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- Sales Rank: #1807871 in Books
- Published on: 1993
- Binding: Paperback
343 pages with 326 illustrations, mainly in colour
Customer Reviews
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5 of 5 people found the following review helpful.
An encyclopaedia of watercolours
By Peasant
This splendid and highly desirable exhibition catalogue covers the whole period when watercolour was at its height of popularity, from the early tinted drawings of the mid 18th century to the nit-picking dry-brush detail of the late Victorian period. It does not extend into the rediscovery of watercolour in the late 19th and 20th centuries by artists like John Singer Sargent and C.R.Mackintosh. The grouping is thematic as well as chronological and the quality of reproduction very high, on low-sheen paper. It is as far as I have found out the single most comprehensive book of illustrations of classic watercolour available, useful to the collector, the art historian and the painter alike. The reproductions are high quality and a great range of artists is featured, with several works by each of the "big boys". The text, however, is quite modest and primarily interested in the general development of style; more useful to the art historian than the artist.
0 of 0 people found the following review helpful.
Buy it!
By David Gibson
A 'must' for lovers of British watercolours, 18th and 19th centuries
1 of 1 people found the following review helpful.
An unrivalled exhibition of British watercolours
By Dr R
This catalogue is one that recommends itself in both the quality and quantity, 326 in all, of the works exhibited, and the content of the supporting essays and critical commentaries. The theme of the exhibition, which visited the Royal Academy of Arts and the National Gallery of Art, Washington in 1993, is the development of attitudes to the landscape and to the human figure in the landscape.The catalogue, a real labour of love by Andrew Wilton and Anne Lynes, both from the Tate Gallery, commences with an Introduction by Wilton, ‘Ambition and Ambiguity: Watercolour in Britain’ which is illustrated by 12 b/w figures, followed by six sections across which each include a short illustrated essay after which the works are presented, the great majority in colour: ‘The Structure of Landscape: Eighteenth-century Theory’, by Wilton; ‘Man in the Landscape: The Art of Topography’, by Lynes; ‘Naturalism’, by Lynes, and ‘Picturesque, Antipicturesque: The Composition of Romantic Landscape’, ‘Light and Atmosphere’ and ‘The Exhibition Watercolour’ all by Wilton. There is also a Glossary of Technical Terms, invaluable to the non-specialist, the Catalogue of Works, Artists’ Biographies, Chronology, Select Bibliography and an Index.Wilton compares watercolours and sketching in oils, making the point that whereas the former developed from a more tentative to the more complete form, oil sketches were a development in the way in which the final oil painting was created. The watercolour developed in Britain at the same time that the oil sketch was being seen as a distinct new genre. Watercolour was used in the Middle Ages to illuminate manuscripts whilst artists from the Netherlands used it to record landscapes and nature, and reintroduced it into Britain in the early 17th-century. At the end of the 1700s it was used across Europe, often to paint classical scenes.It was the inferior position of watercolour painting that stimulated developments in the 1790s. Wilton discusses the parts played by Cozens, Girton, Farington, Sandby and Turner in experimenting with the practicalities of the medium. The importance of the short-lived Bonington, Cotman, David Cox and DeWint is also considered before the author concludes with comments about the challenges and opportunities of collecting watercolours. Amongst the works shown are: - The Structure of Landscape: Eighteenth-century Theory: Alexander Cozens’ “A Rocky Island”, c. 1785, James Deacon’s “Landscape Fantasy”, 1740-3, Paul Sandby’s “A Rocky Coast by Moonlight”, c. 1790, John Robert Cozens’ “Cetara, on the Gulf of Salerno”, 1790, Turner’s “View across Llanberis Lake towards Snowdon”, c. 1799, Thomas Girtin’s “Hawes, Yorkshire”, 1800, and “Bridgworth, Shropshire”, 1802, - Man in the Landscape: The Art of Topography: Thomas Hearne’s “Edinburgh Castle from Arthur’s Seat”, c. 1778, Turner’s “The Pantheon, Oxford Street, London”, 1792, John Sell Cotman’s “Norwich Market Place”, c. 1809, Richard Parkes Bonington’s “Verona: The Castelbarco Tomb”, 1827, Samuel “Austin’s Dort, Holland”, c. 1830, and David Cox’s “Rouen: Tour d’Horloge”, 1829. - Naturalism: Paul Sandby’s “Bayswater”, 1793, John Linnell’s “Dovedale”, 1814, John Ruskin’s “Study of Ivy”, c. 1872, Turner’s “Head of a Heron”, c. 1815, William Bell Scott’s “Penwhapple Stream”, c. 1860, and William Henry Hunt’s “Still-life with Earthenware Pitcher, Coffee Pot and Basket”, c. 1825. - Picturesque, Antipicturesque: The Composition of Romantic Landscape: Cotman’s “On the Greta”, c. 1806, Peter de Wint’s “Yorkshire Fells”, c. 1812, David Cox’s “The Hayfield”, c. 1832, and Samuel Palmer’s “Harvesters by Firelight”, c. 1830. - Light and Atmosphere: Constable’s “Stonehenge”, 1836, Richard Parkes’ Bonington’s “Near Burnham, Norfolk”, c. 1825, Cotman’s “On the Downs”, c. 1840, John Martin’s “Landscape”, 1835?, Thomas Collier’s “Pensarn Beach”, 1886, Turner’s “Storm off the Coast”, c. 1835, Turner’s “Oberwesel”, 1840, Whistler’s “St Ives”, c. 1883, and Holman Hunt’s “Fishing Boats by Moonlight”, c. 1869. - The Exhibition Watercolour: Turner’s “Conway Castle”, 1800, Peter de Wint’s “Cookham”, c. 1830, Samuel Palmer’s “Morning”, 1869, Henry Gastineau’s “Carrick-y-Rede, Antrim”, 1839, John Frederick Lewis’ “The Noonday Halt”, 1853, and Albert Goodwin’s “Near Winchester”, 1864.
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Three generations of women in one family, the first an Itali
Not worth the time-too much like a romance novel
