A History of Art for Beginners and Students, Clara Erskine Clement Waters [best beach reads .txt] 📗
- Author: Clara Erskine Clement Waters
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His best works were executed in Rome, where he spent seven years; he travelled in Algiers, Syria, Egypt, Palestine, Russia, and England, and was everywhere received with the honors which his genius merited. His works embraced a great variety of subjects, and it is said that he often finished his picture the first time he went over it, and did not retouch it. There is no doubt that in certain ways the excellence of Vernet has been overestimated, and he has been too much praised; but his remarkable memory, which enabled him truthfully to paint scenes he had witnessed, and his facility of execution, are worthy of honorable mention.
When twenty years old Vernet was married, and from this time he kept an expense account in which all the prices he received for his works are set down. The smallest is twenty-four sous for a tulip; the largest is fifty thousand francs for the portrait of the Empress of Russia.
About 1817 Vernet became the favorite of the Duke of Orleans, and was therefore unpopular with the royal party. In 1820 he had made himself so displeasing to the king by some lithographs which were scattered among the people, that it was thought best for him to leave Paris. However, he overcame all this, and four years later Charles X. sat to him for his portrait. From this time orders and money flowed in from all sides.
The Vernets had originated in Avignon, and in 1826, when the museum there was opened, Horace and his father were invited to be present. Every honor was shown them; poems were read in their praise; they were conducted to the home of their ancestors, which they piously saluted, and inscribed their names upon the door-posts. After they returned to Paris they received rich gifts in return for the pictures they had given to Avignon. The Gallery Vernet, which contains works by Antoine, François, Joseph, Carle, and Horace Vernet, is regarded as a sacred place by the people of that region.
When Horace Vernet was Director of the Academy in Rome he held salons weekly; they were very gay, and all people of distinction who lived in Rome or visited that city were seen at these receptions, dancing and amusing themselves in the lively French manner. But after 1830 he felt that the Villa Medici was a prison. He wished to follow the French army in the East, and three years later did go to Algiers. In the same year the king decided to convert the palace at Versailles into an historical museum, and from this time Vernet had but two ideas, the East and Versailles. Almost every work he did was connected with these two thoughts.
Louis Philippe now desired him to paint four battle-pieces; but Vernet objected that no room was large enough to please him: for this reason a floor was removed, two stories turned into one, and the grand Gallery of Battles made. At length he had a difficulty with the king and went to Russia; but hearing that his father was dying he returned to Paris, and was made welcome back to Versailles, where he was really necessary.
We cannot stay to recount the honors which were showered upon him, and which he always received with great modesty of demeanor. He went from one triumph to another until 1848, when the Revolution almost broke his heart; he worked on, but his happiness was over. In the great Exposition of 1855 he had a whole salon devoted to his works, and men from all the world came to see and to praise. He lived still eight years; he made pictures of incidents in the Crimean War; he painted a portrait of Napoleon III., but he wrote of himself: “When time has worn out a portion of our faculties we are not entirely destroyed; but it is necessary to know how to leave the first rank and content one’s self with the fourth.”
His industry and the amount of work he did are simply marvellous. He loved excitement and adventure, and the works which have these elements were his best—and he liked best to do them. His color cannot be praised; he had no lofty intellectual aims; he was clever to a high degree, but he was not great; he was one to whom the happy medium of praise should be given, for he neither merits severity of criticism nor immoderate praise; he was simply a gifted painter and “the greatest and last of the Vernets.”
He is also the last French painter of whom we shall speak, as we do not propose to take up the excellent artists of our own day, who would require a volume devoted strictly to themselves.
PAINTING IN ENGLAND.
In early days in England there were miniature-painters, and in the last half of the sixteenth century there were some very important English painters of this kind. Before the days of Charles I. the English kings were much in the habit of inviting foreign artists to England, and commissions were given to them. The painters who were most prominent in England were of the Flemish school, and even under Charles I., as we have seen, Rubens and Vandyck were the principal painters in England. But in the reign of this king some native artists made names for themselves, and what we call the English school of painting may really be dated from this time.
