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Nineteenth-Century European Paintings Distributed by Yale University Press | New Haven and London at the Sterling and Francine Clark Art Institute

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Nineteenth-Century European Paintings Distributed by Yale University Press | New Haven and London at the Sterling and Francine Clark Art Institute Introduction Introduction Sterling and Francine clark art inStitute | WilliamStoWn, massachuSettS NINETEENTH-CENTURY EUROPEAN PAINTINGS diStributed by yale univerSity Press | NeW haven and london AT THE STERLING AND FRANCINE CLARK ART INSTITUTE VOLUME TWO Edited by Sarah Lees With an essay by Richard Rand and technical reports by Sandra L. Webber With contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, Zoë Samels, and Fronia E. Wissman 4 5 Nineteenth-Century European Paintings at the Sterling and Library of Congress Cataloging-in-Publication Data Francine Clark Art Institute is published with the assistance of the Getty Foundation and support from the National Sterling and Francine Clark Art Institute. Endowment for the Arts. Nineteenth-century European paintings at the Sterling and Francine Clark Art Institute / edited by Sarah Lees ; with an essay by Richard Rand and technical reports by Sandra L. Webber ; with contributions by Katharine J. Albert, Philippe Bordes, Dan Cohen, Kathryn Calley Galitz, Alexis Goodin, Marc Gotlieb, John House, Simon Kelly, Richard Kendall, Kathleen M. Morris, Leslie Hill Paisley, Kelly Pask, Elizabeth A. Produced by the Sterling and Francine Clark Art Institute Pergam, Kathryn A. Price, Mark A. Roglán, James Rosenow, 225 South Street, Williamstown, Massachusetts 01267 Zoë Samels, Fronia E. Wissman. www.clarkart.edu volumes cm Includes bibliographical references and index. Curtis R. Scott, Director of Publications ISBN 978-1-935998-09-9 (clark hardcover : alk. paper) — and Information Resources ISBN 978-0-300-17965-1 (yale hardcover : alk. paper) Dan Cohen, Special Projects Editor 1. Painting, European—19th century—Catalogs. 2. Painting— Katherine Pasco Frisina, Production Editor Massachusetts—Williamstown—Catalogs. 3. Sterling and Anne Roecklein, Managing Editor Francine Clark Art Institute—Catalogs. I. Lees, Sarah, editor Michael Agee, Photographer of compilation. II. Rand, Richard. III. Webber, Sandra L. IV. Title. Laurie Glover, Visual Resources V. Title: 19th-century European paintings at the Sterling and Julie Walsh, Program Assistant Francine Clark Art Institute. Mari Yoko Hara and Michelle Noyer-Granacki, ND457.S74 2012 Publications Interns 759.9409’0340747441—dc23 2012030510 Designed by Susan Marsh Composed in Meta by Matt Mayerchak Copyedited by Sharon Herson Details: Bibliography edited by Sophia Wagner-Serrano title page: Camille Pissarro, The Louvre from the Pont Neuf Index by Kathleen M. Friello (cat. 253) Proofread by June Cuff ner opposite copyright page: Henri de Toulouse-Lautrec, Production by The Production Department, Jane Avril (cat. 331) Whately, Massachusetts preceding page 474: Pierre-Auguste Renoir, Onions (cat. 280) Printed on 135 gsm Gardapat Kiara pages 890–91: Sir Lawrence Alma-Tadema, The Women of Color separations and printing by Trifolio, Verona Amphissa (cat. 3) © 2012 Sterling and Francine Clark Art Institute All rights reserved. This book may not be reproduced, in whole or in part, including illustrations, in any form (beyond that copying permitted by Sections 107 and 108 of the U.S. Copyright Law and except by reviewers for the public press), without written permission from the publishers. Distributed by Yale University Press, New Haven and London P. O. Box 209040, New Haven, Connecticut 06520-9040 www.yalebooks.com/art Printed and bound in Italy 10 9 8 7 6 5 4 3 2 1 Joseph Mallord William Turner Small raised rings in the upper left may be material dripped onto the surface prior to the painting’s execution. There is no 340 | What You Will! 1822 varnish, and the surface has a fairly even low luster, except for a few glossy spots due to local paint colors. There may Oil on canvas, 49.8 x 54.3 be a few retouches in the upper right sky on either side of Gift of the Manton Foundation in memory of Sir Edwin the left tree. These strokes together with the palest stripe in the left sky show somewhat differently than the rest of the and Lady Manton pigments under ultraviolet light. 