely to ha e made experiments

Port it o rorn e ra C . f 7.

rn a Drawin b n a B fl tl J /J Ill n t en tn . Fr o . . C ott n g y 7 S ,

In Lon don the young Norwich artist had more opportunities fo r see n o f i g the art his contemporaries than in his native town , although

h r G H o n r t e O . e e were portraits there by ainsborough , pp , and pie in St

’ A n drew s Hall ; and Norfolk was richer than most counties in ﬁn e

ll c s o f co e tion pictures . In the landscape painting o f this time there was little that was

i o l W o ri n al r m . 1 82 G in g sti u ating ilson had died in 7 , ainsborough

Th l n dsc s o f h 1 88. e e De Lo u t e rbo u r e a o f er 7 a ap g ar typic l the p iod .

No r was an t s ar e t o B k o f B o rn ve . y brigh t y ab the horizon ar er ath , b I OHN CROME 4, 7

f f a year a ter Crome , was just beginning his success ul career ; he ﬁrst exhibited in 179 1 . Bu t the most fashionable painters o f the day were

o f painters portrait or allegory .

M o f C any these artists had been , like rome , born and bred in distant country towns or villages . Bu t sooner or later they were drawn to

L . E G ondon ; the attraction was irresistible ven ainsborough , whose l f ff L o . heart was in the anes Su olk , had made ondon his home at last

Bu t e in Crome , in whose nature there was a curious stubbornn ss , an

h e f in dependence which , wit out ass rting itsel violence or rebellion , took

o wn f l f m t o its way and o lowed no alse ambition , see s never have

He contemplated leaving his beloved country . was poor , but he was able to live , and by continuing to paint signs was able to indulge in

is . H . landscapes days were laborious , but he was not in actual want

’ Too much has be en made o f Crome s poverty ; and too much import ance attached to the stories told by Dawson Turner o f the strange shifts

fo to which he was put r brushes and canvas . f Crome , doubtless, re used no job that brought him help ; he “ ” A rt w had no nice scruples about debasing his , and took gladly hat

f k to came , even a ter he had ta en to teaching and was on the way prosperity .

l Ma 2 1 80 fo r This is proved by a bi l , settled y 7, 3 , painting a sign ,

f C 2 1 fo r o r . and gilding and lettering , which rome charged £ 4s It is improbable that the work was done much before the day on which it was settled . Bu t there is no evidence that Crome was ever in severe poverty ; and

- w Hi f 1 2 as . s in 79 , at twenty three , he able to marry wi e was a girl

Phtr be B — Phe b B — named erney y earney , it is spelt in the register and

’ St M Co s lan z u O . d . the wedding took place at ary s y, on the ctober

fo r . There were reasons hastening it The ﬁrst child , a daughter, was

o f born on the 3 o th the same month .

L M B O o f adbrooke married a sister , ary erney , in ctober the year following .

' Crome s days were now to become more strenuous than before . The

l was f m B ﬁrst chi d ollowed by many others ; a ong them , John erney ,

f 1 . distinguished a terwards as a painter , who was born in 794

1 N H In 793 Crome was ill in the orwich ospital , once in the spring , 7OHN CR OME 1 5

B and again in the autumn . eyond this there is nothing to record

o f o f except the births successive children , till we reach the end the century . W f f C ith a young amily rising ast around him , rome had a hard l . Bu t w m f strugg e he had ill and courage , and while supporting hi sel

He and his children , was gradually acquiring mastery in painting . was

E t C rom t o C olman . wn . . e C ll t io . Do B . o e n . y 7 f 7 7 , o

C om a Fr om reproduction pu blit /J ed by Me A uto type p ny .

o f o f also beginning to give lessons . Some the pictures these ﬁrst years

o f R W fo r were compositions in the style ichard ilson two pictures ,

’ 1 6 1 8 o fC so described , painted in 79 and 79 , were in the exhibition rome s

f 1 2 1 W e ? works held a ter his death in 8 . here are thes pictures now

’ P W A t robably most pass under ilson s name . any rate , they are not f B M o ten met with . There is, however , at the ritish useum a drawing C by rome which must date from this or a still earlier period . It is an 16 7OHN CROME

lo w f Italian scene , with a water all in the middle distance , mountains f beyond , and ﬁgures under trees in the oreground . It is in black chalk W ’ f on gray paper , and so much in ilson s manner that it must o ten be W B f. u t attributed , by those who see it , to ilson himsel the drawing was M f r . K o P D presented by Carpenter , once eeper the rints and rawings ;

was o f and not only he a connoisseur wide knowledge , but he was G V C ’ V acquainted with eorge incent , rome s pupil , and indeed gave incent f H o r G . the commission his masterpiece , reenwich ospital It is certain ,

f fo r there ore , that there were reasons attributing the drawing to Crome it

f A n d may be that it came from Crome himsel . with all its general

W o f likeness to ilson , the drawing shows the trace a robuster handling , o f r iﬁcialit o f We a hand not quite at home in the a t y the scene . shall

’ f o f be sa e , I think , in assuming this to be a very early drawing Crome s f W a ter ilson . R W It seems clear , in any case , that ichard ilson was the master and

’ We ho 0f . w model Crome s youth shall see , later on , this inﬂuence

persisted to his maturity .

Cro me be T chin — o r ich So ciet o n ded III . gin s ea g The N w y f u

The Norwich D irectory fo r 180 1 gives the address o f 17 Gilde n gate “ o f C Street as that John rome , drawing master . C This is not , however, the ﬁrst evidence we have that rome had

f A f the begun to make teaching a pro ession . mong the amilies in neigh

bo u rho o d o f N Mr H C orwich to which . arvey had introduced rome , was

o f G o f E H who that the urneys arlham . It was arvey , no doubt ,

suggested to Crome that he should better his position by teaching , and G John urney was apparently the ﬁrst to engage his services . In the 1 diary o fRiche n da Gurney there occurs the following e ntry

a n 1 —I the . 1 8. d 7 7, 79 had a goo drawing morning , but in course — o fit gave way to passion with both Crome and Betsy Crome because he

1 T his an d th e fo o win e xtracts are fro m The G urn e ; o Earlham b A u u s t u s ll g y f , y g

. C . Hare J .

18 7OHN CROME

f f toward the general und . The Society met once a ortnight at se ven in

i fo r the even ng , and studied prints and drawings together an hour and a' f A f hal . ter this there was a discussion on a paper read by one o f t he

v o f members, who took it in turns to pro ide a supper bread and cheese . “ The first meeting was held in February 180 3 in a dingy building in H W A ' a dingy locality called the ole in the all in St . ndrew s , W L . C . eeds was the first president ; Crome did not hold that office til l

180 8.

A f S o r ter two years the ociety , not satisﬁed with academic discussion ,

f o f perhaps having exhausted all its theories , decided to display the ruits

o f Sir practice in an exhibition . This was held in the large room

’ B W f 1 82 8 enjamin rench s Court , a quadrangle a terwards destroyed in , to make room fo r the present Corn Hall .

o f 2 2 To this ﬁrst exhibition , consisting 3 works , Crome contributed

Ca rrow A bbe over twenty pictures and drawings . y , which is reproduced f f . o o f r C n o y M. at p 9 , was one these ; it is now the propert olma , N f . o z t Carrow , near orwich It is a picture large si e , and very impor ant ’ H hi l . s as showing what Crome s sty e at this early period was ere , as in l f ater maturity , he seizes the essential orms , he eschews accident and

A ll — e n d triviality . that remains o f the ancient abbey the great gable — f rises against the sky . In the broken ground be ore it is a hollow ﬁlled with water , and two ﬁgures are beside the pool . The severe ascending l o f o f f ines the building , the disposition the clouds , and the upright orm o f o f the composition , are all made to conspire towards the dignity the whole . The painter has seized on everything in the colour as in the lines o fhis subject which deepens the sense o fvenerableness and antiquity sur v rv mg in majestic solitude . A nother picture exhibited in this year was called Scen e in Camber ? l n Can e so - Sla te- uarries o f N G a d . this b the called ' the ational allery A t f It is possible . any rate this latter picture must be re erred to the

v fo r same period . There is , I believe , only internal evidence sur iving its

Bu t authorship ; and good judges have expressed a doubt about it . it seems impossible to suppose that it was not painted by Crome . The

c way in whi h the water in the hollows is painted , to take a characteristic

o f Carrow A bbe n o t detail , is exactly like the painting the pool in y ; and

1 e ct o ar Nation al io ra h . Mr. C o s mo Mo n kho u se in th Di i n y if B g p y 7OHN CROME 19

o f n M l . ess so , the painting the broke ground oreover , the composition and the sentiment o fthe picture are precisely what o n e would expect from

' a man o f Crome s individu al tempe r working unde r t he inﬂue n ce o f

The Win dmill B C rom Na ti on a l G a l l er e . . y 7. . y

r om the re r odu cti on u b/ti l d b th n tot C o m an F p p e y e A y e p y. W . C n o t ilson It is not quite the real rome yet , it is the mature and f C w o f . per ectly developed rome , but it is the ork a master Some eyes will ﬁnd in it a certain baldness ; but we may say o f it what Matthew 2 0 7OHN CR OME

’ “ A rnold said o f some o f Wordsworth s poetry : It is bald as the

- l s f o f mountain tops are bald , with a ba dne s that is ull grandeur .

s o f a The ame manner painting , and just the same co rse canvas , appear

1 80 in 1 806 . in a picture painted probably in this year , 5 , and exhibited

’ L Ca rrow A bbe Mr C y . Co w ike , it is in olman s collection . This is the

Tower o n the Swan n er Meadow Y y , an old tower on the are , still standing . w f The composition ill be seen rom the reproduction (p . but T h otherwise an inadequate impression o f the paintin g is conveyed . e

an d n o f colouring is a sober harmony , in the pai ting the old , discoloured

f f Bu t im bricks o the tower itse lf there is delight ul work . the whole f s o . H pression is decidedly an impre sion austerity ere , even more than

A e s C o f . in Carrow bb y , we get the es ential rome this earlier period It l is absolutely original . In certain passages , especial y the sandy road and

o f V z slope at the right , something akin to the manner elazque seems

Bu f o f suggested . t one can think o no one else as inspiring any portion

A a o f it . gain we notice the s me lightness handling , the same extra

o f ordinary combination breadth and precision , which throughout dis

’ tin u ishes k f g Crome s wor , and rom which one derives a pleasure similar A ll to that given by pregnant and happy epithets in a writer . is sane , large , simple .

r f Ye to Crome had al eady found himsel . t he still continued at times

s o f f r Ga exercise his bru h in the manner his avou ites , insborough and W P m ilson . robably such exercises were ore proﬁtable than pictures like T Co w o wer o . the , which one could never imagine to be p pular A Comp os ition in the s ty l e of Wil s o n was painted in 1809 ; and a

Tem le o Ven us a r a sk tch il s on 1 1 1 B te e b W 8 . u t p f , f y , was exhibited in G h just now Crome seems to have had ainsborough chieﬂy in his t oughts .

’ With the Cow Tower in 1806 was exhibited A s ketch in Ga in s bo ro ugh s

’ A n d G man n er . ainsborough s inﬂuence is perceptible in a large picture ,

' o f 180 o fC to t he 7 presumably , which was one rome s early contributions

R A 1 He S oyal cademy exhibitions in 80 8. had ﬁrst appeared at omerset H f C ouse two years be ore , when his name appears, once as rome and a as C two Lan ds ca e m a s ro N tu re . He gain room , with p f exhibited

’ 1 80 180 181 1 1812 1 816 1818 Bl a cks mith s also in 7, 9 , , , , and ; but the Shop o f 1 80 8 was probably the most important o f his contributions to

R a A the oy l cademy . N CROW

It is intere stin g to note that John Berney C ro me ’ fa A e ca o f 1 i was th e n st ther in the cad my talogue 81 1. Th s so s ﬁr

e L i ﬂ ff l app arance in ondon , where he was to exh bit much , chie y at Su o k

t e B t f h B S r et and the ritish Insti ution , be ore his deat . orn in 1 794, he

l L He n was on y about seventeen at this ﬁrs t appearance in ondon . soo developed into a proliﬁc and skil ful painter and several o f his pictu res

k o f f But he have been sold and greatl y admi red as the wor his ather .

a a e i was extravag nt , and grew c reless in his later y ars , produc ng a great

o f He o f l . number pictures , nearly all them moon ight subjects would

e r o n e o f f m et any eme gency with these rapid and acile productions , which , 1 A t o f . as may be imagined , are worth little as works art the present

' h B f o f f time , owever , John erney was a skil ul pupil his ather s and ably se conded him at the exhibitions .

' ' The l a m A B cks ith s Sho M s . s p , which was exhibited at es rs gnew s la t year, is a large and important picture , containing seven ﬁgures ; but it is n o t r o f a ve y characteristic o r signiﬁcant work . It is the outside t he s n o t r v f i hop ( the inside, as some w iters ha e assumed rom the t tle) , a

ed e f the e the gabl building with thatch d roo , timbers warp d with age and

n s o f A li e its structure uneven . man is sharpening a tool at a grindstone

f o f o l d in the oreground , across which is spread a triangle shadow , in the co o w o nventional way ; other ﬁgures are at the do r and ithin . S mething to o abruptl y angul ar and intractable in the main lines o f the composition m ars the general effect but the quality o fthe actual painting is delightful the th e o f l th e luminous play about uneven smoothness the gable wa l , b l c loom upon the rusted thatch , are painted as on y Crome could paint su h i f l i . n o e th ngs It is in the handli g the tr es especia ly , which thrust the r

ra f o n e f o f G n s b nches up behind the roo , that eels a reminiscence ai

o r u b o gh .

u al s O n e o fthe se mo o n l igh t sce n es is in the Pict re G l e ry at B russ e l . 2 2 7OHN CROME

IV n en ce o H bbema —The Sal e o 1 812 —Pu il s . Iﬂ u f o f p

So far o f o f H , we can ﬁnd no trace whatever the inﬂuence obbema , f ' f on whom it has o ten been presumed that Crome s art was ounded .

’ far f D No r t o . is there a race , so , any other utchman s inﬂuence

’ H o f obbema was , however , one Crome s idols during the latter part W H o fhis career . hen did he begin to admire him There was a obbema

’ Mr H at . arvey s, but it does not appear to have been particularly studied

Bu t H R by Crome in his youth . obbema and uysdael must assuredly

f 181 2 have been in his mind when doing the etchings , which date rom

1 1 N f and 8 3 . It is said that while riding about or olk on his daily visits f K P C . to pupils, rome used o ten to pass the ﬁne oaks in imberley ark It must have been also on these visits that he became acquainted with

’ m n o t Hobbema in collectors houses . It see s unreasonable to conjecture

t f - fo r tha , being ascinated with the oak trees as a subject painting , and H seeing how ﬁnely obbema had painted such subjects, he was seized with If D m . a desire to emulate the utch aster so , it was with no ignoble

fo r H l H w was envy ; obbema was a ways his dear obbema , hose name

Bu t fo r N . f to be upon his dying lips it is evident that , the or olk gentry

C u and amateurs , rome was not looked pon as much more than the

- E D N . orwich drawing master ven awson Turner, who bought his m m C pictures and ad ired the , thought he was honouring rome by record

o f fo r Van N S ing that one his pictures had been mistaken a der eer . o it was but natural that Crome ’ s ambition should be touched and his pride

He o f stirred . , too , would show that his oaks were worthy being

o f H e o f V treasured with those obb ma , and his moonrises with those an N der eer .

T he K P f C oaks in imberley ark urnished rome with a large picture ,

’ o F - M Mr Orr ck . o s nce in the uller aitland collection at Stansted , now in possession . The oaks are noble trees , painted with rather less deﬁnition

u se o f than in later years ; and everything in the composition is made , to

o f enhance the erectness and massive strength the sturdy trunks .

C His rome was now prospering well . teaching brought him a fair f income , and he was able to live in com ort and to indulge his whims .

He o f had an inconvenient habit attending auction rooms , and buying 7OI-IN CROME 2 3 o dd s k his fan c i s as n o . e h ca lo ad f lot that too y Som t me , w e a rt head

he o d t r was s m stones which had b ught appeare at his house, he e o e d fﬁc m fo r r an d f o i ulty in ﬁnding roo his pu chases, the amily pr tested .

s e t c m i an d t It e ms hat these ac umulations beca e embarrass ng , Crome de er

o wa l mined u a sale . The sale s advertised in the N orfo k Chro n icle to ' t Mr N W . o ve rre s R Y m r ake place in oom at ar outh , ednesday , Septembe B 2 two f w s 1 812 . u t h 3 , and ollo ing day , what is remarkable is, t at ’ n either in the advertisement n o r o n the catalogue is any auctioneer s f . r name mentioned The in erence is , that Crome played auctionee f himsel .

