FINE ARTS
ENGLISH ACADEMIES FOR PAINTING ANTERIOR TO THE ESTABLISHMENT OF THE ROYAL ACADEMY IN LONDON.
The first attempt to form an academy for the encouragement of the fine arts in this country was made in Great Queen-street, in the year 1697. The laudable design was undertaken by Sir Godfrey Kneller, and by the most respectable artists of the day, who endeavoured to imitate the French Academy founded by Lewis XIV. Their undertaking, however, was wholly without success; jealousies arose among the members, and they were ultimately compelled to relinquish the project as fruitless. Sir James Thornhill, a few years afterwards, commenced an academy in a room he had built for the purpose at the back of his own residence, near Covent-garden theatre; but his attempt, likewise, proved abortive. Notwithstanding these failures, Mr. Vanderbank, a Dutchman, headed a body of artists, and converted an old Presbyterian meeting-house into an academy. Besides plaster figures, Mr. Vanderbank and his associates procured a living female figure for study, which circumstance tended to gain a few subscribers; but, in a very short space of time, for want of money sufficient to defray the necessary expenses, all the effects belonging to the establishment were seized for rent, and the members, in disgust, accordingly separated.
On the demise of Sir James Thornhill, in 1734, the celebrated William Hogarth became possessed of part of his property.[2] Although much averse to the principles on which academies were generally founded, Mr. Hogarth considered that one conducted wisely would probably be of great advantage to the public, as well as to the artists in general. He, therefore, proposed, that a body of artists should enter into a subscription for the purchase of a house sufficiently large and capacious to admit thirty or forty persons to draw from a naked figure. This proposition being unanimously agreed to, a place was forthwith taken in St. Martin's-lane; and Hogarth, to forward the undertaking as far as he could, lent them the furniture, &c. formerly belonging to Sir James Thornhill's academy.
The failure of all preceding attempts to form an academy was attributed by Mr. Hogarth to the principal members assuming too much authority over their brother artists; he, therefore, proposed, that every member should contribute an equal sum of money to the establishment, and should have an equal right to vote on every question relative to the society. He considered electing presidents, directors, and professors, to be a ridiculous imitation of the forms of the French Academy, and liable to create jealousies.[3] Under Hogarth's guidance, the Academy continued for thirty years, with little alteration, to the high satisfaction of its several members, and the public in general.
On ascending the British throne, George III. evinced so much interest for the arts, that most of the members of the academy (though contrary to the wishes of their leader, who possessed a most independent spirit,) solicited the royal patronage to a plan they had in view of establishing an academy for painting, sculpture, and architecture. The success of this appeal is too well known to English readers to need much comment. His majesty was pleased to appropriate those very splendid apartments in Somerset-house for the use of artists, who shortly formed a new society, over which, by his majesty's special command, the great Sir Joshua Reynolds presided.
G.W.N.