Turner spent the summer of 1798, when this drawing was made, in North Wales, visiting Kilgerran, Harlech, Conway and Carnarvon castles, and the neighbourhood of Snowdon. In the “Hereford Court” Sketch Book (Turner Bequest, XXXVIII) there are several Wilsonesque water-colours similar to this.
The Mountainous Landscape is probably a leaf of the “North Wales” Sketch Book, a smaller book in use at the same time as the “Hereford Court” Sketch Book. It is slighter and more summary than the Mountain Stream, being worked with a few simple washes put on at once with unerring skill and knowledge. This masterly little sketch was erroneously ascribed to Alexander Cozens in the catalogue; though why, I cannot imagine, as it does not bear the faintest resemblance to that artist’s style. But the mistake was productive of an incident which caused considerable amusement amongst students of Turner’s works. The art critic of one of the leading London papers happens to be a superior person who finds Turner too “vulgar” for his refined taste. This delightful critic dismissed the whole collection of Turner’s wonderful drawings in the exhibition as mere “works of commerce,” and singled out this Mountainous Landscape, because he was told it was by Alexander Cozens, as one of the finest things in the exhibition. Yet there are still people who ask “What’s in a name?” Probably if Turner’s “Blue Rigi” had been described in the catalogue as by Alexander Cozens this amusing critic, who seems to judge pictures rather by what he is told than by what he sees, might have found that it possessed some artistic merits.
158. Crosses and Brasses, Whalley Abbey, circa 1799.
This was done to be engraved in Whitaker’s “History of the Parish of Whalley,” and is therefore a mere “work of commerce.” I suppose some people must think an artist lowers himself somehow if he sells his work or accepts an order to make a drawing. Work done under these conditions, they seem to think, must be done carelessly, hastily, and half-heartedly, otherwise there would be no point in the sneer. This is a curious example of modern ways of thinking. Work has become low, plebeian; only the groundlings work; the really superior person has a private income (or his wife has) and devotes himself to doing things which will benefit humanity at large in the dim and distant future. Some of this muddle-headedness, so far as art is concerned, is probably due to the current cant about “utterance,” emotion and self-expression, though some of it may be due to a genuine though vague and unpractical desire for the general good. I will merely remark that Turner was emphatically not a superior person of this kind. He looked upon himself always as a workman. He retained even late in life, as Mr. Ruskin once happily remarked, “some little English sense and practical understanding.” He believed in work, and he was prouder of his enormous powers of work than of his genius, his success, or even his money. But he expected to be paid for his work, and he grumbled vigorously when any of his works failed to sell. On the other hand, he never scamped his job, or offered an employer work which was not done as well as he could do it.
How unsparing of his time and labour he was is proved by this drawing of the Whalley crosses and brasses. The subject gave him no chance of using those of his gifts which gave him most pleasure to use. It gave him no opportunities of what our modern sentimentalists call emotion or “utterance.” As the subject called only for sheer plodding labour, he gave that, and he gave it in full measure. The drawing once belonged to Mr. Ruskin.
145. Norbury Park, circa 1797.
This is a study of natural colouring and effect; a note of the autumn tints on a charming stretch of country. Wilson is quite forgotten for the moment. The young artist is content to put down on the paper, as neatly and swiftly as possible, a faithful record of what he sees. This drawing was probably made in September 1797, when Turner was at Norbury Park. He exhibited at the Royal Academy in the following year A Study in September of the Fern House, Mr. Lock’s Park, Mickleham, Surrey. It would be interesting to know what has become of this drawing. I can find no trace of it in Christie’s records or elsewhere.
16. Cassiobury: The House seen across the Park, circa 1800 ([Plate V]).
Another example of Turner’s “commercial work,” and like the Whalley brasses done as well as he could do it. This is one of the numerous drawings and paintings he made for the noblemen and gentlemen of England of their houses and grounds. It was done for George, 5th Earl of Essex, who was one of Turner’s earliest patrons. As Viscount Malden, before he succeeded to the earldom, he had employed Turner in 1795 to make views of the house and grounds at Hampton Court, Herefordshire. The drawing of A Waterfall, now in the Victoria and Albert Museum (1682-’71) is a view of the cascade in those grounds.
The introduction of the huntsmen, horses and dogs in the foreground of the Cassiobury drawing gives it a sporting and jovial character which is thoroughly in harmony with the spirit of the place. Turner was quick in noting characteristic details of this kind and used them with propriety and effect. Yet the drawing has a fine spaciousness and stateliness which the artist’s noble patron would appreciate. I believe this water-colour must have been lower in tone and darker in colour when it was first done than it is now. The pencil drawing from nature of the mansion from which the water-colour was painted is in the “Fonthill” Sketch Book, p. 41. The curious will find it reproduced in my book on “Turner’s Sketches and Drawings.”