If s o o f f A n this is , we may ﬁnd a trace the act in a story told by lla ‘ who D to to Cunningham , says that awson Turner suggested Crome have

o f f s f a sale his pictures , and the auctioneer pro es ing himsel unable to

C f s f de r ﬁ . k l sc ibe them , rome undertook the o ce him el This unli ely ta e

f o n a o f o f 1 81 2 w is probably ounded a hearsay ccount the sale . It as

’ n o t o f s : n o o f , however , a sale Crome works there is picture his in the catalogue .

o f o n ff ds This catalogue eighteen pages , well printed ﬁne paper, a or a u C was o f s t b ndant evidence that rome a man ome means , and had tas e “ P E an d O D a n d n o f . k owledge art rints , tchings , riginal rawings t ogether with curious boo ks o f prin ts made up the contents o f the ' sple ndid collection .

’ to C r f s It is interesting note what masters ﬁgured in rome s po t olio .

A th e d R R M P s G s mong rawings aphael , embrandt , urillo , ous in , ain b r R L v an L Go ltz ius Vlie e r van o ough , owlandson , ucas eyden , , de g ,

G S R B a to m oyen , alvator osa , and assano are s id be represented ; a ong

R W r the t rs the etchings embrandt, ate loo , and Canaletti ; among pain e ,

f r Gi R e s a te whom Crome had engravings, were Titian , orgione , ub n ,

R h A n r R M G r u ap ael , d ea del Sarto , Claude , eynolds , orland , ainsbo o gh, S H Ee k V ar . toth d , ogarth, Teniers, c hout , and ernet With the pictures o f many o f these mas ters Crome had probably

m u i va c i in N f k beco e acq a nted in the rious ollections exist ng or ol , at p laces where he visited as a teache r .

s n the e fo the 81 1 ra e d It wa i year b re sale , in 1 , that his most celeb t

S k was ar ed to him fo r e k was n u s . t r p p il , Jame tar , ticl three y ars S a the

1 T he Cabin e t Gal er o fPict u re s 18 l y , 33 . 2 4 701m CROME W se venteen . hen the three years we re up he went to London and A entered the cademy schools .

A o f f G V two man ﬁner gi t , eorge incent , who was years younger

’ S He than tark , became Crome s pupil about the same time . exhibited

ff N 1 81 1 1 812 o f some early e orts at the orwich exhibition in and , some f ” which were described as a ter Crome .

ff a These and other pupils were a ectionately attached to their m ster , A and he never ceased to take the liveliest interest in their work . letter o f S 1816 ho w f ho w his to tark in shows cordial a riend he was , and unpretending in his counsels ; it is as if he were writing to a companion o f f : e equal age and gi t he writes as a man who is still l arning , still

n aspiri g .

— V E chin s Water- co lou rs . t g

Crome was one o f the earliest men to revive original e tching in

e E ngland . The art which had ﬂourished so abundantly in the sev n te e n th C l R C century , made illustrious by al ot , embrandt , and laude , had degenerated in the eighteenth into a mere fashion o f reproducing an d multiplying designs .

’ ’ Turner s Liber Stu diorum was published before any o f Crome s etchings were made ; but wonderful as are the preliminary etchings o f

Liber f o f u o f the in their power ul economy means and seiz re essentials ,

s they were not intended to be looked upon as complete in themselve ,

' z without the superadded mez otint , nor are they true etcher s work .

O n W G . the other hand , Crome preceded ilkie and eddes f m ' The ﬁrst date on any o Cro e s etchings is 180 9 . It is a soft

o f f fo r ground etching , the kind so ashionable at one time reproducing ,

f k f o almost in acsimile , s etches in so t black pencil , till lith graphy drove

’ u l o u t o f ft the more ncertain and aborious method the ﬁeld . Crome s so

o f w f l e ground etchings, hich the illustration is a air examp e , are mor

s f - succes ul than the ordinary hard ground etchings, which are , almost

- ill- without exception , ill bitten and printed . They are lighter too in

sf s w o f touch , more succes ul in rendering atmo phere , and sho , some them ,

o f f a sense wind and reshness not generally associated with Crome .

2 6 7OHN CROME

’ o f C is concerned , the thrust and curve trunk and stubborn branch , rome s

Bu t se etchings are extraordinary in their grasp . his style ems almost to have deserted him ; and there is scarcely an attempt to counterfeit the softness o fatmosphere . The little piece we hav e chosen as an example is better bitten than

’ O w o f most o f Crome s plates . ther ise it has not the delicate work the

A t Hin ha m v small g , a scene on the ri er with trees and sheds and boats ,

’

B rw ll be au tiﬁi l . Mr. a e s like study (p This , had the acid

. A succeeded , would have been a charming thing nother plate that is h D B awbu r . admirable in its utch way , is the g , with its pool and willow

Bu t m C - o f Mo use/to ld the ost rome like the etchings and the ﬁnest , is the

Hea th o f , the magniﬁcent sky which , with its great rolling clouds , was to

h ch b C rome /t om t t in . t co on r e e . A S tt . F g y 7

D T B be destroyed by awson urner and erney Crome , quite unaccountably , fo r o f o f f f f the sake a miserable phantasm its ormer sel , de aced with ruled lines and almost obliterated . Crome himsel f was not satisﬁed with his etchings and would not

D s ro publish them , although , according to awson Turner , he i sued a p s e ctu s 1 812 o o f r p in and g t a number subscribers . No does he seem to

f 1 1 have done any more plates a ter 8 3 .

A o f - N 1 set thirty one etchings was published at orwich in 83 4.

No r o lk Pict u res ue Scen er F The volume was called f q y . our years later

o f D seventeen these plates were issued with a memoir by awson Turner,

v f M e o f and a portrait , engra ed , a ter a picture by urphy , under the titl

E tchin in No r o s lk. two e g f There have been issues since , but these lat r f . C impressions are worth little It is un air to judge rome by his etching , ffOHN CROME 2 7

was t a t se n r u r k w e - s which wi h him qui e co da y p suit, li e his at r colour .

T n l m n e ft me t hese , which may be conve ient y entio d here , are not o en with,

o h r a a mit i s o f h m Mr R th ugh t e e h ve been a good m ny i at on t e . . eev e

o n e a o f A . at has , a woody he th , great delicacy and beauty large and r her

k h o f a r o n k damaged s etc a hollow ro d with a ca t , and oaks up n a ba

B M e P R beside it , is in the ritish us um rint oom . It is broadly washed

wt fe w o o n e two i h a colours in a large and s ber style . There are or

' K t two R o lle t n others at South ensing on ; in Sir Charles obins n s co c io ,

t G H - o f an d la ely at the uildhall , are obbema like sepia studies wood M r. . L . R common . J o get has a very spirited and delightful little k f f o o . Of s etch a crowd ships at sea . ﬁner excellence , perhaps, than any

o f Ya rmou th Beach to Sir these is the delicate and ﬁnished , belonging

R P l a f f o f eginald a gr ve , a beauti ul drawing ull air and sun , with many

e B u t t - are ﬁgures charmingly group d . the wa er colours commonly seen d s o f o r rawing copie little interest importance .

VI Vi it t F an ce . s o r

While we have bee n following the obs cure career o f a painter in a

fE E has co m o . er ngland , urope been convulsed with war and change

In 181 N b fe w o f C 4 apoleon , orn within a months rome , was at last f dethroned and a prisoner in Elba . The world breathed reely again in England especially there was extravagant rejoicing ; and from all parts

o f E rO e u p people ﬂocked t o Paris . Grimaldi was singing every night in th e pantomime his famous song

Lo n do n n o w is o u t o fto wn Who in E n glan d tarries ? Who can bear to lin ge r the re ’ Whe n al l th e wo rld s in Paris ?

A t i fo r th e L r was rtists especially were hrong ng thither , in ouv e

t a a n o f r s the gathered toge her th t incomp rable collectio maste piece ,

h o f fo n a e s h N o had r u ric est spoils reig g ll rie , whic ap leon b o ght home

f us a rom his victorio camp igns .

L k n d ds o f r E i h o te mi e n o t to i e hu re othe ngl s men , Cr me de r n d

n a ve llo o o un the u um t two eglect this m r us pp rt ity ; and in early a t n , wi h 2 3 7OHN CROME

N f Mr Mr . F orwich riends, Coppin and . reeman , he crossed the Channel and landed at Calais . Stories are told o f the difﬁculty the t hree found in expressing their

ho w o f wants Crome drew sketches what he needed , and having drawn

o e - B a b il d egg , received a salt cellar ; how their ritish stomachs mutinied

F ho w c ‘ f at rench dishes, and they re oiled in dismay rom the apparition o f F - f o f a rench plum pudding , made rom a recipe which one them had f thought ully brought with him . ‘ f P O IO In a letter rom aris, dated ctober , which has been preserved ,

Crome shows a pleasant British pride . — D EAR WIFE (he write s ) A fte r o n e o f the mo s t pleasan t j o u rn eys o f o n e h u n dre d an d se ve n ty mile s o ve r o n e o f the mo s t fe rtile co u n tre ys I e ve r saw we arriv d in the i a o f ran e Yo u ma im a in e ho w e ve r t hin s tru c u s with e cap t l F c . y g y g k f l fo — e t s ha n o t s ur rise e o e o al n atio n s o in to an d r T u r s e ws c . p ; p pl g g k , J , I ll e n te r in to c articu lars in t his m e tte r bu t s u flice it to sa we are all in o o d y p y l , y g h h i i — i n r at difli u lt We have e e n ea t an d n o o d lod n s that n Paris is o e e c . l , g g g , g y b d V l r it o n e tte r We have se e n t hre e n i . at St . Clo u an d e rsai es ; I ca n o t de sc be l a t h m n i n i h r d s ha n o t tro u e o u with a o n pal ces e o s t mag fice t n [t e 'wo l . I ll bl y l g le tte r this time as the po st go e s o u t in an ho u r [so 'that t ime will n o t allo w m e was i h rn i he o e t o f m o u rn e that is so d s o se d. T is mo in am o n to se e t c I p g I g g bj y j y, th T i h ar i t v r has e h u ille ries am to d he re s ha fin d man n s t s s . G o e . I l I ll y E gl l e e n ain tin e ie ve he has n o t e e n co in bu t o o in an d ain tin o n e b p g . I b l b py g, l k g, p g 2 o fhis o wn co m o i Pra le t me n o w ho w o u are o in o n iv in e s t s tio n s . p y k y g g , g g b re s e cts to all frie n s e ie ve the n is h ma o as t o f hav in the s tart o f p d . I b l E gl y b g

' th f r i n r r r an n o t s ha m a e this es e o e e s bu t a ha ie r ace o f e o e the e c be . g , pp p pl I ll k h v m o rn . a e see n so e j u e y pay I s hall be ve ry care fu l ho w I lay o u t my mo n e y . I s ho s T he as k r wi ta e so o u ma s u o se what a se t the . t e e what the p y bl y ll k , y y pp y

r ha e av i - an he re s t o f he artis s whe n can ﬁn d time a e . s se D d to mo rro w d t t t . I ll , I I write this be fo re I kn o w what I am go in g abo u t at ye T hu ille ries as the po s t co m s m - Iam e t rs i th HN R e e c. o u t dea M . p l . , , y ll , JO C O E

On e wishes that the post could have waited ; we might then have ’ f f known something o f Crome s impressions o the pictures . The riends

1 I wa in rt i eu n ar 1 188 t s u o te d fu in th e B a er): D a Pr a u . q ll {y , J y 3 , 5 2 ’ T his p ict u re o f Gl o v e r s was a co mp o sitio n in which h e t ried to co mbin e th e e xce e n ce s o fal l re at mas te rs wan de rin i e a be e fro m ictu re to ictu re an d s uc in ll g , g l k p p k g so me thin fro m e a h T h whi h h ch ris te n e d T/xe B a Na /ex so e ase d c . e re s u t c e g l , y qf p , p l Lo u is ' V that h e o rd d da s tru c in its h o n o u r T his was r ve n t d . re b e e III e a m e l to e k . p b th e re tu rn o f Na o e o n who ho we ve r a so admire d th e ictu re an d s e n t it with a y p l , , , l p me da to En an d wh ith e r o ve r h ad a re ad ﬂe d l gl , Gl l y .

2 3 7OHN CROME

N f Mr Mr . F orwich riends , Coppin and . reeman , he crossed the Channel and landed at Calais . Stories are told o f the difﬁculty the t hree found in expressing their

ho w o f a wants Crome drew sketches what he needed , and having dr wn

e r - B a boil d egg , eceived a salt cellar ; how their ritish stomachs mutinied

F ho w c ‘ f at rench dishes, and they re oiled in dismay rom the apparition o f F - m f o f had a rench plum pudding , ade rom a recipe which one them f thought ully brought with him . ‘ f P O 10 e In a letter rom aris, dated ctober , which has been pres rved , m B Cro e shows a pleasant ritish pride . — D EAR WIFE ( he write s ) A fte r o n e o f the mo s t ple asan t j o u rn eys o f o n e h u n dre d an d se ve n ty mile s o ve r o n e o f t he mo s t fe rtile co u n tre ys I e ve r saw we arrive d in the i a o f ran e Yo u ma im a in e ho e ve r t hin tru c u s with cap t l F c . y g w y g s k s u r rise e o e o f all n atio n s in fro —T u r e t s ha n o t o to an d s e ws c . p ; p pl g g k , J , I ll e n te r in to c articu lars in this m e tte r bu t s u flice it to sa we are all in o o d y p y l , y g hea th an d in o o d Iod in s —th i is is n e r at iffi t We have e e n at n Par o e d cu . l , g g g , g l y b t St o u d an d Ve rsail n o r i r W v e e n thre e a . es a n t de i t o n e tt e ha e s Cl ; I c sc be l e . a ace s the mo s t ma n i ce n in the wo r d s ha n o t tro u e o u with a o n p l g fi t [ ' l . I ll bl y l g le tte r this tim e as t he po st go e s o u t in an ho u r [so 'that t ime will n o t allo w m e was

so dis o se d. T his mo rn in am o in to se e the o e ct o f m o u rn e that is I p g I g g bj y j y, the T h u ille rie am t h r h d m i arti ts e r has s o d e e s a ﬁn an n s h s . o v . I l I ll y E gl G l n in i e e e a tin . e ie ve he has n o t e e n co in bu t o o in an d a n t in o n b p g I b l b py g, l k g, p g 2 o fhis o wn o m i le me n o ho w o u are o in o n iv in e s t c o sit o n s . Pra t w p y k y g g , g g b re s e cts to all frie n ie v the n ish m a o as t o f hav in the start o f p ds . I be l e E gl y b g

' thes e fo re i n e rs u ha ie r ra e o f e o e he r an n o t s ha m a e this b t a c t e c be . g , pp p pl I ll k o u rn e a ha r f h h o m e . s be ve r e u o w la o u m m n e ave se e n s j y p y I ll y ca l I y t y o y . I s h s T h he o . e as k tre e what the wi ta e so o u m a s u o se what a se t t p y bl y ll k , y y pp y

r h a i - r o f r h n t m a e . s se e Dav d to mo rro w an d the e st the a tis ts w e n can ﬁ d i e . I ll , I I write t his be fo re I kn o w what I am go in g abo u t at ye T h u ille ries as the po s t co m e s m — Iam e r i eat h e . d HN R . tc. o u s t M p l , , y ll , JO C O E

On e wishes that the post could have waited ; we might then have ’ f known something o f Crome s impressions o f the pictures . The riends

1 It was o d in f in th e B art ” ai P7711 an ar 1 188 u te u er D u . q ll {y , J y 3 , 5 2 ’ T his p ict u re o f Gl o ve r s was a co mp o sitio n in which h e t rie d to co mbin e th e e xce ll e n ccs o f al l re at maste rs wan de rin i e a be e fro m ictu re to ict u re an d s u c in g , g l k p p k g so me thin fro m e ach T h r hi h b a o Na /er so e ase d . e e s u t w ch e ch ris te n e d T c B g l , y f p , p l

Lo u is ' V . that h e o rde re d a m e da to be s tru c in its h o n o u r T his was re ve n te d III l k . p b th e re t u rn o f Na o e o n who ho we ve r a so admire d the ictu re an d s e n t it with a y p l , , , l p me da to En an d wh ith e r o ve r had a re ad ﬂe d l gl , Gl l y .