Before speaking of painters I must mention one miniaturist whose works were in demand in other countries, as well as in England. Samuel Cooper (1609-1672) has been called “the Vandyck in little,” and there is far more breadth in his works than is usual in miniature. He painted likenesses of many eminent persons, and his works now have an honorable place in many collections.
William Dobson (1610-1646) has been mentioned in our account of Vandyck as a painter whom the great master befriended and recommended to Charles I. He became a good portrait-painter, and after Vandyck’s death was appointed sergeant-painter to the king. His portraits are full of dignity; the face shadows are dark, and his color excellent. He did not excel in painting historical subjects. Vandyck was succeeded at court by two foreign artists who are so closely associated with England that they are always spoken of as English artists.
Peter van der Faes (1618-1680), who was born in Westphalia, is known to us as Sir Peter Lely. He became the most celebrated portrait-painter after Vandyck, and his “Beauties at Hampton Court” are pictures which are known the world over. He has been accused of not painting eyes as he ought; but the ladies of his day had an affectation in the use of their eyes. They tried to have “the sleepy eye that spoke the melting soul,” so Sir Peter Lely was not to blame for painting them as these ladies wished them to be. He was knighted by Charles II., and became very rich. His portraits of men were not equal to those of women. When Cromwell gave him a commission to paint his portrait, he said: “Mr. Lely, I desire you will use all your skill to paint my picture truly like me, and not flatter me at all; but remark all these roughnesses, pimples, warts, and everything as you see me, otherwise I will never pay you a farthing for it.” Sir Peter Lely was buried in Covent Garden, where there is a monument to his memory with a bust by Gibbon.
Sir Godfrey Kneller (1646-1723), born at Lübeck, was a rival to Sir Peter Lely, and had the honor of painting the portraits of eight crowned heads and a very great number of other people of importance. He had studied both the Dutch and Italian manner; for he was the pupil of Rembrandt and Bol, of Carlo Maratti and Bernini. Some critics praise his pictures very much, while others point out many defects in them. He painted very rapidly, and he sometimes hurried his pictures off for the sake of money; but his finished works are worthy of remark. He especially excelled in painting hair; his drawing was correct; some of his groups of children are fine pictures; and some madonnas that he painted, using his sitters as models, are works of merit. His monument was made by Rysbrach, and was placed in Westminster Abbey.
Both Sir Peter Lely and Sir Godfrey Kneller had pupils and followers; but there was no original English artist before the time of William Hogarth (1697-1764), and he may really be named as the first master of a purely English school of painting. When Hogarth was fifteen years old he was apprenticed to a silversmith, and the grotesque designs which he copied for armorial bearings helped to increase his natural love for all that was ridiculous and strange. After 1718 he was much occupied in engraving for booksellers, and at length he began to paint small genre pictures and some portraits, in which he made good success, but he felt that he was fitted for other work. In 1730 he married the daughter of the artist, Sir James Thornhill, without the consent of her father.
Soon after this he began his series of pictures called the “Harlot’s Progress,” and when Sir James saw them he was so satisfied with the talent of Hogarth that he declared that such an artist could support a wife who had no dower, and the two painters were soon reconciled to each other. Before 1744 Hogarth had also painted the series of the “Rake’s Progress” and “Marriage à la Mode” (Fig. 71).
These are all pictures which hold up the customs of the time to ridicule and satire, and his works of this kind are almost numberless. He explains as follows the cause of his painting in this way: “The reasons which induced me to adopt this mode of designing were that I thought both critics and painters had, in the historical style, quite overlooked that intermediate species of subjects which may be placed between the sublime and the grotesque. I therefore wished to compose pictures on canvas similar to representations on the stage; and further hope that they will be tried by the same test and criticised by the same criticism.”
It was in this sort of picture that Hogarth made himself great, though he supported himself for several years by portrait-painting, in which art he holds a reputable place. Most of his important pictures are in public galleries.
Hogarth was a fine engraver, and left many plates after his own works, which are far better and more spirited than another artist could have made them. The pictures of Hogarth have good qualities aside from their peculiar features. He made his interiors spacious, and the furniture and all the details were well arranged; his costumes were exact, as was
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