A History of Art for Beginners and Students, Clara Erskine Clement Waters [best beach reads .txt] 📗

Sir Joshua Reynolds’ fame rests upon his portraits, and in these he is almost unrivalled. His pictures of children are especially fine. It was his custom to receive six sitters daily. He kept a list of those who were sitting and of others who waited for an opportunity to have their portraits made by him. He also had sketches of the different portraits he had painted, and when new-comers had looked them over and chosen the position they wished, he sketched it on canvas and then made the likeness to correspond. In this way, when at his best, he was able to paint a portrait in about four hours. His sitters’ chairs moved on casters, and were placed on a platform a foot and a half above the floor. He worked standing, and used brushes with handles eighteen inches long, moving them with great rapidity.

In 1768 Sir Joshua was made the first President of the Royal Academy, and it was then that he was knighted by the king. He read lectures at the Academy until 1790, when he took his leave. During these years he sent two hundred and forty-four pictures to the various exhibitions. In 1782 he had a slight shock of paralysis, but was quite well until 1789, when he feared that he should be blind, and from this time he did not paint. He was ill about three months before his death, which occurred in February, 1792. His remains were laid in state at the Royal Academy, and then buried in St. Paul’s Cathedral, near the tomb of Sir Christopher Wren.

It is to be regretted that the colors used by Sir Joshua Reynolds are now much faded in many of his pictures. Those in the National Gallery, in London, are, however, in good preservation. Naturally, since so many of his pictures were portraits they are in the collections of private families in England, and but few of them are seen in European galleries. There is an excellent opportunity to study his manner in the pictures at the South Kensington Museum, where there are several portraits, some pictures of children, and the “Graces Decorating a Statue of Hymen.”

It is very satisfactory to think of a great artist as a genial, happy man, who is dear to his friends, and has a full, rich life outside of his profession. Such a life had Sir Joshua Reynolds, and one writer says of him: “They made him a knight—this famous painter; they buried him ‘with an empire’s lamentation;’ but nothing honors him more than the ‘folio English dictionary of the last revision’ which Johnson left to him in his will, the dedication that poor, loving Goldsmith placed in the ‘Deserted Village,’ and the tears which five years after his death even Burke could not forbear to shed over his memory.”

Thomas Gainsborough (1727-1788) was born in Sudbury, in Suffolk, and when still quite young went to London, and studied under Francis Hayman, who was not an eminent painter. Gainsborough became one of the most important masters of the English school, especially in landscape painting and the representation of rustic figures. His portraits were not as good in color as those of Sir Joshua Reynolds; they have a bluish-gray hue in the flesh tints; but they are always graceful and charming. His landscapes are not like those of any other master. They are not exact in the detail of leaves and flowers—a botanist could find many faults in them—but they are like nature in spirit: they seem to have the air blowing through them, they are fresh and dewy when it is morning in them, and quiet and peaceful when evening comes under his brush. In many of his pictures he put a cart and a white animal.

His rustic figures have the true country life in them: they seem to have fed upon the air, and warmed themselves in the sun until they are plump and rosy as country lads and lasses should be. His best genre pictures are the “Cottage Girl,” the “Woodman and Dog in a Storm,” the “Cottage Door,” and the “Shepherd Boy in a Shower.” He painted a picture of a “Girl and Pigs,” for which Sir Joshua Reynolds paid him one hundred guineas.

In character Gainsborough was very attractive, though somewhat contradictory in his moods. He was generous and genial, lovable and affectionate; he was also contradictory and impulsive, not to say capricious. His wife and he had little quarrels which they settled in this wise: When Gainsborough had spoken to her unkindly, he would quickly repent, and write a note to say so, and address it to his wife’s spaniel, called “Tristram,” and sign it with the name of his pet dog, “Fox.” Then Margaret Gainsborough would answer: “My own, dear Fox, you are always loving and good, and I am a naughty little female ever to worry you as I too often do, so we will kiss, and say no more about it; your own affectionate Tris.” Like Reynolds, Gainsborough had many warm friends, and when he died Sir Joshua himself watched by his bedside, and bent to catch his last word, which was the name of Vandyck.

John Singleton Copley (1737-1815) was born in Boston, Mass., U. S., to which place his parents are said to have immigrated from Limerick, Ireland. The father was descended from the Copleys of Yorkshire, England, and the mother from the Singletons of County Clare, both families of note. When young Copley was eleven years old his mother was married to Peter Pelham, a widower with three sons—Peter, Charles, and William—and who subsequently became the father of another son, Henry, by this second marriage. Mr. Pelham was a portrait painter and a mezzotint engraver of unusual merit. One authority calls him “the founder of those arts in New England.” Mr. Pelham was also a man of education, a land surveyor, and a mathematician. He was thus well qualified to educate, assist, and stimulate young Copley in the pursuit of studies so natural and congenial to him. He is said to have been studious and quiet, and to have made rapid advances. When he was fifteen years old he painted a portrait of his step-brother, Charles Pelham, now in the family of a great-grandson, Mr. Charles Pelham Curtis, of Boston. At sixteen he published an engraving of Rev. William Welsteed, from a portrait painted by himself. The same year he painted the portrait of a child—afterward Dr. de Mountfort—now owned in Detroit. In 1754 he painted an allegorical picture of Mars, Venus, and Vulcan, thirty inches long by twenty-five wide, now owned in Bridgewater, Mass. The next year he painted a miniature of George Washington, who was on a visit to Governor Shirley at the time. This picture now belongs to the family of the late George P. Putnam, of New York City. In 1756 he painted a three-quarters length portrait of General William Brattle, life size, signed and dated, and now owned by Mr. William S. Appleton. He now improved rapidly. A crayon portrait of Miss Rebecca Gardiner, afterward Mrs. Philip Dumaresq, an oil painting of Mrs. Edmund Perkins, a portrait of Rebecca Boylston, afterward wife of Governor Gill, portraits of Colonel and Mrs. Lee, grandparents of General William Raymond Lee, all exist and attest the continued growth of his powers. These date between 1763 and 1769. During this time he had access to and was a visitor in houses where were portraits by Saribest, Blackburn, Liopoldt, and even by Vandyck and Sir Godfrey Kneller. Mr. Augustus Thorndike Perkins, in his carefully written monograph on Copley, says that our artist must have seen all these pictures, since, as Dr. Gardiner says, “his genial disposition and his courtly manners make him a welcome guest everywhere.” Mr. Perkins remarks that Copley must have studied with Blackburn; that he imitated, but in some respects surpassed him. “Both frequently used, either as the lining of a dress or as drapery, a certain shade of mauve pink; Blackburn uses this shade feebly, while Copley dashes it on with the hand of a master.” On November 16, 1769, Copley married Susan (or Susannah, as it is sometimes written), the daughter of Mr. Richard Clarke, a distinguished merchant of Boston, to whom, as agent of the East India Company of London, was consigned the tea thrown overboard in Boston harbor. From all accounts he soon began to live in good style; and as, in 1771, Colonel Trumbull found him living opposite the Common, it is probable that he purchased at about that time the property which afterward became so valuable, although long after Copley had ceased to be the owner. In 1773, says the late eminent conveyancer, Nathaniel Ingersoll Bowditch, “Copley owned all the land bounded on the west by Charles River, thence by Beacon Street to Walnut Street, thence by Walnut Street to Mt. Vernon Street, thence by Mt. Vernon Street to Louisburg Square, thence by Louisburg Square to Pinckney Street, thence by Pinckney Street to the water, containing about eleven acres