2 8 7OHN CROME

N f Mr Mr . F n . orwich riends , Coppi and reeman , he crossed the Channel and landed at Calais . Stories are told o f the difﬁculty the t hree found in expressing their

ho w Of a wants Crome drew sketches what he needed , and having dr wn

e - B a boil d egg , received a salt cellar ; how their ritish stomachs mutinied

F an d ho w c ‘ f at rench dishes, they re oiled in dismay rom the apparition o f F - f o f had a rench plum pudding , made rom a recipe which one them f thought ully brought with him . ‘ f P O 10 e r In a letter rom aris, dated ctober , which has been pres ved ,

Crome shows a pleasant British pride . — D EAR WIFE (he write s ) A fte r o n e Of the mo s t pleasan t j o u rn eys o f o n e h u n dre d an d se ve n ty mile s o ve r o n e o f the mo s t fe rtile co u n tre ys I e ve r saw we arrive d in the i a Of ran Y o u ma im a in e ho e v r thin s tru c u s with cap t l F ce . y g w e y g k s ri f ll n ati n s in o fr — r t s ha n o t u r se e o e o a o o t an d o T u s e ws e c . p ; p pl g g k , J , I ll e n te r in to c articu lars in t his m e tte r bu t s u ﬂice it to sa we are all in o o d y p y l , y g h a h an d in d lod in s — h in ar r a i We have e e n e t o o t at P is is o n e e t d fﬁcu t . l , g g g , g l y b at St o u d an Ve rsal n n o ri i o t r We ave e e n thre e d es ca t de e t n e t e . h s . Cl l ; I sc b l

a a e s t he mo s t ma n i ce n t in the wo r d s ha n o t tro u e o u with a o n p l c g ﬁ [ ' l . I ll bl y l g le tte r this time as the po s t go e s o u t in an ho u r [so 'that t im e will n o t allo w m e was

so dis o se d . T his mo rn in am o in to se e th e e ct o f m o u rn e that is I p g I g g Obj y j y, t he T h u ille ri h i h ar t ve r ha es am to d he re s a ﬁn d man n s tis s . o s . I l I ll y E gl G l e e n ain i i h e n o in u t o o in an d ain t in o n e t n . e e ve he as n o t e c b b p g I b l b py g, l k g, p g 2 o fhis o wn co m o s i io n ra le me n o w ho w o u are o in o n iv in e s t t s . P t p y k y g g , g g b re s e cts to all frie n s e ie v the n is h m a o as t o f hav in the s tart o f p d . I b l e E gl y b g

' the se fo re i n r h ie r ra o f e o e t r an n o t be s ha m a e this e s bu t a a ce he e c . g , pp p pl I ll k

o u rn e a r la u m m n e have e e n o m e . ha e r a e fu ho s s j y p y I s ll be v y c l w I y o t y o y . I ho s T h h m a e t he s . e as k tre e what t e wi ta e so o u s u o s what a se t p y bl y ll k , y y pp y

r h - th r t o f he ar h n ﬁn t ime a id o m o rro w an d e e s t ti w e n d . e . s a se e Dav t s ts ca I ll , I I write this be fo re I kn o w what I am go in g abo u t at yc T h u ille ries as t he po s t co m s m — Iam t o rs ti deat h HN R e e . e c. u M . p l , , y ll , JO C O E

O n e wishes that the post could have waited ; we might then have f ’ m f h f known something o Crome s i pressions o t e pictures . The riends

1 wa o e d in fu in th art ' ai ev n ar 1 18 It s u t e B er : D Pr a u 8 . q ll {y , J y 3 , 5 2 ’ T his p ict u re o f Gl o ve r s was a co mp o sitio n in which h e t ried to co mbin e th e e xce e n ce s o fal l re at maste rs wan de rin i e a be e fro m ictu re to ictu re an d s uc in ll g , g l k p p k g

o hin ro m e ach T h r s u whi h h ris te n e d T/z e B a Na /er s o e ase d s me t f . e e t c e ch g l , y qf p , p l Lo u is ' V tha h e o rde re d a m e da to be s tru c in its ho n o u r T his was re ve n te d t . III . l k p b th e re tu rn o f Na o e o n who ho we ve r a so admire d th e ictu re an d s e n t it with a y p l , , , l p m e da to En n d whith r o ve r ad a re ad ﬂe a e h d . l gl , Gl l y

2 8 7OHN CROME

N f Mr M s . r F orwich riend , Coppin and . reeman , he crossed the Channel and lande d at Calais . Stories are told Of the difﬁculty the t hree found in expressing their

ho w Of a wants ; Crome drew sketches what he needed , and having dr wn

e v - B m a boil d egg , recei ed a salt cellar ; how their ritish stomachs utinied

F ho w c ‘ f at rench dishes, and they re oiled in dismay rom the apparition o f F - f o f a rench plum pudding , made rom a recipe which one them had thoughtfully brought with him . ‘ f P O IO In a letter rom aris, dated ctober , which has been preserved , B Crome shows a pleasant ritish pride . — D EAR WIFE ( he write s ) A fte r o n e o f the m o s t pleasan t j o u rn eys o f o n e h u n dre d an d se ve n ty mile s o ve r o n e o f the mo s t fe rtile co u n tre ys I e ve r saw we arrive d in the ca i a OfFran e Y o u ma im a in e ho w e ve r thin s tru c u s wit h p t l c . y g y g k s u ri e o f ll ati n s in o d fro —T u r s s e t s ha n o t r se eo a n o o t an e w c . p ; p pl g g k , J , I ll e n te r in to e articu lars in this m e tte r bu t s u ﬂice it to sa we are all in o o d y p y l , y g hea t h an d in o d Iod in r —that in aris is o n e re at difﬁ u t We have e e n o P c . l , g g g , g l y b at St o u d an d Ve rsaile s can n o t de scri e it o n e tte r We have se e n thre e . Cl ; I b l .

a a e s t he mo s t ma n i ce n in h r d s ha n o tro u e o u with a o n p l c g ﬁ t [t e 'wo l . I ll t bl y l g le tte r this time as the po s t go e s o u t in an ho u r [so 'that t ime will n o t allo w m e was dis e r so o s d. T his m o n in am o in to se e the o e ct o f m o u rn e that is I p g I g g bj y j y, the T h ill r h r ar t v r h u e ie s am to d e e s ha ﬁn d man n is h tis s . o e as . I l I ll y E gl G l e e n ain tin ie ve he has n o t e e n co in u t o o in an d ain t in o n e . e b b p g I b l b py g, l k g, p g 2 o fhi o wn o r ho o u re o in o n iv in e s t s co m s itio n s . P a le t me n o w w a p y k y g g , g g b re s e cts to all frie n ds e ie ve the n ish m a o as t o f havin the s tart o f p . I b l E gl y b g thes e fo re i n e rs u h ie r ra e o f eo e the re an n o t be s ha m a e this b t a a c c . g , pp p pl I ll k

o u rn e a . s ha be ve r re fu ho w la o u t m mo n e hav o m e j y p y I ll y ca l I y y y . I e see n s s ho T h s . e as k tre e wh at the wi ta e so o u m a s u o s e what a se t t he p y bl y ll k , y y pp y

re i o - rr n d t he r t o f h ar h a . sha se av d t mo o w a e s t e ti w n n n d t im e D s ts e ca ﬁ e . I ll , I I write this be fo re I kn o w what I am go in g abo u t at y9 T h u illcries as t he po s t co m e s me —Iam r i deat h . e tc. o u s t HN R M . p l , , y ll , JO C O E

On e wishes that the post could have waited ; we might then have ' o f m Of f known something Crome s i pressions the pictures . The riends

1 ' I wa o d in f ai y t s u te u in th e Eam m D l Pra an uar 1 188 . q ll y , J y 3 , 5 2 ’ T his pictu re o f Gl o v e r s was a co mp o s itio n in which h e t rie d to co mbin e th e e xce e n ce s o fall re at maste rs wan de rin i e a b e e fro m ict u re to ictu re an d s uc in ll g , g l k p p k g

so me thin fro m e ach . T h e re s u t which h e ch ris te n e d 7718 B a o Na /er s o e ase d g l , y f p , p l Lo u i ' V tha h e o rd r b tr c in i s h o o u r T his was re ve n te d s . t e e d a m da o e s u t n III e l t k . p b th e re t u rn o f Na o e o n wh o h o we ve r a so admire d th e ict u re an d s e n t it with a y p l , , , l p me da to En n d wh ith e r o v h ad a r ad ﬂ a e r e ed . l gl , Gl l y

ffOHN CROME 2 9

etu r o f Be whe Cr e ma t fo r r ned by way lgium, re o m de ske ch a B picture o fthe Osten d ri v er at ruges .

VII Pictu re: o I81 —1 8I6 . f 4

' From thi s perio d til l his death is the mos t fruitful part o f Crome s

o f 1 81 - 2 1 The record these years, 4 , is little more than the

f M o f works painted . any these cannot now be identiﬁed ;

o f o know the dates certain imp rtant pictures , and these are ’ material fo r forming a tolerably clear conception o f Crome s

e P n o t seeing the pictur s in aris , he had been idle with his

O n N 1 81 returning to orwich , he painted , in 5 , a picture

Ita li n s sketch he had made o f the B o u l e v ard dc: a . The picture

K H N Fis h at eswick all , near orwich , with its companion , the

at B o u lo n e 1 82 0 r g , which was not painted till , ﬁve yea s later .

to o f two fo r be convenient , however , speak the together ; the

' ff f n and by themselves in Crome s work , di erent rom anythi g else

’ They show the sensitiveness o f the artist s style . Just as he

f to o n e paint oliage in one way , when he wanted express aspect

f o charm , its so tness and co l transparency say , and in quite a S different way when the stir o f branches o r the delicate articulation o f leaves preoccupied him so n o w he expressed the sensation Of a differe nt

t o f a m sphere in a characteristic way . O n e eels this especially in the

b u r f o . A O leva d picture sharpness and brightness air , such as an

En o f ﬁ P glish traveller is pleasantly aware on a rst arrival in aris, the

“ very freshness o f sensation brought every moment by novel sight an d

o h n o f s und , wit the brisk ess the streets, the trees rustling , the cool blue o f O s k l the ctober y, and litt e clouds hastening across it , all this is

r l ca A s s i t t ans ated on to the vivid nvas . a compo it on , the pic ure is n o t quite fortu n ate ; but the whole work is fu ll Of o rigi n ality ; the

Of s f n l A n d t r c o f t choice subject was it el origi a . he e is mu h his orical l e r s t to o in h r n t n o f a u e r o f o ld P t“ int e , t is rep ese atio bo l va d aris, ﬁ 1 t o all the t s o f r a e at his m ment, when n a ion Eu op e were g th red in the city . 30 7OHN CROME

The B o u l ogn e is equally notable wi th the B o u lev a rd dc: Ita liem fo r o f w W the number ﬁgures , excellently put in , hich it contains . hen

Crome could paint ﬁgures so well as this, it seems strange that he

Of should have allowed other hands to insert them in some his pictures . No one can doubt that in these two cases ﬁgures and landscape were

ﬁ w n d painted by the same hand ; the gures gro in their places , a one

could not say where the landscape begins and ends . In both o f these pictures Crome allowed himself more variety and gaiety Of colour

than elsewhere ; in the groups Of ﬁshe r- folk at Boulogne there is light

yellow, and pink and blue and red , as well as darker browns, in the

o f Bu t f o l o n varied dresses the men and women . the beauty o the B u g e f is chieﬂy the lovely , warm , a ternoon light ﬁlling the sky and the open

o f Of ff space the sands with transparency, through which the line cli ,

m o f . On broken by ast and sail , shows a hundred pearly shades co lour

o f ff w f the land side the cli a hollo , with arm buildings above , catches f and absorbs the peace ul glow .

1 82 0 A s . we have noted , this picture was not actually painted till

G 1 81 f o f the oing back to 5 , we can identi y another picture that year ,

Grov e Sce n e n ea r Ma rl in o rd a Ma a z in e o A rt fo r gf , engr ved in the g f

w f r o H . n o M. 1 882 (p . It is in the collection uth

A o f L a n e Scen e at Catt o n work somewhat similar subject , the , in

o f Mrs . G f the possession unn , belongs in all probability to the ollowing

f o f o f year . This is a beauti ul and admirable example a certain type

C o f an d o f rome , characteristic this mature period a sober strength and

masterly style . Of 1 816 o r the same period , about , later , is the picture by which

Mo n selzo ld Hea t/z o f N Crome is best known , the great the ational f ' G . o r s allery It was done , not as a commission , but the painter own “ pleasure fo r air and space and it remained in his studio till f f was fo r 1 . a ter his death , when it bought by Joseph Stannard ( I un ramed

o f v a - n It had been painted on two pieces can s , so ill joi ed , that they soon

— - came apart a fact from which arose a well known story o f its having f A f been cut in two by a dealer to etch more money . ter a time the canvas was mended ; and the picture passed into the hands o f William

Y E o f 1 86 2 it etts , who exhibited it at the International xhibition , whence was bought fo r the nation fo r £ 400 .

3 4 7OHN CROME

’ o f i o f in picture may be taken as the type Crome s paint ngs moonlight ,

A N his which he seems to have set out to surpass art van der eer, as in forest scenes Hobbema and Ruysdael . The moo n rises bright and

f m z l o w immense ro the hori on , touching with delicate illumination the

o f f e banks the river, the boats and buildings, while on the arther shor a grove o fgreat trees ﬁlls halfthe picture with contrasted darkness ; not f o f . a black gloom , but a subtle darkness many shades and so t recesses

A Scen e at P o rin la n d 1 818 o f g , painted in , occurs in the catalogue ’ Mr the Crome exhibition o f 1 82 1 . Is this the picture now in . Steward s ? S ’ b . Mr possession Probabl y it is . teward s picture was exhi ited at

B 1 82 Stud rom the ritish Institution in 4, and there bore the title , y f f Nat ur e : Po rin lan d No r o lk . g , f , which brings us nearer to the ormer title

o f Bu t we have other means arriving at a date . In the pool in the foreground o f Ti m Po ringl an d Oak are four ﬁgures o f boys bathing .

' T o f hree the boys are Crome s sons , and the ﬁgures were painted in by

M No w M o f ichael Sharp . ichael Sharp Crome , the youngest the boys

d 1 81 M f here represente , was born in 3 , when ichael Sharp, a ter whom he C ’ was named , was staying in rome s house ; and looking at the picture one would say that the youngest boy was about four or ﬁve years old . Hence we should arrive at the same date as that Of the picture exhibited

1 82 1 T/ze Po rin l a n d Oa k in , and may reasonably conclude that g is that

f 1 81 8 A picture , and was there ore painted in this precise year . ssuredly ,

’ o f C this is one rome s masterpieces . The oak , to begin with , though

o f D young , is a tree nobler growth than the utchmen ever painted and

o f A n d it is portrayed with a keen sense its majestic beauty . behind it , coming through its branches and enkindling clear reﬂections from leaf

ho w f and bark , and mirrored in the solemn pool beneath , beauti ul a light Ho w richly the light clouds above catch on their soft edges the glory that makes luminous the serene evening sky ' To have seized the

s o light so intimately , and at the same time to have painted the tree

o f ﬁrmly , with such precise apprehension its growth , yet with so broad a

f o f d style , and with no con usion the elicate intercepted lights , is a

o f L triumph the rarest kind . esser men would have been content to grapple with one problem only , and would perhaps have had less success in that than Crome in both . With T/z e Faring/a n d Oa k is usually associated another magniﬁcent

7OHN CROME 3 7

o r r o f e The Wi llow i a e lo n in Mr H l . m s an p t ait a tre , , t ll l tely b g g to o e , d A now in merica. It has been described as looki n g as if commenced and ﬁnished in a ' “ n o f in r th e k t as in mome t spi ation , wor manship ligh and delicate a

’ s Gainsborough . Those who have ee n it say it is almost Crome s

masterpiece .

o f f r Mr In the absence this amous pictu e , we may turn to .

’ Barwe ll s On the Ta re at Tho r e ea f p , to see how b uti ully Crome ’ s f a could expres the willow s slender wavi n g oli ge . The pictu re is a

sk e i r i etch , paint d with the utmost lightness but also w th extrao d nary ﬁ rmness . A mong the pictures o f 1819 the Ta rmo u tlz B ea t /z belonging to

Mr C e : Ta o tlz . olman may conjecturally be numb red certainly a rm u i T h ach n e . B e was painted this year . reproduction (p 3 5 ) will give a

f a o f air ide this ﬁne and typical but not especially notable picture . Ofthe B o u l ogn e o f 1 82 0 I have already spoken but there is another

o f i Gr o v e Scen e l o in picture this year to be noted , the surpr sing , a s ' i Mr o . o n . C lman s collection Surpr sing , because here at last we come up

a picture which recal ls Hobbema throughout . It is said that Crome

f O n e painted it to please his wi e . can certainly believe that he painted f f f it s . o to please ome one , not himsel It is ull intricate , precise detail

n o t f as H a f in the least dry or tedious , but care ul obbema is c re ul , and

H Or with just that degree o f breadth that obbema has . we might say w u r fo r S was ith equal tr th that it resembles a ﬁne Sta k ; tark , who ’ f H far f C . Crome s pupil , is more aith ul to obbema than rome was The ’ ic a an d e s the o f C p ture is a vag ry , li s out ide line rome s individual

Bu t r f o f development . it is inte esting , and , rom the lateness its date , k e xtremely remar able .