2007.8.107 There is no ground layer on the painted side, but there may be a size layer. The dark gray commercial preparation J. M. W. Turner’s homage to the French painter Jean- on the reverse probably gives the picture a bit more sup- Antoine Watteau (1684–1721) is immediately apparent port than the paper sheet could provide on its own. There in both the subject and the coloration of the painting are occasional skips in the paint application, revealing the entitled What You Will!, the artist’s sole contribution paper below. The warm tonality of the paper may be deep- to the Royal Academy exhibition of 1822. As a stage ening slightly with age. Examination in infrared revealed a broad sketch, possibly in graphite, visible as hatching in the for the musical, courtly, and courtship-related activi- large tree foliage, circular marks for the ground foliage, zig- ties of a group of silk-gowned ladies and stockinged zag lines for the middle-ground tree line, and an outline for gentlemen, the parkland setting recalls the scenes the large rock in the lower left. The paint application, done of dances and musical entertainments in Watteau’s with small sable brushes, is fairly dry, with very little gloss paintings, such as Les Plaisirs du Bal (Dulwich Pic- and almost no impasto. Some paint is quite granular under ture Gallery, London), while the lush greens and the low magnification and some pigments may contain a color- velvety reds that Turner uses to create the enchant- less additive, possibly used as a drier. ing environment replicate Watteau’s signature color schemes. The influence of the French painter on Turner is a fascinating subject in and of itself, seen 1. Redding 1858, vol. 1, p. 199. 2. Thornbury 1862, vol. 1, p. 216. even in Turner’s play on words in the title of this work; 3. Thornbury 1862, vol. 1, p. 220. when said aloud, the first two words are the cockney 4. Ibid. pronunciation of “Watteau.” 1 What You Will!, how- 5. Woollcombe recorded meeting Turner at a dinner hosted ever, also demonstrates the astonishing breadth of by William Eastlake on 27 Aug. 1813 and subsequently Turner’s interests that led John Constable to declare having breakfast with him on 1 Sept. See Smiles 1989, that his rival had “a wonderful range of mind.” 2 For p. 10. not only does What You Will! make clear that Turner 6. BJ 213–24. The Bequest consists of works that remained was engaging with the tradition of the fête galante, with the artist at his death and were subsequently given to the national collections. both in France and England, but the small, evocative 7. BJ 225. work also stands as the artist’s first interpretation of 8. BJ 225b. the writings of England’s most illustrious literary fig- 9. Thornbury 1862, vol. 1, p. 220. ure, William Shakespeare. Furthermore, the painting is 10. The only other known oil sketches are a group painted on important evidence of Turner’s lifelong study of trends mahogany veneer that have been dated to c. 1807. See in color theory. BJ 177–94. These multivalent concerns were ignored or mis- 11. John Gage speculates that the reasons behind the art- understood by the critics when the painting was first ist’s turning away from oils for sketching outdoors were both technical and conceptual. Not only did Turner find exhibited at the Royal Academy. The critic of the Edin- working with oils outside to be difficult, but his reliance burgh Magazine exploited the unusual title of the paint- on his memory of the scene superceded his need to ing to disparage the work, using the familiar format of record the effect on the spot. See Gage 1969, pp. 36–39. a dialogue between two visitors to the annual exhibit. 12. Thornbury 1862, vol. 1, p. 221. Spectator A introduces Turner as “without exception the 13. See Smiles 1989, p. 11; and Bower 1990, p. 97. greatest of living painters,” but calls the artist’s single 14. Bower 1990, p. 97. Neither of these findings, however, example “a little rock” which has “the appropriate title pertains to the Clark work, in which there is no ground of ‘What you will!’” In response, his companion, Specta- layer on the painted surface (though the unpainted side has a dark gray preparation) and the original paper color tor B, is even more explicitly derogatory of the painting, was buff. See Technical Report. saying, “It is not a picture at all, but a mere imperti- 15. Thornbury 1862, vol. 1, p. 220. nence.” 3 The description of the painting as “a scrap of 16. Butlin and Joll 1984, vol. 1, p. 134. spoilt canvas” in the New Monthly Magazine likewise 816 340 denies What You Will! the status of a work of art.4 In 1847) and now in the Museum of Fine Arts, Boston.8 a similar vein, Robert Hunt, the critic of the Examiner, He speculates that Turner saw this painting during an wrote that “Mr. Turner has nothing of Art this season undocumented trip to Paris in the autumn of 1821. Ian in the Exhibition. He has only a piece of coloured can- Warrell takes up this suggestion, citing sketchbooks vas.” 5 The reviewer of the Literary Gazette likewise dis- TB CCXI and CCLVIII ( Tate Britain, London) as evidence misses the work as “a sketch, and no more”; however, for the 1821 trip.9 alone of the critics, he connects Turner’s use of color As we have seen, much was made of the seem- to “the style of Watteau.” 6 Although his comment is ingly whimsical title; not a single critic, however, brief, the critic for The Gentleman’s Magazine stands recognized its literary origins: Shakespeare’s subtitle out for his praise of the small painting as a “splendid for his comedy Twelfth Night.
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