I' C ome as a Teacher D eatk . r

‘ he last ve a s had a bus time it Cro me fo r u T ﬁ ye r been y w h , we m st r m er t W ile o ci the se i t r s was s il ac n e emb tha , h pr du ng p c u e , he t l pr tisi g as

r He k e t two ho es a d ro u the o un t all the a teache . p rs n d rove nd c ry to

n the en i chief hou ses o f the n eighbo urho od to give his lesso ns . I ev ng 3 8 7OHN CR OME

f v e — he would retire to his avourite ta ern , wh re he had his arm chair and

r e o f f N l f r p esid d in a company his riends and gossips . atura ly, there o e ,

fo r a i his time p inting was lim ted . He worked on Sundays and in his

. o f w ve rv holidays The number pictures attributed to him , hich is

r t o f o f t a g ea , must be some multiple the number those which he ac u ll y

painted . In the year Of his death an exhibition o f all his ﬁnest works was N r A . t f fe w i o fN rf . held at o wich that time , any , had gone out o olk

B u t the number exhibited was little over a hundred . OfCrome as a teacher we get an interesting glimpse in the life o f

o f R B OfSa . one his pupils, ajah rooke rawak ‘ f D r e sso B e f r In later li e , says . J pp , rooke s ems to have been a ai

Old - draughtsman . Crome was the drawing master during his time at

N rw A s f . was o ich , and a great avourite with the boys a teacher he ,

Of e es s according to the tradition the school , simply us l s, and his pupil took a delight in decoying the old gentleman into ﬁnishing thei r

fo r a ea k drawings them , which usu lly m nt beginning a s etch and ending it

fo r at a sitting , Crome , when once he took a pencil or brush into his hand , n l k a ever could be induced to drop it , and he wou d wor away with extr

T he Re v f t . . ordinary rapidity , quite orge ting how time was passing

M N o e es o f se Jonathan atchett , now resident in orwich , still p ss ss one the

’ a ca t school exercises . It is a sm ll lands pe in oils, which Crome ac ually

s o h k painted during his le son at the scho l , wit the boys loo ing on at him ,

a i his ar . k s admiring tistic skill This identical s etch , an old cott ge ,

’

Mr . now in . Reeve s collection

’ A nother characteristic anecdote is re counte d in Wo dde rs po o n s “ A a e o f ea memoir . brother p inter met Crome in a remot spot h lthy

u o f e r . He r e se verd re , with a troop young p sons exp essed surpris at eing

f N o him , as he thought he had le t him in orwich , engaged with his sch ol . “ Iam a s f in my school , replied Crome , and teaching my schol r rom

. D o o u o a the only true examples y think , p inting to a lovely dist nce , ? you or I can do better than that

' A r B t VVilkie s f an d a simila story is told by John urne , riend engr ver .

H fr e speak s o fCrome as his old and es teeme d iend .

T s es e e f here were many other to whom Crome was an t em d riend .

i v u o t in e a a o ar wa k rt L aco b . Ma e d T R f a b e ru de . cmil l an an d C o ' j S , G J . ,

42 7OHN CR OME

d A ll unless I am by his side , hol ing his hand , or supporting his head . O . n 2 2 n are in tears about me the d Crome was dead .

T he ff f fo r a ection which those about him elt him , visible enough in ’ f f his son s letter , was equally mani est at his uneral . Carriages thronged “ Mr S V . . Mr wi h r r . No r c Me cu the street harp and incent , says the y , “ f Mr A n came rom town on purpose , and . Stark was also present . immen se concourse o f people bore grateful testimony to the estimation

' in which his character was generally held .

’ In September o f the same year there was a ﬁve days sale Of the ’ an d o f w painter s prints , books , pictures , but none his own works ere i d . A an d v o f nclude hundred ele en these , however , lent by owners in

N —an orwich and the neighbourhood , were exhibited in the autumn

exhibition which included nearly all his important works .

’ Cr m t Pl ace in t Hi t r o rt ' . o e he s o y fA

D r R . M ichard uther , in the one work at present existing which

d o f C attempts to deal with mo ern painting as a whole , says rome that “ f “ N he lived absolutely apart from the England O his time . orwich

- H th was his birthplace and his life long residence . e did not know e

o f o fW name Turner , he knew nothing ilson , he had perhaps never heard G ’ i ainsborough s name . H s pictures are inﬂuenced neither by his con H E f . temporaries nor his nglish orerunners obbema is his model , ” o f N the art the etherlands his ideal .

E G f e k ven a erman pro essor cannot be exp cted to now everything ,

’ D r M W u he r . and . t s book is an astonishing achievement hen one con

o f diﬂicu ltie s o f siders the immense scope its design , and the procuring

a d d if . accur te knowle ge , it woul be very singular errors were absent

S o f till , while recognising the intelligence conception displayed in this

m a o f m s history , we y be permitted to deplore that almost all the state ent

f is f D r M C O . quoted rom . uther about rome are the reverse true It worth while drawing attention to this , because the book is now a standard

o f f t o f C o n work re erence , and because the view aken rome is based

E Of nglish writers , and is the prevalent view him at this day in

England .

7OHN CROME 45

It will be e vident from the forego in g pages that this con ception o f ’ art t n i n s t a o fH an d the Crome s , as con inui g w th modiﬁcatio h t obbema

D tchmm has l r i o f R Wi Ga u t . , on y ing ed en s truth ichard lson and ins '

ro t can n o s in . bo ugh , here be doubt about it , were Crome s ﬁr t loves art

He o n E s o f a t carries the ngli h tradition landsc pe , bequeathed by hem , w f o f l s o f o n ith the in usion a more vigorous rea i m his w . It was this {in bo rn te n dency to realism which attracted him later to the D utch ' mas ters . Crome s was n o t a nature t o rest satisﬁed with the Italian

r e s o f t fo r n t adition in the r pre entation rees , example , handed dow

r W o n o r f o f G th ough Claude and ils n , with the mannered acility ains ’ o r f- ar OfH b ough s later style . In the grave and sel suppressing t obbema he o B t D recognised a spirit akin to his wn . u in emulating the utch

s f to an d The ma ter he brought his already ormed style the work , in Po r in glan d Oak was able to pro duce a picture which is more than eq u al

' ’ to Of H o bbe ma s o r Ru sdae l s r o f v anything y in g asp ital truth , while

o f i in the glow insp ration it by far excels them .

o f t wo s s Crome , then , stands at the meeting tradition in land cape ;

n o t to o to n c it is much say , that his ame is greater than any whi h

d s v R C e d . ma e either illustriou above laud , abo e uys ael

e art n o t u n in ﬂu e n ce d o c Since his day , landscap , by phot graphy , whi h

' has t o s at o e n s saw f opened all men s eye wh nly k e Ob ervers be ore, has immen sely increased its conte nt the co mmon stock o f Obse rved and r n it A n d n e a . ecorded truth is vastly greater th was as a atural r sult, t e t a e t a a to h re have been , and are , con inu l r vol s g inst the tendency d ul ness which realism threatens ; there is even a danger fo r some minds o f to e going the other extreme , and prizing art which achiev s a certain t f f s yle by dint o sheer inadequacy O Obs ervation .

a to s C b ck seek a clas ic , it is rome we should ﬁx upon

who o f re - r i han Constable , , by an accident , was the means c eat ng

F Fo r r so f o r a n . ench landscape , since potent a orce in m de n p inti g

r an d k d n o t n f to C aU Crome , with a ange nowle ge i erior onstable , is in

m l u e e o f a i i aginative qualities, as wel as in act al pow r and eas p int ng , his s e e tl up rior . Constable attracts us because we se e him always arnes y

r s l in b He was w e t g with his material u t he rarely masters it entirely .

to t l t s was so li well ﬁtted s imu a e and rouse , becau e he de berate a refo rmer ; but we must beware lest admiration fo r moral courage lead us 46 7OHN CR OME

m be into making all innovation an excellence . It is someti es assumed to

n f f a Co stable s chie praise , that he chose to paint oli ge at the dullest

o f o f period the year , the heavy green midsummer ; simply because it

f C a had been avoided be ore his time . onst ble has other claims than this .

B u t The Ha - Wa in ff even y , a noble picture , has a prosaic , ﬂat e ect , when

/t l eath the mind is saturated with Mo use o d H .

' ' I Cha ra cteris tics o Cro me s A rt . f

' ? What was Crome s own aim in painting We are fortunate in f ‘ f S knowing , rom a letter to his riend and pupil James tark , something

o f 1 h f 81 t e o . . 6 his thoughts It was written in , in time his maturity

FR IE ND JAME S ( he write s) - Ire ce ive d vo u r kin d le t te r an d fe e l m u ch ple as e d at o u r a ro va o f m ict u re fe ar o u wi s e e to o man e rro rs fo r a ain te r y pp l y p . I y ll v p o fm o n ractice an d at m tim e o f ife ho we v e r th e re are arts in it o u i e y l g p y l , p y l k ,

have n o do u t s o am ha In o u r e t te r o u wis h m e to ive o u . m I b , I ppy y l y g y y o in io n o f o u r ict u re s ho u d hav i e d it e t te r if o u had m ade t m o p y p . I l e l k b y i re o f a who e that is the t re e s s tro n e r t he sk ru n n in fro m the m in s hado w u to l , , g , y g p t he o o site co rn e r that m i ht have ro du ce d what thin it wan te d an d have pp ; g p , I k, ,

m ade it m u ch e ss a to o ict u re e ffe ct can n o t le t o u r s k o O ffwitho u l p . I y y g t so m e s e rv t io n hin t h characte r o f o u r c o u ds to o affe cte d h o a . t e t at is to o b I k y l , , m u ch o f so me o f o u r m o de rn ain te rs who m is ta e so me o f o u r re at maste rs p , k g ;

e cau se the so m e tim e s u t in s o m e o ft ho s e ro u n d characte rs o f c o u ds th e m u s t b y p l , y do t he sam e bu t if o u o o at an o f the ir s ie s t he e ithe r ass is t in the co m ; y l k y k , y i O r m a e so m e fi u re in the ict u re n a so m e tim e s a t he dd o s it o n rs t e . p k g p , y, pl y fi fi l ? Bre ath m u st be at te n de d to if o u ain t bu t a m u sc e ive s it re ath Y o u r y p , l g b do in t he sam e the s k ma in arts ro ad an d o f a o o d s ha e that th e g by y, k g p b g p , y m a co m e in wit h o u r co m o s itio n fo rm in o n e ran d an o f i ht an d s hade y y p , g g pl l g , this m u s t a wa s e ase a o o d e e an d e e t he atte n tio n o f the s e ctato r an d l y pl g y , k p p , v r o n e T rifle s in n at u re m u s t be o ve r o o e d t hat w give de light to e e y . l k e may h ave o u r fe e in s raise d b se e in t he who e ict u re at a an ce n o t kn o win ho w o r l g y g l p gl , g

o harm e d have writ te n o u a o n ri maro e s to r a o u t v n wh we are s c . I v l g g l y b gi i g y — dign ity to whate ve r yo u pain t I fe ar so l o n g t h at I s ho u ld be scarce ly able to an f Y o u wi ho e ta e the wi fo he d u n de rs tan d what m e m y se . r t e e d an d I l ll, I p , k ll ,

fo r ve a l fau t i di tio n ram m ar s e in e tc at the sam e tim e i l s n c . g l , g , p ll g,

1 ’ I h o se ss io n o f Mr A Star th e ain te r s so n an d rin te d in th e . m m n t s . . e e o ir p J k , p , p o o f th e s th e x hibitio n o f t h e N o rwich A rt C ircl e p re ﬁxe d to th e catal gu e ix .

T his at ﬁrs t si h t rath e r cry tic s e n te n ce m u s t b e re ad B rea dth as th e co n te x t , g , p ,

h o ws s . 7OHN CROME 47

This lett er shows us that Crome did not work from a sort o f

u n o o n s cio us i o i l r se A n n u . d ho w i st nct , but c nsc ous y p sued a cho n aim

e l c his n ho w ﬁn e his aim xcellent y lear is mi d , ' Crome s devotion to breadth and dignity is admirably seen in certain “ ' sm t o f f an d o f as s all pic ures still li e plants, made probably studie

fo r f re f o f l o grounds . It helps him in the oregrounds his arge co m

n o e/t old H a /x p os itio s . In Mu s e t could anything be better than the

t is ks ? t h tles , doc , and sorrel They are painted with en ire knowledge,

' t o f A n d but wi h superb economy means . it is the same with Crome s

t s . t n o t l o f ree The bo anist is at a oss to . , uame them ; the character g ach is brou ght o u t and dwelt upon W i th loving care ; but it is not

o f a o ak o r to m as a map natomical detail that an a willow appears Cro e ,

o f f fu o f s e s but as a thing li e , ll running sap , silently but cea el s ly growing mud a n o t so f u ch nging , and much adorned with oliage as sentient thro gh

h t o S k o f a t ousand leaves . In the letter tar we see his hatred the ve n tio n s which petri fy and kill ; he will n o t tame free n ature “ t e ff H f f pic ure ect . ence he never paints a ter a ormula ; he sees is fresh to him and wonderful ; he is al ways alert to

. a e impression Seeing a tree in sunlight , he p ints its branch s its leaves all touched with light but when he paints a shady

e o f s all his knowledg detail , and expresse only the

the Cha el Field; o f N l shadow , as in p the ationa

O s s o f o f Gallery . ther painters have een only thi side the charm

‘ ' ee n content to -gts pe hd ﬁh e ir lives upon it ; yet none

t a u h n Crome in this pict re , where the hidden tember day makes luminous twilight in the soft i es , and streaks the road beneath the stems w th dreamy t§hado ws What a pity that this compos ition has been marred by cattle ' an d d ﬁgures , a ded by another hand

i fo r e l n f s im This sensit veness , this capacity p rpetua ly receivi g re h ’ H e s to t a o f . p r s ions, is especially be no ed in Crome s tre tment light ere he shows a subtl ety o f sight an d a certainty o f touch which are o f the

- R br k D a wn . 1 a t rarest order . In the little em andt li e (p 5 ) he p in s

t n Mouse/told the still , whi e , early glow, brightening and expa ding ; in

“ ” “ ' - Pe rh s ho we ver w icture sho l d be re ad two ict ure i t . an e ffe cr ap , , e p u p ; wa tin u it n g n y. 48 7OHN CROME

Heat': the evening sunshine bathes the earth and sky , and steeps the

Mi o f clouds in aerial clearness ; and the New ll s (p . 43 ) is a type

’ o f Crome s pictures wood and water and old buildings , in which the mirrored light plays through the shadow , exquisitely luminous , or qu ivers from above o n the dark leaves with just that effect which

f T Po rin lan d Oa Constable is o ten said to h ave ﬁrst painted . he g k seems

fﬁ o f to attack the most di cult problems direct and reﬂected sunshine , and triumphs over all . We have already noticed that Crome in most o f his etchings seems

f o f to lose his style . The reason is that he had not ound a means

A n d l representing atmosphere in black and white . it is probab e that

o f any pitch realism is compatible with good art , so long as there be l atmos phere . The visib e world never at any moment coincides with

o f the tangible world ; it is the tangible world , divested all interposing atmosphere , whether objective or subjective , that science and realistic artists and novelists try to reach ; but the true painter and true poet

f o f see things only as they are visible to human beings ull emotions ,

- u o f memories , a thousand unconsciously stored res lts experience , which again go o u t unconsciously to tinge and inﬂu ence the seeing eye and the port raying hand . In his etchings Crome represented trees divested

f o f o . so part what , to us , is their reality In his paintings it was never

f f o f l he painted the ull li e things , but clothed in uminous air .

all o f fﬁ f In art , one the greatest di culties is to grapple with li e , and

’ T o at the same time to keep one s style . achieve style and maintain

u l it , witho t coming to c ose quarters with reality , is by comparison easy

’ but to wrestle with immense , intractable nature , and mould it to one s

v o f will , yet at the same time to keep in iolable the conditions beauty , ’ “ o f M A this it is which , in a phrase atthew rnold s , tears to pieces

’

. C many artists It is rome s glory that he triumphed in this trial . Very fe w indeed are the landscape painters who have put so much

t o matter into their pic ures and risen to such a dignity fmanner .

5 0 7OHN SE L L COTM/IN

Fe w E o f N towns in ngland have so much ﬁne old architecture as orwich ,

u f f so many vario s splendid remains , as Cotman himsel said long a ter

a w o f o f E w rds , hen he had seen most the ancient cities ngland ; and he “ o f u f d spoke also its bea ti ul neighbourhood , not to be equalle in its B E quiet way by any city in the ritish mpire , and beloved by me .

o f o Cotman was one those in whom early associations strike deep ro t , N N f and he never ceased to love orwich and or olk .

Mr R f ll . o eeve , in his incomparable collection Cotman drawings , i us tratin o f - o fOld Ho u s es g every phase the artist , has one Indian ink sketch ,

Mill L a n e Newma r ket R o ad if 1 , , which , the date on it ( 794) be correct , C ’ f was done in otman s thirteenth year . It is not remarkable in itsel , but

o f already shows a sense style .

’ O n fo r f leaving school the boy was intended his ather s business .

Bu t f f a ter a brie trial he rebelled ; he was bent on being a painter .

f fo r The ather was distressed but , anxious to do the best his son , sought “ o f O N Le t the advice pie , who was then at orwich him rather black

’ f w f o f O boots than ollo the pro ession an artist , was pie s bitter reply .

Bu t o f S 1 1 8 , in spite everything , John ell had his way and in 79 7 or 79 he journeyed up to try his fortunes in London . Of f his ﬁrst experiences there we have a glimpse in a once amous , n ow f Thadd o Wa rs a eus w. P almost orgotten novel , f The hero , a olish

o f o f L noble the house Sobieski , exiled in ondon and reduced to want ,

m fo r Hi ﬁnds that his sole dependence ust rest on his talents painting . s taste easily perceived that there were many drawings exhibited fo r sale

f fo r much in erior to those which he had executed mere amusement . So

fo r G N w S o f - he sets out reat e port treet , the great home print sellers, and

His entering a shop throws his drawings instantly upon the counter .

’ pride is mortiﬁed by the print- seller s disrespectful treatment o f him he

Bu ﬂings himself out o f the shop and goes home . t necessity compels f him to venture orth again , and he consents to make six drawings a week f o r a guinea .

’ So bie ski s experiences are said to have been suggested by what actually W happened to the young Cotman . ithout accepting the tale literally , we may see in it the relations between the young artists and the print

’ o f o f sellers the day , and may conjecture something Cotman s sensitive

P o f Thaddeu s pride , on which perhaps Jane orter , the author , meant 7OHN SE L L COTMA N 5 1

f W T hir le f l . e t play ully to ral y him know , at any rate , that John , a ter

’ ’ C - in - A wards otman s brother law , used regularly to look in ckerman s if N w f window to see there were any new drawings by his or ich riend .

’ It was n o t long be fore Cotman s talents wo n him appre ciation from

f a f s se an d a o o f a D r his rivals , and rom th t amous connoi ur p tr n rtists , .

as Mo Mo n was n o w a fo e a o ld an d h ad Thom nro . ro bout rty y rs , been

1 2 s a to B e we an Be e e m Ho s a Bu t since 79 phy ici n rid ll d thl h pit l . his

Portra i t o . C o tma n f ' S . .

' ' rom a Litho ra h in the o s s ess /o h o Ree r e F g p p f ,

was fo r art o f he was an e n s as a D great love , which thu i tic mateur . uring the long wi n te r eve n i n gs his h o u se in A de lph i T e rrace became a studi o

c o f o s o f m w e in whi h a group y ung men , ome who ere already b coming

’ f a n e D s e s amous , copied dr wings u d r the octor ncouraging supervi ion ,

f- a- fo r sharing candles and receiving a supper and hal crown the evening .

W f o f E l - f orking here were the ounders ng ish water colour painting , chie G T among whom were irtin and urner . A t this early period o f his career Turner held a position secondary

o f o f G . far G to that irtin They were equal age , but so irtin had shown 5 2 70HN SELL COTM/IN

f G m f . hi sel the bolder spirit , and had gone the arther It was irtin who

- Hi w f art . s r e really en ranchised water colour d a ings, broadly wash d

f e o f with a ull brush on cartridge pap r , displayed a richness colouring

1 and a spaciousness o f style hitherto unknown . In 796 he had spent

o f E n o f o the summer in the north gland , and in his painting mo r and fell and cloud there was an imaginative apprehension o f the beau ty o f l so emn and solitary places, not less rare and noble in its way than the W kindred poetry o f ordsworth . On all the youthful painters who gathered at A delphi Terrace in w E the inter evenings, or who rambled through ngland on sketching B G f . s e tours in the summer, irtin had a pro ound inﬂuence e id s Turner,

D e W F V r a ' f w- w int , rancia, John a ley , and Joshua Crist l were ello orkers at A delphi Terrace . ' Cotman also felt the charm and power o f Girtin s art ; and perhap s

G i He n e o f all that youthful band he was nearest to irtin in spir t . joi d

' G 1 a in irtin s sketching club , which had been started in 799 , app rently the

G Fr n m e s : R. Fr . K s . ﬁr t instance by ancia There were ten emb r irtin , a cia,

P o f P e o se t s ct orter (brother Jane orter , who us d s metimes to the ubje s

' f C a U rw o r . o o d the evening , and thus made otman s acqu intance), T nde , W D h . w t e o r G u . . al . Sam el , T orthington , and J C enham , who ere igin W llc t P . A . . o t d e Ca . M ra an s ven ; and three later acquisitions , , S ur y, f B f C e f o . 1 800 w n otman hims l , probabl y the youngest them all e ore , he

ad n W les an d Cotman was eighteen , he had m e sketching excursio s in a

S R a A E o f i in urrey. In the oy l cademy xhibition that year he had s x

r o f o f D n d awings , ﬁve Surrey subjects, in the neighbourhood orki g ,

G f L o fHa . ea uild ord , and eatherhead , and one rlech Castle In the same y r

fo r n H a P o f o fA he received a drawi g the onor ry alette the Society rts .

o f 1800 1 80 1 l W fo r The summers and were probab y spent in ales , we ﬁnd him exhibiting subjects from South and from North Wales in the

’ A f f 1 1 1 o 80 80 2 . r R M. cademy the years ollowing them , and In eeve s

o f B collection is a drawing ridgnorth , in Shropshire , made on his way to

W o r 1800 r ales, on his return , dated , and signed in upright cha acters,

ma Co t n . It is a monochrome in warm brown .

A l o f L though spending most his time in ondon and in long excursions,

C o f N w otman did not neglect to spend part each year at or ich . In the “ N orwich Me rcu r o f S 1 80 2 f f y eptember 4, , he in orms his riends that 7OHN SEL L COTMA N 5 3

N fo r o r during his stay in orwich , which will be three weeks a month , he proposes giving lessons in drawing to those ladies or gentlemen who may think his sketching from Nature o r style o f colouring beneﬁcial to their

e h - - . T e e as e f n improv ment t rms k d were hal a guine a a hour .

T wo ft v e e d G months a er this ad ertisement app ar , irtin died in

L H w - . e as e e ondon only tw nty sev n .

T he s e v e a a e n s e w a a k tching club survi d him , but pp r tly om h t tr ns

' La u ds m e C o m os z tz ou B o t/h o . C a rt p p . y 7. .

rom a Sht trh 111 the oss ess t o/t o B a s il C o r t rh t h E . F p f , a formed ; o r perhaps the re we re se ve ral clubs which s pran g o u t o f the

A t e we n w a Co a e n e original club . any rat k o th t tm n b lo g d to a club

' m e t 1 80 o n A s in G n s a s e w which in 3 and wards . irti d y , th y ould meet

e o f o n e o f m s wh o a at the hous the me ber , provided p per and colours ,

a wh f n d o a o . A as well as a supper , kept the dr wings the evening

’ fe w o f D r P these sets must still exist ; one was sold at . ercy s sale

T he n e o in 1890 . composition here reproduced is o f a number o f

Mr B C sketching cl u b designs belonging to . asil ornish ; more than one

o f O is by Cotman , whose inﬂuence seems perceptible in most them . thers

H d N P u S n M V W are by aywar , eill , a l a dby , unn , John arley , and ebster ; 54 7OHN SELL COTMA N

— Mr al o f Weird Scen e Mo o n li ht . names so recorded on the back a g , in

’ R o n M 2 1 80 eeve s possession , as having been present arch 3 , 3 , when

f r R o f o M. v Cotman was president r the evening . ee e has a number

’ Cotman s sketching club compositions and The Cen tau r here reproduced f o f . S o is one these everal are similar mythological or historical subjects , an d show that ﬁgures occupied the young artist at this time almost as much as landscape . From the A cademy catalogues fo r the next fe w years we are able to ’ B W trace Cotman s ramblings over the country . esides ales, he sketched

L in L in Shropshire , Somersetshire , and incolnshire , as well as ondon f Y and the neighbourhood ; but his avourite haunt was orkshire , where H f r F Cho lme le f B . e he made a warm riend in M. rancis y o randsby taught the young Cho lmele ys drawing ; and they all too k the liveliest

' ff w o f f and most a ectionate interest in the ork their riend Cotty , as W they named him . hile with the Ch o lme le ys he made some pe ncil

o f o f o f f are n o t portraits them and some their riends . These

c remarkable , but show that Cotman did not negle t portraiture , which a

o little later he to k up in some earnest .

o f was Cotman had always a great charm manner , and he good

. 1 f r looking The portrait reproduced on p . 5 , rom a unique lithog aph

’ Mr f . R o r in eeve s possession , shows his ace as it was at this time a f o . little later , be ore anxiety had worn it , as it did so so n f This riendship was maintained by correspondence fo r many years .

Cho lm e le fo r C y had always kind and wise counsel otman , and to him

o f the young painter confided his hopes and disappointments . In one these letters we find already that note o f depression which was later so C f f ill much intensified . otman writes ull o disappointment at the

o f f o f success his drawings , and accuses himsel extravagance ; and

Cho lme le y writes back a long letter to console him , encourages him to

fo r f f hope the uture , and to remember that he has good riends , like the f Turners , who, as he himsel had written , were as kind and generous as

' D T o ever . awson urner and his wife seem indeed t have early interested

’ themselves in Cotman s career ; it is evident that their friendship was

o f o f N 1 80 already some standing . In a letter to Turner ovember 5 , Cotman says that his summer tour o fthat year has been conﬁned to York D f N f . and urham , and that his chie study has been colouring rom ature 7OHN SEL L COTMA N 5 5

N L ext year he was in incolnshire , and while sketching there the

The C en ta r tmau C oll t tiort o R s u . B . C o . e . ees e E y 7. S f 7 , q .

ro m the re rodu t tiou u blished b the A u t ot e C om an F p p y yp p y . impulse came to him to return an d settle down at Norwich and having

made up his mind , he started home . 5 6 7OHN SELL COTMA N

Re turn to No rwich a n d rs t Res iden ce there—Ea rl D rawin s II . , ﬁ y g

O n f N returning to his native city , Cotman ound the orwich Society in

f f l T he o . the first flush its youth u activity first exhibition , as we saw ,

had been held in the previous year .

a dl o f Indeed , we can h r y doubt that the spectacle a young and vigorous society holding exhibitions in the place where he was known f m already , and numbering many riends among its embers , had its inﬂuence N F f in determining his resolution to live and work at orwich . ull o hope

fo r f and interest in his work , he began to make plans the uture , and to

O n e f . o carry out schemes already in his mind these was to paint in oils .

H - itherto, he seems to have worked entirely in water colours ; but we

f f F Cho lme le know , by a letter rom his riend rancis y, that while in

Yorkshire he had turned his thoughts to oils .

’ T owards the end o f the same year he took a house in Luckett s

W S —a o ld —in Court , ymer treet , pleasant house , now pulled down ,

’ o f f tending to open there a school drawing , and to hold a ortnight s exhibition o fhis o wn works . The exhibition does not seem to have been

N o ﬂiered held probably because the orwich Society better opportunities . He must have joined the Norwich Society almost immediately on settling

’ 1 80 in the city . In the next year s exhibition , 7, he had twenty works , “ f V among them six portraits and a sketch a ter andyke , probably the f ’ R ’ o Mr . sketch a man s head now in eeve s possession . There were also

’ D u rha m Ca thedra l Cro la n d A bbe f o f o n and y y , avourite subjects C tma s ,

at B M se both represented the ritish useum , and it may be by the very B drawings . oth have done service as drawing copies and are somewhat

D r a f . Ye t u h m rubbed and aded the , here reproduced , remains a noble G ’ drawing . It has irtin s largeness and serious simplicity , and at the same

o o f o f in time a deeper c mprehension the grandeur the architecture , an tenser feeling fo r the actual moulding and essential character o fthe old A ’ stone . ltogether this is a ﬁner thing than Mr. Colman s D u rham

Ca thedra l an d Ca s tle fu , an oblong drawing , in which the wonder l situation o f f the cathedral is not seized to the ullest advantage , and in which the — l — colour which has a tered a little is less harmonious .

T he B M Cro l a n d ritish useum y is not quite a success . It is too large

5 8 7OHN SELL COTMA N

fo r fo r . the composition ; and the p ainting is , Cotman , a little laboured

N - evertheless , the piled , contorted , mountainous thunder cloud receding

fe n o f A slowly over the , the ruined arches and tower the bbey, rising

o f f against it in cold light , even the chill the air a ter the storm , these are expresse d with an intensity and a grandeur that fe w could have surpassed .

Mr Bu t a drawing which is ﬁner and in better condition than these is .

’ ’ Gre a r i e H D u n combe Park R t B d . eeve s g ere , and in the same owner s ,

’ No re ro d u c the ﬁnest qualities o fCotman s ear lier art are summed up . p tion can convey the extraordinary charm o f colour which Greta B ridge

S to o fo r possesses . ober is tame and negative a word the harmony that

: f o f pervades it it is quiet , it is severe ; yet ull living power in all its

v . quietness , rich and abundant in all its se erity

m e a r Of equal and perhaps rarer charm is the exquisite D u n co b P k.

f o f Nowhere so per ectl y has Cotman painted the grace trees in spring . T he delicate stem o f the ash and its fresh leaves traced on the sky are painted ﬁrmly , with no second touches to mar their transparency , yet

e ' with what sensitiv precision , what aerial lightness Such a drawing as this makes no loud appeal ; but when the eye has lingered upon it sufﬁciently fo r the mind to enter its atmosphere this v ision o f spri n g

d v woods in their solitude, retired as noon ay dew , seems indeed to ha e

o f all distilled the secret charm all such places, and to contain the beauty

' o f one s memories , with a beauty heightened and more real . w It is odd to remember that hile exhibiting drawings like this , Cot “ ' f B u man styled himsel portrait painter . t doubtless painting portraits

n D un combe Pa rks A s f brought more proﬁt than painti g . an example o

’ C o f - o f otman s portraiture at this period , the reproduction a water colour

C 1 1 80 rome (p . 3 ) done in 9 is interesting .

’ In 1 80 8 the Norwich Exhibition had a wonderful display o fCotman s

- l work ; no less than sixty seven productions, and among them severa

o il sketches and studies in , his ﬁrst beginnings in this medium .

' o f Mr R f Twic n h . ke am In the exhibition this year was eeve s delight ul ,

Mid- da o f y , in which , though the method painting is the same as in

Greta B rid e e ff f g , there is p rceptible a certain di erence in eeling , an

m o f f . o f z ele ent resh beauty The sense bree e and sunshine , the ex

o f o o f o n pression physical jy in a day idle pleasure the river , are things

r l which in earlier drawings Cotman seems sca ce y to have aimed at , h Par h n can / e B . C an l c i n D u . S otm C o le t o o s . . R e v E . . e e y 7 f 7 , o

rom the re r odu ction u hlished i the A u to t e C om an F p p h yp p y . 6 0 7OHN SELL co TM/IN

L l ff o f r . choosing rather so emn solitudes or noble e ects a chitecture ater ,

f o f - we ﬁnd o ten a great delight in the painting pleasure parties , scenes with

B u t gay and luxurious accessories . rarely do we ﬁnd it expressed with

f f o f such happy reshness, such a eeling youth and morning, as in this

T e ham early wick n .

Ma rria e—D rawin r ious t o 1 1 III . g gs p ev 8 7

A C ff f o f lready , as we have noticed , otman had su ered rom ﬁts

f f f B u t despondency when he elt uncertain o his uture . just now he

f o f o f He seems to have been ull hope as activity . was much esteemed N f f at orwich , was making riends, and eeling that his powers were recog

is f - e f f n e d . H o r by his ellow artists had schemes the uture , and looked f E 1 80 orward . arly in 9 he was married .

His f A n n Ml o f f F wi e , il s, was the daughter a armer at elbrigg , near F lb i Of e r 6 . Cromer , and at gg the wedding took place on January his

f e wi e we know little , but in a pencil portrait by Cotman , possess d by

D r f f . o their grandson , Cotman , her eatures and expression have a look sweet ﬁrmness , which conﬁrms what appears elsewhere about her character .

C l His l otman ost no time in settling to his work as a teacher . p an f f o o u . teaching was a peculiar one . It was the system a circ lating library

l fo r o f f Subscribers cou d choose , a quarterly subscription a guinea , rom a

o f collection six hundred drawings, taking home what they liked to copy . Cotman gave instructions in copying on the two days in the week when the drawings were delivered . It was his practice to number these draw

e f - u f ings ; the numb rs o ten seen on his water colo rs re er to this collection .

A n d e as there are some bearing numbers running into s veral thousands ,

r the collection must have greatly increased in later yea s .

B e e esides painting and teaching , Cotman now b gan to turn s rious P attention to etching . erhaps among his earliest attempts on copper

o f f- f were some the so t ground etchings , not published till long a terwards

r St dio r m f 1 Bu f r l in the L ibe u u o 83 8. t these were done o his own p ea

It n o w o f sure . was in his thoughts to publish a volume etchings by

B u f o f subscription . t be ore turning to the series etchings which were to

64 7OHN SELL co m/MN

Shadowed Stream trees , under which two boys are ﬁshing , and the

f Postwick (p . 77) are instances ; and perhaps more beauti ul than either , G row (p .

H a o f Ca de r Idris ere , and lso in a drawing , with a mountain pool in

f h as th e the oreground, into which Cotman inserted , to break lines , a f ff h o . number stakes, a curious e ect is noticeable To gain ric ness and

C h had brilliance , otman mixed with his colour thin paste , whic been

a o f o n allowed to go sour ; the paint , inste d being absorbed , lies the sur f a in f o . ace , transp rent the track the brush , and clotted at its edges The

f ff t the m result is a wonder ul glowing e ec , especially in intense and lu inous l o fCo der Idris blues .

’ A l l o fthese are in all probability anterior to Cotman s ﬁrst visit to

1 1 A f N Normandy in 8 7. ter his ormandy tours his colouring was

s far almost alway in a higher key . With the drawings made in Normandy and after his return I shall M deal later . eanwhile let us come back to the etchings .

V — I . Etchings Res iden ce at Ya rmo uth

A D F 1 81 1 o f letter to awson Turner, dated ebruary , the original

P R o f B M m which is now in the rint oom the ritish useum , tells us so e ’ “ f C He : l l ow thing o otman s aims in etching . says I decidedly fo

P far iranesi , however I may be behind him in every requisite and he goes on to ask his friend if he could manage to procure him a s ight o fa ’ o fPiran esi s r H n G n M. complete set etchings , such as he knew udso ur ey “ A : in to possess . gain It has been my aim to improve by every means

o f m fo r my power , even in the article paper, which I caused to be ade

- s . me . The substance is stouter and better coloured than mo t prints W C hen this letter was written , otman had already etched his ﬁrst

f M 1 1 t o . 8 0 1 1 se e 18 . s ries plates ost are dated , several January The

1 81 1 B Co l n a hi was issued in parts , and published in by oydell and by g H C . E n l l W he L . e ﬁe d Ba t in ondon , and dedicated to Sir g , rt . ith

o f D P k ts are exception one plate , a sylvan scene in uncombe ar , the subjec f o Y k r . all architectural , and the majority these are antiquities in or shi e

1 ’ A ll th e s e drawin s are in Mr v . e e e s co e ctio n g R ll .

yOHN SELL co rMaN 6 7

' A l l t man tch w a e the s Co s e ings ere b dly print d, in driest po sible way , and this makes his bitten lines appear more meagre and poverty- stricken than

A s an r . a P i they really we e etcher, he cannot be comp red to iranes .

No r o f fe w fe a did , except in some the plates published a t r his de th , he ’ k in u i e . f m l wor the tr e etcher s sp rit These tchings are , in act , si p y

r r o f h r l l eco ds arc itectu a studies . It is in this ight that we must view

m s o t a F w t . e he ; and regarded , they have ex raordin ry merit have

so o r m understood architecture well , drawn it with such astery .

n o t z o f u o f f It is merely the sei ure a picturesq e point view , rom which a ruined arch o r a cathedral front co n veniently helps the

c t o n o r omposition and gives interest the landscape , is it the plain f C l lik o . a eness a building otman oved architecture , and at his h nds a

m o f co m onument antiquity receives a loving treatment , its dignity is

o h mu n icated f . t im o f , its eatures tenderly recorded It is a thing

r f as has vene able li e , and he draws it almost a sentient creation , that

d f o f o wn n o t so live its li e and gathered round it an atmosphere its ,

m h o u t o f o wn s uc built upon as growing the ground , with its tree and

- a a o f hills about it , surrounding the weather moulded w lls with . kind

E a to natural sanctity . ven the clouds are m de conspire sometimes

s B l a d bbe o r a . n A f towards the particul r impre sion designed In the y y ,

’ t Mr R the t a . instance (a nearer view han th in eeve s ﬁne early drawing) ,

a o n o f white ascending clouds c rry and upward the lines the building , as

' ifin the artist s mind they were raising again in a t riumphant dream the

n - f f soari n g arch o fthe lo g allen roo . In the same letter from which I have already quoted Cotman ann o unces his intention o f be ginni n g a series o fEtchin gs of all Orn a

n ted A n ti u ities in Nor o lk. e me q f The series thus projected was issu d ,

l k ﬁ o f f 1 812 i e the rst , in ten parts, the publication which extended rom

Lo m 18 s n an s . to 18 . In this last year they were is ued complete by g

The plates are sixty in number .

f r Ma h l m f N o Y . e nw i e Cot an had le t orwich Southtown , armouth In maki n g this chan ge he was chie ﬂy inﬂuenced by his frie ndship fo r

Daw n e who i Y h an d s i u arian u i s son Tur r, l ved at armout , who e ant q enth s a m

o hr u D had foun d in Cot man s ready a seconder . T o gh awson Turn e r

als ain man il an d was n c u e h n k ha o Cotman g ed y pup s, he e o rag d to t i t t

by li ving at Yarmo u th he woul d be neﬁt pro fess ionally . 6 8 7OHN S ELL COTMA N

N A t the same time he did not sever his connection with orwich , but

His h f e continued giving regular lessons there . time was t ere ore pass d

He Y 182 . between the two places . was to remain in armouth till 3

Bu t T hese years were principally occupied with etching . he also

- h devoted more attention than he had hitherto done to oil painting . T e

Wa te r a l l f m f f , with its beauti ul co position and bold colour , dates rom the earlier part o fthis period ; and from these years also must date the

’ o f - o f Fis hin B oats o earliest Cotman s ﬁne sea pieces, which the g f

Ya rmo u th is s o splendid a specimen . The now habitual sight and companionship o f the sea began to enter

' C f f o f into otman s li e ; he studied shipping , and mastered the orms

A n d waves . perhaps as potent , though indirect , was the inﬂuence on his

o f f s o f s e a mind and art the change ul vastne s , the restless inﬁnity the , bringing a new and quickening stimulus to his eye and brain .

W A n ti u ities Nor o l Bu t to return to the etchings . hile the q of f k

o f k was still in course publication , Cotman projected another large wor ,

T 1 the Sep u l chra l B ra s s es of Norfo lk. his occupied him between 814

181 8 181 . and , and the work was published in 9 In a second edition , f ff B 1 8 o a . published by ohn in 39 , a series Su olk brasses were dded The

B ras s es need not concern us , beyond showing how absorbed in antiquities C otman was at this period .

1 81 also o f him 4. is the date a little volume illustrated by , occasioned f T h o fN . e an by the all apoleon in that year book , privately printed , is “ o f G F Y 1 o f account the rand estival at armouth , on Tuesday , the 9th

A 1 pril 814 .

’ C - otman s title page represents , above , a scene at the dinner given on the quay to eight thousand people ; the beef and plum- pudding are

f f : arriving , and oaming tankards uproariously li ted below , the donkey f T f races which ollowed . hese estivities led up to the ceremonious

o f fﬁ o f N kindling a huge bonﬁre , crowned by an e gy apoleon (the head

. C h ﬁlled with gunpowder) This was also etched by otman , together wit

o f - o f F n r a plan the dinner tables on the quay , and an elevation the u e al

' Pile o the B u o n a a rtea n D n as t o f D f p y y , a picture the Tyrant in the evil s A . f clutches ltogether, it is an amusing glimpse into that wonder ul time

E fo r f f B n when urope a brie time breathed reely , and through ritai

me n o f especially all were in a rapture excited joy . ’ Prior s En tran c El a h e C t edral . rom the E tchin b S . . C otman , y F g y 7 .

72 7OHN SELL COTMA N

G f f ass n s aillard , one rom below , the other rom above , with the m ive rui standing desolate on their rocky solitudes ; Tancarville Cas tle with its fringed cliffs reﬂected in the sunny stream ; Falaise rising steeply abo v e

M M n s n d headlong boulders ; and ont St . ichel , surrounded by i ﬁnite a

e as an d o r a d and sea , are all s en only Cotman would have seen them , p tr ye

o f with a ﬁne appreciation their grandeur . B f D T 1 82 0 e ore this work was issued , awson urner brought out in

A cco u n t o a To u r in No rman d b his f y , the plates in which were etched y

f C . his daughter , mostly a ter otman s design Indeed , besides the actual

fo r A n ti u ities N C an m se drawings the q , ormandy supplied otman with im en

e f his amount o fmaterial . It also s ems to have given a resh impetus to

a m n art , and in p rticular to have set him working on new and ore dari g

W N as experiments in colour . hether the journey to ormandy w the

f sa B u cause o r the occasion o this new departure is hard to y . t it is certain that after 1 82 0 Cotman began to conceive his paintings in a far

o f ff f higher key colour, aiming at audacious e ects , in which he o ten

f ar succeeded and sometimes ailed . The change in his t is nearly parallel T ’ l with that wrought in urner s art by his ﬁrst visit to Italy . This atter B t N s . u n case one can under tand why ormandy , more tha other places,

to should have revealed him new skies and a new sunshine , is not easily P f f x . e c o f e plained erhaps , a ter all , it was not the place its l , but the sho k f f m change , and the reedom which he enjoyed there , away ro the drudgery

o f . E was his teaching ven had he remained at home , it inevitable that art should develop on such lines ; one feels the change coming after the ﬁrst settling at Norwich ; and the Normandy journeys did but hasten this necessary development . The Normandy etchings were by no means the only published

o f - product this most industrious time . In the years 181 6 1 8 Cotman — f l a o f etched ﬁ ty plates decidedly architectura in ch racter, many them f — onts and doorways which were not regularly published , it is said , f . T f u but circulated among his riends hey made a small olio , nder

S cim n s o r G the title p e e f No man an d othic A r chitectu re in the Co u n ty

A o f 1 81 single etching 7 deserves a mention . It represe nts the N C Y elson olumn , which every one who has visited armouth will

f o f f - remember rising rom the sands , and which the oundation ston e

was l . tm ch d an ffe ct sk in i h aid in this year Co an et e in e ive y, wh c

t m l a s phan as a b ttleship tower with great sails amo ng the clouds . ’ 181 e A n ti u ities o Sain t Mar s Cha el a t Sto u rbrid e In 9 appear d q f y p g , n ea r Cambrid e P l Y Daws n : . o g ublished by John Sel Cotman , armouth ’ o f al l o f Turner s copy this , with the states the ten plates, is , like the

o f the Nor o lk A n ti u ities No rma n d in the similar copies f q and the y ,

’ o a c t l Cathedral Pr R . o f P r io r s E n tr n e a E int om The etching the y ,

' r h e c t o f C n i he e reproduced , is a appy sp imen bo h otma s etch ng and o d f o f t d s f his architectu ral rawing . The eeling the stone is here ; it oe n o t so is c l s look like pastry , as with many draughtsmen there s rupu ou

n o s o r a o f is precision , but dulne s h rshness outline , and the copper e ff B S lch a l B rass s . e u r e ectively bitten esides all these works , and the p ,

o f 1818- 1 o f i a publication 9 contains a great number illustrat ons ,

o f n o t C afe many which , though etched by otman , were engraved t r his M o f s as designs . any the e little engravings are admirable as the drawi n gs .

V S o e i I. ec n d R s den ce in No rwich

o f Y The twelve years residence at armouth , which were the most active

' - ﬁlled o f C f e and well otman s li e , compris , roughly speaking , the period

H n f a o f the architectural etchings . e ce orw rd Cotman gave himself u p

o i t paint ng .

No t f f that these years had been by any means un ruit ul in paintings . Of the drawings made before the Normandy towns we have already

- - k . o f o il u s spo en Some his ﬁnest sea pieces , both his and water colo r ,

s fr to T he o il o r . t f en e ce mu t be re e red this time pic ures may , conv i n

k be A t r t sa e , dealt with in a separate section . p esen it will be enough

a f l e to observe in the be uti u composition r produced as a plate , which

s f b 1 82 h o w a i l date rom a out 0, dm rably Cotman cou d seize the motion f o fa boat an d render the e ffect o moon light broken o n rough water. ’ W th e l c o f No r man d 182 2 o ma n i ith pub i ation the y , in , C t n s a t

uarian la o a to A fm o f e a te e n d . h q b urs c me an a ily ﬁve childr n , a d ug r an d f ur the est o f o m Mile Ed d t l o boys, eld wh , s mun , was now we ve ,

ro win r u s th c ld au h e was o rn was g g up o nd him ; and a ix hi , a d g t r , b ’ ' 76 7OHN SELL CO IMA N

D in this same year . issatisﬁed with what he had hitherto been able

fo r to earn , and becoming, with increasing claims up on him , anxious

f fo r o f o the uture , he sought some way bettering his p sition ; and

N he he determined to return to orwich . There , he thought , would

e Y have more scope , and at the same time he hop d to keep his armouth pupils .

f o f r e ca So, ull anticipations , which we e to be little realis d , he me

1 82 e back early in 4. to his native city , and took a large red brick hous

’ ’

St . M t P P e on ar in s alace lain , opposit the bishop s palace . The house

- s has a wrought iron ornamental gate , in which Cotman doubtle s took f N f l pleasure ; and be ore it across the plain , as or o k people , like the

D l o f fo r he f utch , cal a square or place , is a group trees which ound use in his compositions .

f l f f ss In this house , be ore he e t it , twelve years a ter , there was ama ed

o f fo r l a ﬁne collection prints and books and armour ; Cotman , ike

R a f embrandt , and like many another rtist be ore him , could never resist f the temptation to buy beauti ul things and have them round him .

M was o f oreover , as he now no longer in daily sight shipping , he had “ o f o f o f f f - o f- a collection models every sort cra t , rom a man war to a coble .

N 1 82 To herald his return to orwich he had , in 3 , contributed ’ o f N again a number drawings , nineteen , to the orwich Society s

En tran ce in to M o f N . exhibition . ost these were ormandy subjects The

Fa la is e L E , lately belonging to ady astlake , may be taken as a specimen

A o f f l o f this date . gush vivid sunlight over the oreground p ays on

o f o f l the trees and touches the entrance the town , most which is sti l

o f in the blue shadow retreating storm . It is a daring attempt in

l C s contrasted co our , such as otman in these later year became too

o f fond .

D ie e K M The pp at South ensington useum , painted about the same

f o f f time , is also a air example the drawings done rom sketches in f N . o a ormandy In both these , as also in the ﬁne and ch racteristic

ill . fo r B f Win dm (p the reed pen was used outlines . e ore this

e time Cotman do s not seem to have used it . Bu t among these Normandy drawings none is more lovely than

’ M R C/zdtea u in Norman d f ll r . 8 . eeve s y (p a drawing which is u

' ‘ 78 7OHN SE LL CO IMA N

C fo r Mida s Whitb o f u occupying otman , the and the y are two the s bjects

. 1 8 8. in it The etchings were not actually published , however , till 3

VII Co tma n o in s lz e r- c l o r e — e . j t Wa te o u Soci ty D p res s io n

The Norwich Society was suspended fo r a time after the exhibition

’ o f 1 82 in B W C Bu t fr 5 , the last held Sir enjamin rench s ourt . om this

’ C W - year begins otman s connection with the ater colour Society , and he m now beca e a regular exhibitor in London .

F M rs P M . rom letters by iss Turner and her sister, algrave , written in

’ o f Mr R Memo ir January this year and quoted in . eeve s , it appears that

Bu t it was chieﬂy on their suggestion that he joined the Society . the members were themselves anxious that he should exhibit with them . C W “ They would be proud , harles ild the treasurer had said , to ” admit him . C N The result was that otman sent three ormandy drawings , which

o f . had been done as commissions, to the exhibition this same spring

O n e D ie e Mo n t Sa in t Mic/tel o f was pp , already noticed ; another , , one s l o f A bbatia l Ho use o evera he painted this subject ; and a third , the f

St Ouen o uen Mr . R l C , , possibly the drawing now be onging to . olman .

’ o f l d This last is a splendid instance Cotman s ater architectural rawings .

f o f? The house , ornate and stately in itsel , is appropriately set by the

' o f - Mr R Framl in gay groups richly dressed ladies and cavaliers . . oget s g lz am Cas tle o f , a small but impressive drawing , is another example

’ o f 1 2 Cotman s later treatment architecture it is dated 8 8.

N S a In this last year , when the orwich ociety , reorganised , began gain C to hold exhibitions , otman sent drawings to both societies and continued to do so fo r some years . To this period belong most o f a class o f drawings by which Cotman

f - him is sometimes un airly judged . These are the water colours made by W H H . f . rom sketches by . arriott They represent scenes and places never visited by Cotman ; and their inferiority is very palpable when

o wn A s l placed beside drawings which are entirely his . a ru e , the

o f consciousness an intermediary vision between him and the subject ,

s o f an d n are the los grasp i timate comprehension , sought to be atoned 7OHN SE LL COTMA N 79

fo r by daring and brilliance o fcontras ted colour never quite successfully .

' Col o n e Sir C s Ro n n s e The g , in harle bi so coll ction , lately exhibited at the

G e It is t t t s who e . o uildhall , is an xampl be hoped ha tho e saw this

Co an in t he e n n o t m n e it to drawing , the only tm xhibitio , did i agi be representative .

A n d t o f t he t s t m s e f who had e e n o u c n his wha ar i hi l , b pr d i g work

' C o llection a Ree r'e Es o s i G r t/n an . tw cl B o . . P o w . . C y 7. S f y , o

' / b t/' t o t o ff/ a tt From Me repr odn etl o n [wol fs e d y e A u yp e C p y .

? with s uch u n ﬂaggin g i n dus try O f a te mpe ram e n t ﬁn e - s t ru n g in the

t u a ass f o m s s o r e x a at o n to extreme , and con in lly p ing r high pirit lt i ﬁts o f f e he fe t w t e - e as n e n e pro ound m lancholy , l i h ver incr i g k e n ss the

f o s o n A n d o n s o u s as he wearing anxieties o his p iti . c ci must have

o f far to o o f o o f s been powers superior th se m st his contemporarie , he

e s w o f endured doubtless much bittern s in his comparative ant success . He got very fe w commission s ; his pictures and drawings sold ill ; he

f o f was more and more under the yoke o the drudgery teaching . His

n o t a to income did incre se , and was inadequate his needs ; and his mind 80 7OHN SELL COTMA N

f 82 6 o f th e . 1 gave itsel up to gloomy apprehensions In , disappointed

' N th e hopes with which he had returned to orwich , and encumbered with

s ai . large house which he had taken , his depression approached de p r

D f f am in e awson Turner exhorted him to look the acts in the ace , to ex

f if k e a his circumstances care ully , and it were necessary , retrench , and ta

' His fro m . Mr R Memo ir an d smaller house letter is printed in . eeve s ,

it we learn that Cotman had made 2 00 by teaching in the previous ye ar .

Bu t fﬁ f D wro te Cotman was di cult to com ort , and awson Turner then

f r o f l e o u s e to his ather, u ging him to persuade his son to get rid his arg h

if Y fu se d t o and possible return to armouth . This, however , Cotman re

f re n d e r do ; his pride was roused , he elt it would be to retreat , to sur ;

f ff o n u e r and he resolved to make resh e orts , to harden his heart and c q . F ortune , however , did not mend .

A 2 6 1 82 f f frie n d letter , dated June , 9 , re using an invitation rom a ,

o f f reveals the depth gloom into which he had allen .

M vie ws in ife are so co m e te as te d that sin u n de r the re ea te d an d y l pl ly bl , I k p co n s tan t e xe rtio n o f o d an d m in d v r e ffo rt has ee n trie d e ve n with o u t th e . e b y E y b , ho pe o fs u cce ss he n ce that lo ss o fs pirits am o u n tin g almo s t to des pair. M e de s t so n who is fo o win the sam e m ise ra e ro fes s io n with m s e lf y l , ll g bl p y , fee s t he sam e ho e e ss n e ss an d his o we rs o n ce so ro m is in are e ide n tl l p l ; p , p g, v y araliz e d an d his he a th an d s iri s n amia e an d de se rvin wife b t o e . M e r p , l p g y bl g a s he r art with fo rt it u de B u t th r is the re chi dre n can n o t bu t . f p e wo m . My l e e l t he d d v co n ta io n . A s a h u s an d an d fathe r o u n d b e ve r t ie h u man an i in e to g b , b y y che rish an d ro te ct th e m I eav e o u to s u o s e ho w im o ss i e it m u s t be fo r p , l y pp p bl m e to fe e o v i o watch t he m an d the m e n arro wl n e o di de d fr m the m . an d l jy I , y , y

- I se e e n o u gh to make me bro k e n heart e d.

In another letter there is an even more tragic disclosure o f the s t ate

’ o f l o f o f dre n Cotman s mind , brooding over a casua saying one his chil ,

— - W Pap a smiled with selfreproach and horror at what he had al lo we d

f . to be seen upon his ace , and tormented with his own imagination

’ V o s s o r o D ra win a t K in s Co lle III . Co tman app o in ted Pr fe f g g g e Sal e of 1 834

Ye t s f ; , n d e e d even rom such dejection he could at time rally not i , without a feverish brightness that tells o funcertain moods .

70HN SELL co TMA N 83

O n m f - w ly six onths a ter writing the just quoted letter , he was riting in gre at e l ation about a con v ersaz i o ne held by the arti sts o f t he Norfolk “ an d S ffo n s t t o It wa t he o s b an e e w n s u lk I i uti n . s m t rilli t thing v r it es ed fo r No A rt an d n o o n n e n am s s l Ve th A r tis ts t e t . e rwich , hi g w t i , , have

e as n to be e fe c a s e I was as far e o n d m e x e a o s r o p r tly s ti ﬁ d . t b y y p ct ti n as

e a n d Iwas o n e o ft he m o s t s an u n e u o n t he s u e ct o fan possibl , g i p bj y.

C /' citea 1a A o r ma ml ' u . B C o tma n C o ll ctio n Ree f e y . . e o . y 7 S f ' ,

Mr r d r o m e e o a ctmn a l m/e d b Me z l n to t e C o m a r F p p y yp p ty .

E v in e f n f a e te o n e has a m se en this littl ragme t rom l t r , gli p into

' C s f o f o f otman s nature ; ea ily persuading itsel good , and easily evil ;

o f o f a not the sort nature which , in the happiest circumst nces , is best f e fe o an d a . ortiﬁed against m lanchol y , but eling jy pain with equ l intensity Work was his great refuge ; pencil and brush were scarcely ever out o f B . u t n o t e as his hand his anxieties did decr e , until at last an event 84 7OHN SELL COTM/IN occurred which showed him at least that he had friends eager in h is

f f f n o n o r . behal , and that his painting had won itsel a certain recog iti

M e o fbe or than this, there seemed to open a prospect tter times .

’ The professorship o f drawing at K ing s College had fallen vacan t ;

’ C n and in January 1834. otman was appointed to the post . Cotma s

I a L P r . n name was originally suggested , it would seem , by ady alg ave l M r R . . i . r e h s etter to her, quoted by oget (vol ii p . Cotman exp ess s gratitude .

D R Y G V he i - T he arr d EA LA D PA L RA E ( wr tes ) fi n al an ge me n t is ma e . I a m to have o n e g u in ea pe r an n u m be yo n d the an n u al s u m o f £ 100 fo r e ve ry p u p il o d 1 T h n m e rs amo u n t to fro m 1 0 to 180 co n se u a i o m e n 00 . e u e n t n n e b y b 7 , q ly c h i e s u are th be yo n d th e ighes t s u m o rig n ally fi x d. A yo e fi rs t s p rin g o r mo ve r in t his de i ht fu an fo r me o u wi ho e e x cuse m ea e rn ess in la in m l g l pl , y ll, I p , y g y g y ha in e ss e fo re o u Pre se n t m m o s t res e ctfu co m ime n ts to Sir T ho mas pp b y . y p l pl — l o u r de vo te d se rvan t a v fu . S T P ra e . Mo st res e t . CO M N lg p c l y y , J A . i he ho o on e ree ex e T wo o fm so n s are to be ace d n t sc n se . y pl l, f of p

P ’ W A f o f La . M power ul seconder dy algrave s exertions was J . . o f m h Turner . Several the governors approached him to ask who e “ ” Wh C o f r would recommend . To each he replied , y, otman , cou se , appearing impatient at last that any one should admit a doubt upon s o clear a question .

' k r Turner s admiration had begun long ago, when they wor ed togethe

’ D r M se d at . onro s ; and we have other evidence that it had not decrea , besides be ing reciprocated .

' L iber Studio rum 180 - 1 m e Turner s appeared 7 9 , and Cotman ad ’ Mr R f o f . e s rom it a number exquisite copies in pencil , now in eev W collection . hether Turner saw these , we do not know ; but he certainly saw a copy that Cotman had made o f one o fthe subjects in the

n c He . Riv e rs of Fra e . liked it so much that he wished to have it It was given him ; and a fe w years afterwards he gave it away again as his

W f B n own hen the owner had it remounted , he ound on the back y Joh MW ” f . C to . . Sell otman presented my old and esteemed riend , J Turner . ' This emphatic championship on Turner s part must have gladdene d

n His to o f Cotma . spirits were roused at the new prospect opening be ore f f a o . him , and he occupied himsel e gerly with the business the change It was necessary to arrange fo r the move at once .

86 7OHN SELL co 'I' MA N

A ll A n fo r it was this meant expense . d this and other reasons

’ f e S M s Pal ace determined that the collections ormed in the hous at t . artin l P ain should be so ld .

a S f the The s le took place in eptember ; it lasted three days, rom

h 1 2 h f : s B s s e h n s l o t t 6 6 . to the , and etched £ 5 9 e ides engraving , tc i g ,

l l o f o de s paintings , and drawings , the entire ibrary and the co lections m l ,

ll ﬁn e o f d . a boats , casts , and armour were inclu ed The books , nearly

s ch illustrated works , numbered about a thou and ; the prints , among whi

o fR t D — fav u were etchings embrandt and the o her utchmen , and special o r — ites o f Cotman some o f those brilliant Bo ls we rts and Vo rs te rman s aft e r

A s G V e R o 000 . ubens , numbered ab ut 5 mong the drawing uido, and

’ C ra s Ostade ' . velde , , and ucchero were represented otman s own d wing

L B v fo r . u t se ral were not sold , but kept use in ondon there were e

o f f e n oil pictures his , ramed , which were sold , the highest price gained b i g

f r l JVIis lza n o w H o e . ﬁve guineas p , at Carrow ouse A s the catalogue o f this sale gives us evidence fo r the date o f

o f s h s these pictures , some which can be traced to their present owner , t i may be an appropriate place fo r gathering up such clues as can be found

’ o f fra m about Cotman s production oil pictures , intermittent and g entary h d as it ad been up to the present perio .

I' Oil Pa in tin s . g

C o f otman was always haunted by the desire painting in oils, but his

f f a l other occupations never le t him ree to pursue it regularly , mbitious y ,

t A n . d with the devo ion that he wished not only his other occupations ,

o f but lack purchasers . He must have had very fe w commissions in all

f O n e o f his li e . instance a commission is known and in this case

C e 10 o f s otman r ceived £ , with the price the canvas and colours . Thi

f o f was not a great sum , but it was twice as much as was etched by any

he o f 1 A n is hi oa t oil pictures at the sale 83 4 . mo g them was the F n g B ts of

' ’ Ya h — rmo u t . M r. C (p now in olman s possession , perhaps Cotman s

o — fo r masterpiece in ils , and this had hung unsold years in his house at ' P . M St artin s alace Plain .

f m e n as f o f It is obvious ro th se consideratio s , well as rom the scarcity

88 yo HN SELL co 'I'MA N

' leisure allowed by a drawing- master s duties and the incessant producti o n

o f - a t e a water colours and etchings, that Cotman could not have p in d

’ o f W a t h o rit great number oil pictures . e h ve it also on his son s au y

u b u t that he never painted a large picture a somewhat vag e statement ,

o n e that conﬁrms what one would surmi se .

P f o f 1 8 ses robably , there ore , the list oil pictures sold in 34. compri most o f those painted during the second residence in Norwich ; so m e f Y C o l s may date rom the armouth time , when otman certainly took up i

more earnestly than he had hitherto .

Th a f r Mr R ch e W ter all . o w . s t f (p hich eeve has the ﬁr t ske ,

f f 1 1 ﬂ at 8 . must be airly early , dating rom about 5 perhaps It is rather ,

ke y o f f fat u s h designedly , and in a cold colour , but painted with a ull , br ,

’ o f C in co m like nearly all otman s oil pictures, and very characteristic

s o f 18 o f t h e position . This was not in the ale 34. but another picture

Wherries o n B revdo n N t n al same period , , the picture now in the a io G f 18s . m e allery , was in the sale , and etched It was since sold as a Cro , an d N r . s ve is not in its original condition eve theless, it remain ry b f N . e l eauti ul boldly simple in design , direct in execution owhere sur y

o f f has the poetry sails been more per ectly expressed .

Of Ga ll iot in a Ga l e N G m a b e the , also in the ational allery , it y enough to say that whoever imagines that in this picture he sees a re p re

v C s e n tati e C . or ﬁne otman , errs otman could draw boats with mastery ,

s a e s and waves with mastery but this boat is superﬁcially painted , the e w v are t is stage waves , and though a wave is striking the boat , the boa

C a he Fis hi evidently unwette d . ontr st all this with t n g B oats of Ta r mo th H e o f n . er the boat rides in the swinging mass the swell the masts

o f r dim and rigging the two anchored smacks st ain in the wind , the air is

e we t se a with ﬁne scatter d spray all is and wild , blown cloud and living .

e f N A f These pictures were paint d be ore the visit to ormandy . ter

C r wards , otman took to painting on a warm yellow ground , and the late ’V Th . [ e e . e is h a 1 pictur s have a warm r and more glowing tone p (p . 9 )

In o f milder Car o n e o f . the is these an earlier picture trees, the , in

’ D r C f o f . possession otman , the painter s grandson , the oliage has a dark ,

o f sombre c louring , which makes the beauti ul painting seem a little heavy

The El l is /za are in p the trees brightly touched with golden , almost ruddy

T e f e the e 1 8 hues . his littl picture etch d highest pric at the 34. sale

’ ' 7OHN SELL CO IMA N 9 1

' '

s l he B a a e Wa on . £ 5 5 , and its companion , gg g gg , 5 Slighter but

a G n e t o two Mrs . o somewhat simil r these are pictures owned by unn , a

e e a f e s o f charming pi c , with delic te so t tr es another , a compo ition trees f ’ ' o n the w f w a n s Pa c P . ounded vie rom Co t m an s i n dow o n St . Mrti la e lain

lr /f tm C o ll cti Th Iis a o a n . e on o l B . C ma e . C ol n Es . p y S f ' . , q

ro m the re rodn ction a hlis /ed b the A u to t e C om an F p p y yp p y .

a t fo r M O n e o r two char cteristic little composi ions which r. Reeve D w ll M . o de swe s o r . has sketches , are , were , in essrs possession

’ Mr B Bu t more important than these is . ridgman s very beautiful 9 2 7OHN S ELL co TMA N

View ro m Yarmo uth B rid e l ookin towards B re don u st a ter Su n set f g , g y , j f , in which there is more subtlety o f atmo spheric effect than is usu al H u st C . with otman , yet not less simplicity and largeness The ush is j f f f the sa s beginning to ade rom a glowing summer evening , and rom il ’ f o f o f an s upon the peace ul water . This is one the very ﬁnest Cotm

w 1 82 . orks in oil . It was exhibited at Norwich in 4 The companion ,

r B t h B ts a t Ta rn z o uth an d M. D u c oa also owned by ridgman , , is splendid

f . luminous in colour , but less wonder ul

’ ' R s n in L r s a n d eath . e ide ce on do n L a s t l l o le D

’ D G R C u i ante abriel ossetti , it is interesting to recall , was otman s p p l

’

K C u had . at ing s ollege School , do btless the most illustrious pupil he ever

C Ro s re otman had been some ﬁve years at the school when setti ente d it , W n M. fo r fw I . and some e years more he taught Rossetti drawing .

’ R f o f v o l o f the ossetti s li e his brother ( . i . p . 73 ) there is a vivid glimpse

- f rate . A n f f o artist in this later time alert , orce ul looking man , mode

e - f s ve stature , with a ﬁne w ll moulded ace , which testiﬁed to an impul i

a H o f bu t e . e nature somewhat worn and we ri d seemed sparing speech , ” - high strung in what he said , with a rather abrupt and excitable manner .

f - B L ve It is such a ace as we see in the water colour portrait by H . . o

’ Mr R the in . eeve s possession , wrought upon by time and care , yet with

e n ra n rvous energy behind it intensiﬁed in expressio , since the early port it o f his youth .

was fo r e fe w R s d Just now , however it not som years that os etti joine — the school Cotman was in cheerful spirits ; the li fting o f his anxieties by the prospe ct o fa bette r income made him look forward with something

e n e w f L to M E u s lik happiness to his li e . etters iles dmund show the f whole amily occupied drawing in the evenings fo r the college . The ’ studies made by the sons and daughter were included among Cotman s

the o f be drawing copies , and sometimes work a promising pupil would

wa honoured in the same y .

In 18 M E to L o f 18 6 was 3 5 iles dmund came ondon , and at the end 3 appointed to assist his fathe r whe n John Joseph returned to Norwich to

e L e ses o f continue the teaching ther . ett rs to the latter give us glimp

' ' 9+ 70HN SELL COIMA N

D o W Co x m e d fo r C x . living another ten years and avid ith , who ad ir

was to B n am his work excessively , he have made an excursion to irmi gh

A 1 8 8 s n . in ugust 3 , but omethi g or other prevented

A a e Cotman had drawings by some o f these painter friends . t a s l

’ ’ C Ma 1 8 6 o f C h rs at hristie s in y 3 a number otman s drawings , with ot e

Varle v P Co x Catte rmo le Miille r C F wh h by rout , , , , and opley ielding , ic

e w e b longed to him and had been made up into lots with his own , er

f f o f was a sold . It was a miscellaneous sale , the chie eature which

e W N Miille rs number o f sk tches by ilkie . either the Coxes nor the f o f Ta rmo uth Sa n ds etched so much as the Cotmans , one which , a ,

5 W fo r r ' brought no less than {I2 10 . hat days collecto s were those This and the former sale at Norwich doubtless taught Cotman that

Ye t money was not to be m ade by his painting . he continued to d w pro uce , even though his labours at the college ere tyrannously

f was f fo r e o . to o xacting his hours The work , in act , much him ; it

is B h H to . u t was wearing him down . health began visibly weaken e

h d fw f f r H a e e . e e er anxieti s than hereto ore , and wrote ch er ul lette s

f f a L was a elt himsel appreci ted in ondon , and easily gr tiﬁed with little

1 w s e e o f things . In 83 6 he a mad honorary memb r the Institute o f

B A e e to e n thu s i ritish rchit cts , a tribut the knowledge and antiquarian

o f asm his architectural works . Two ye ars late r the whole o f the etchings we re published by Boh n

f o f was Liher Stu dio ru m in ﬁve parts , the ﬁ th which the , also published

e a . C a Liher e to s par tely otm n s , once , it se ms, intended illustrate , like

’ o f Turner s , all kinds composition in landscape , though the scheme was

e to a t o nev r carried completion , rem ins a valuable index his mind . It

f u T he . B contains nearly all his avo rite themes etchings , called by ohn “ ' e a ff to fro m C rly e orts , seem date mostly otman s maturity , and the

s s N a n . o f econd re idence in orwich They are ne rly all so t ground .

A s Mr R o t . u e oget has pointed , it is r markable that there is no sea

’ e B u t subj ct among Cotman s etchings . otherwise his versatility is well

e e T a h ﬁ repr s nted . he B mho r o ug is a n e e xampl e o f his drawings o fold

’ a e h e . A n d T e D e v il s B rid e . c stl s , planted ﬁrmly on rocky h ights g (p 9 7)

' is a vari ati o n o f a favourite subj e ct fo r which Cotma n s name was Height

a n d D e th Mr Co a a w S . . o f p lm n has dra ing with this title . ome the larger

a s f pl tes are classical compo itions with grace ul trees and ﬁgures , such as ' ‘ 70HN SELL co IM/IN 9 5

’ id f 1 2 C tm o wn o f The u d men t o Ad a s 8 . 7 g f , which dates rom 4 o an s copy

o n n s w n the L ihe r is in the British Museu m it c tai a fe u published plates . I - o u s o f s as e o d are n o t e r n u m e ro u s The water c lo r thi l t p ri v y , but some are o flarge s i z e an d ambitio u s .

F e s h ad e f e s a o u t 1 8 0 be u n to ay a a e r a igur b or thi , b 3 , g pl l rg p rt

’ than hithe rto in Co tman s pi ct u re s ; an d s o m e o f the se l ate r drawings

w r e s co n d r v n T h fan h s to a th a an ds ca e s ca c y e a y e e . e are r kl y i ric l , i l p l K in g 701m a n d P rin ce Hen r y a t Swin s tead g ilt /n e t an d Th e D u lce of Yo r k a n d Ea r l of Sa n dwich h o is tin g s ig n a l s p r io r to a n a ctio n with de

B a ml o o h C a s t/ r o m a s o t- r o a E ti l v n h C o tma n r e . S . . n g F f g u n g y 7.

’ l o lm S r in s Ha ll o f 1 re x m s . Mr a ter th o 8 a e a e . C an s a , b 3 3 , p p gg is

s o f 1 8 an d w th an o the r aw n Si r Simo n S r u in s e e se s al o 3 3 , i dr i g, gg , r pr nt

' Cotman s p ro te s t agai n s t a co n temp o rary s ati re in whi ch p e digre e s an d

a he arin r e e r n l s o ffe d a B u he o n w armori l gs we e irr v e t y c t . t t e hich Cotm an himse lf se e m s m o st to have se t his heart o n was a very large — water- colou r a whacker he call s it re pre se n ti n g a pi e ce o fi maginary — history the P res en ta tio n of a R o s e a n d Swo rd to the Lady of the Ma n o r

a ll s f a t Flixto n H . a e This is a plendid ailure ; ch rg d with colour , a

1 He h ad o n l y o n e drawin at th e Wate r - co l o u r So cie tv in 18 8 fo u r in 18 g 3 , 39 , afte r wh i h r h e e x hibit d n o mo r r Ro e vo l i c e a e e M. i . t . . t e s y g ( p . 3 7) ll u s that his ave ra e fo r ﬁfte e n y e ars was scarce l y th re e d rawin s a y e ar g g . 96 70HN SELL co TMA N

f l s o f esta scene with ﬁgures in rich attire , and against the inten e blue the sky a magniﬁcent banner luxuriantly unfolding its rosy silk abov e

n . w o f the battleme ts The glo , the pomp , the gorgeous unreality

On D art . e o f romantic are here is reminded elacroix .

was 1 8 8 C o f This painted in 3 . otman , writing in the ardour

a fo r if creation , says that he will charge sixty guine s it , perhaps more ,

w B u t it comes ell . it remained unsold till his death .

Was f c it reaction rom such work as this, cloying with its exoti

fe w s r luxury , that in the last remaining year he turned back to simple

f w n ? methods and a resher contact ith the earth and sky , the sun and wi d

W o f 1 8 1 8 2 hatever the cause , it is certain that in the sketches 3 9 to 4 C e . He as we ﬁnd otman in a new phas returns to nature , intent , he

f z o f had rarely been be ore , on sei ing the essential spirit a scene , not preoccupied with weaving the matter o f his vision into his own schemes o f f o f s orm and colour , but submitting his mind to the aspect thing ,

o f He aim bent on piercing to the heart them . works now with the which was habitual to David Cox .

He Every year in his holidays Cotman visited Norwich . loved the

A n d place always . it was on these visits that the drawings just men

io n e d On e o f 1 o f Ya t . 8 were made 39 is the sketch a boat upon the re ,

Bu t t the bows leaping a wave ; a delightful sketch o f motion . mos date from In the autum n o f this year (the l ast autumn that

- He Cotman was to see) he went down to Norfolk in ﬂood time . went Hi He . s in an impressionable temper . saw pictures everywhere eye was alert and his hand active .

f B el ow Ha rdle Cros s B el o w L a n le Two wonder ul sketches, y and g y , h o f O 1 t . were made on the same day ctober, the 9 The latter, to

C o f The Wo ld A o at o f which otman gave also the happy title ﬂ , is one the

o f most masterly sketches ever made . It has that intensity imagination which makes the actual means o f expression seem to partake o f the

f n . material on which it works . The record is brie , but hau ting The

o f s listless wetness the beaten branches , the drooping edges , the empty

ho w sky , the blowing wind ; keenly is it all brought to the senses, as

o f with the keenness physical contact , yet expressed on the gray paper f w O f ff with a e black chalk lines . nly less power ul in e ect is the

f . companion sketch , with its orlorn willows standing chilly in the wind

' ' 7'OHN SELL COIM/IN

A nother sketch was made at the house at Tho rpe ; the place t o

f in which his ather had retired in his old age . It had a garden overhang g

Y n in e tch the are with poplars and slopi g lawn , to which Cotman his sk has added peacocks on a terrace .

W se e f s ct u e This same month he went to olterton , to the amou pi r o f The Ra in bow b R n A n d n he . e t y ube s , stra gely, just as he reach d

e s d it house , a rainbow app ared on a retreating torm , and Cotman sketche

Ye t - orde d hanging bright above the woods . another storm effect is rec in a sketch at Cromer o f this same November ; a mo st original co m

o f the s k position , the sea spread vast , with huddling white waves to y,

o fm e n and diminutive watching ﬁgures upon the shore . Some o f these sketches were intended by Cotman to be made i n to

On e f o m a . Mr H oil pictures such picture , now owned by . olmes, is r

D 2 8 A ' m o f o d . ﬁo sketch dated ecember nother was a drawing a wo ,

f r fe . M R s with a great allen tree . eeve possesses the tracing used to tran r

s : the the compo ition to canvas, and on it Cotman wrote Commenced

D 1 1 8 1 Bu t n a s picture ecember 7, 4 the picture is now unknow , or perh p

’ n o L V m e at Thor . iew rom Father s Ho us e longer exists astly , the f y p

fe N ch was trans rred to canvas . This unﬁnished picture , now in the orwi

M 18 1 8 ﬁ' o m its 2 . useum , is dated January , 4 It is interesting , apart ’ T h f C m o f w . e beauti ul composition , as it shows ot an s method orking design is lightly sketched in black and white over a warm yellow grou n d . f It would have been a beauti ul picture .

’ n fr A d this is the last we know o f Cotman s painting . The es h

o f o f m e impulse to his art this ﬁnal autumn was but the last leap the ﬂa .

B f was d e ore the summer was over it quenche . f u C . a July o nd otman ill It was no serious disorder, but a mort l

u ha l He o d . u t lang or sett ed upon him had no will to struggle ; worn , “ If f hi . s he desired peace he would only take his proper ood , wrote

He l to . s daughter her brother, he would soon be better a way expresses himsel fas though he hoped it would be the last time he shou ld

O n f h . e have to take anything the second day a ter this was written ,

N o f d . was dea atural decay , says the register , was the cause death ;

He and indeed his spirit had quite worn o u t his body . was buried in

’ n W In Ma f the cemetery behi d St . John s ood Chapel . the y ollowing

’ there was a two -days sale o f his pictures and drawings but though there

100 7m m SELL COTMA N

o n fo r u o f were close three hundred lots , all went the miserable amo nt

On 6th th an d 8th o f 2 1 1 : 6 . 9 7 the , 7 , June his prints and library

f 0 10 6 . were sold , and these etched £ 3 7 There remai n s to be mentioned the set o feight etchings published at

’ 1 C M Norwich after Cotman s death in 846 by harles uskett . These are

' n R ff interesting as showi g embrandt s inﬂuence , and are very di erent in

F o f f n . style rom the early etchi gs our are ﬁgure studies, one which

f The hVin dmill s looks like a study a ter Terburg ; but the best are , the

is h r n at Yar o uth if B each a t Féca m F e me m . p , and the These , they had ff f but been richly printed , would be e ective and success ul etchings .

' I Ch . aracteris tics

’ o f f Cotman s time has not yet come ; he still awaits his due ame . Many things have hindered the right appreciation o f his genius ; but

k A ll - chieﬂy that his wor is so little known . his ﬁnest water colours are

n o f in private hands ; hence a widespread misco ception his work , based fﬁ A R on very insu cient knowledge . ccording to edgrave , his colour is f . On e o C a rich , but a hot yellow predominates knows the kind otm n which produces such an impression ; drawings with strong contrasted f H ' blues and yellows, especially the drawings made a ter arriott s sketches .

' Bu t to make such an absolute statement about Cotman s work as a whole

’ Mr R is ridiculous . . eeve s collection is the largest and ﬁnest that exists , and it represents Cotman at every stage o fhis career yet there is scarcely

’ a single drawing in the collection which could justify Redgrave s des crip f . f . E tion Cotman was , in act , wonder ully various and versatile nough

has been said already , in recording the successive phases through which he

to o f d p assed , indicate the lines his evelopment . To a certain extent it

C m as l f Bu t o . ff para lel with that Turner there are di erences to be noted . ’ - C d d His otman s indivi uality was earlier isengaged . youthful architectural

’ w e f ork is less rich in minute observation than Turn r s , but reer , broader ,

m o f C ore personal in style , and with richer harmonies colour . otman

' to G G is at this time more akin irtin , though never irtin s imitator .

A e to s gain , his d votion compo ition marks him at a very early stage the

sketching club drawings and several beautiful water - colours o f the

102 70c m SELL COTMA N

Fo r f seen at his happiest . here there is no attempt to escape rom the

o f actual , no revolt ; only the distillation what is loveliest in an actual

ff o f scene , without e ort or vehemence , accomplished with the quietness if f power . It seems , indeed , almost as the scene had created itsel upon

c n o f the paper ; so un onscious , so lost in its subject , has bee the working

’ s the artist s mind . The drawing , once een , haunts the memory ; it overﬂows with its own atmosphere ; it is scented with the dawn ; one

' a hears the labourer s cry to his team in the e rly stillness, in the shadow “ o f the sleepy elms ; one feels all the charm o f the sacred morning the Greek epithet suggests itsel fappropriately before a creation that recalls

G o f W the reeks in the sanity its beauty . hoever sees this drawing must

k o f C o f M fo r thin at once orot and illet , it combines the dominating

o f f f Ye t was sentiment the work o each o them . it made probably not

’ 1 81 a . s later than 5 it belongs to Cotman s earlier work Slight it is, in

o f A n . d an obvious sense , this is a production high importance very

' important also are those wonderful sketches o f the last year o f Cotman s

f The Wo l d A oa t Mr W li e , ﬂ and its companions, in which , as . edmore has

’ f o f D said , he anticipated the impassioned orce avid Cox s later time .

’ C n otman s work in oils is , we have see , inconsiderable compared with the rest o f his work ; but were he represented at the National Gal lery by a fe w Fis hin B o ats Yarmo uth The A l is ha pictures equal to the g of , p , or

’ Mr B A ter Su n set . ridgman s f , he would be seen to take rank with the

o f A s - greatest our landscape artists . a water colour painter he has few

E n o f equals . Turner apart , there is no one in our ﬁne glish school ,

o f a . imagination so rare , achievement so v rious IN D E '

A cxaaMA N 1 o tman o rk s re fe rre to , 5 C , W d rn o atthe w 2 0 8 F ixto n an o r A ld , M , , 4 l M , 9 5 Fram in h am as t e 8 l g C l , 7 G re ta ri e 8 g , 5 a an a o f ath 1 B d B B , 3 K in o hn at Swin s te a Barwcl l H 6 g J d , 9 5 . G . 2 , , , 37 L iber Stu dio r u m e tchin s 6 0 ( g ), , 77, 4 Beec he 10 - 12 1 9 y, , 7 are an d Fo a 6 M l , 3 ern e ar 1 B y, M y, 4 is h a 86 88 10 2 M p, , , ern e Ph e e 1 B y, b , 4 o n t t i S . che 8 M M l , 7 i m an r G . 2 102 B dg , , 77, 9 , Mo u s e ho ld He ath 6 ro o k e Ra ah 8 , 3 B , j , 3 No rfo k n ti u itie s e tchin s 6 n l A q ( g ), 7, 75 ur et . 8 B , J , 3 No rman Etchin s 1 2 d y g , 7 , 7 , 75 H se o u at St . a n s Old Alb , I CA LLCOT T 2 Ho u s e s i Lan e 0 , 5 Old , M ll , 5 Ca o t 2 Po s twick G ro ve 6 ll , 4 , 4 ar e r W H 6 Se u chra a C en t . . 1 r s se s e tchin s 6 8 p , , p l l B ( g ), , 75 Catte rm o l e Sha o we Stre am 6 , 9 3 , 94 d d , 4 Cho lme le Fran cis 6 Sir Sim o n S ru in s y, , 54, 5 p gg , 9 5 Clau e 2 Sk e tchin u o m o s itio n s d , 4, 45 g Cl b C p , 5 3 m an 8 6 8 86 S ru in s Ha Co . . 1 l , J J , , 37, 5 , 7 , p gg ll , 9 5 ’ ' Co n sta e l re n t ham h u rch 6 bl , 3 3, 45 C , 3 Co in 2 8 T wick e n ham 8 6 0 6 pp , , 5 , , 3 ’ ie w Co rn is h B . V fro m m Fathe r s Ho us e 8 , , 5 3 y , 9 Co ro t 10 2 V ie w fro m Y arm o u th ri e 2 , B dg , 77, 9 ,

Co tman Dr. 6 6 0 88 ate rfa 6 8 88 , , , , W ll , —, o tman o rk s re fe rre to e ir Sce n e o o n i ht C , W d W d M l g , 54 atia Ho u se Ro u e n 8 he rries o n B re do n 88 Abb l , , 7 W y , e r C ar 88 in m i 6 Ald , W d ll , 7 a a e Wa o n 1 o ﬂo at 6 102 B gg g gg , 9 W ld A , 9 , e o w Har e ro s s 6 Y arm o u th San s B l dl y C , 9 d , 94 Be o w Lan e 6 o tman 2 l gl y, 9 C , 9 m u e fte rn o o n o t an B . 2 Bl A , 77 C , , 75 , 9 rea kin the o 6 10 1 10 2 C o x avi 6 102 B g Cl d , 3, , , D d , 94, 9 , ri n o rth 2 ris ta 2 B dg , 5 C ll , 5

an be 6 ro me F. 1 Byl d Ab y, 7 C , , 4 d me Ca cr I ris 6 ro B . 1 2 1 d , 4 C , , 4,

am ri es hire n ti u itie s e tchin s ro m e S . C b dg A q ( g ), 75 C , , 34 e n taur ro me o rk s re fe rre to C , 54 C , W d Chaiteau in No rman 6 ve n u e at ha e Fie s dy, 7 , 77 A C p l ld , 47 Co o n e ack o fth e Ne w i s 8 l g , 79 B M ll , 4 ’ Cro me Po rtrait 8 acks mith s Sho 2 0 2 1 , , 5 Bl p, , Cro an 6 o u e var des l ta ie n s 2 yl d , 5 B l d l , 9 e w Eve 6 o u o n e 2 0 D y , 3 B l g , 9 , 3 Die 6 Bo k ee in Shee m», 7 y p g p, 33 rain in Mi Lin co n shire 6 Carro w be 18 D g ll, l , 3 Ab y, uke o fY o rk an d the Ear o fSan wich Co m o s itio n in st e o fWi so n 2 0 D l d , 9 5 p yl l , un co mbe Park 8 Co w To wer 2 0 D , 5 , u rham Cathe ral 6 awn D d , 5 D , 47 utch Bo ats at Y armou th 2 Etchin s 2 -2 6 D , 9 g , 4 Etchin s 6 - Gro ve Scen e g , 4 75 , 37 Fa aise 6 Gro ve a Mar in fo r l , 7 Scen e t l g d, 30 Fishin Bo ats o ffYarmo 68 Mo useh o l d Ha h 6 g uth, , 86 t , so . 33. 4 , 47