In proceeding to speak of artists of the English school, we must remember that we have not to deal with men gathered round a great master, as is the case with many foreign painters. Each English artist has originality, and stands by himself. It will be most convenient therefore to treat them according to the special branch of art which they severally followed, i.e. Historic, Portrait, Landscape, or Animal painting. HISTORICAL PAINTING had hitherto found little favour in England, nor were the pictures produced in that line worthy of much regard. Reynolds attempted it in Ugolino and the Infant Hercules, but it is not by means of such pictures he will be remembered. There were others who devoted themselves to what they styled high art, with earnestness worthy of greater success than they achieved.
BENJAMIN WEST (1738—1820) was born at Springfield, Pennsylvania, and of Quaker parents who descended from a Buckinghamshire family of the same persuasion. He early showed signs of artistic genius, and strange stories have been told of the precocity of the child. West received his first colours from Indians, and made his first paint-brush from a cat's tail. A box of colours, given by a merchant when he was nine years old, encouraged him to persevere; and we know that the donor of the box introduced him to a painter named Williams, of Philadelphia, from whom he derived instruction. West started in life at eighteen as a portrait painter; first at Philadelphia, then at New York. In 1760, he visited Italy, and, after remaining there three years, proceeded to England. He had intended to return to America, but became so successful that he settled in London. In Rome the young American created a sensation, and the blind Cardinal Albani, whose acquaintance with Americans must have been limited, asked if he was black or white. In London West was greatly sought after, and in 1766, three years after his arrival, he finished Orestes and Pylades (National Gallery); his house was besieged by the fashionable world, eager for a glimpse of the picture. West now found many patrons, among them the Bishops of Bristol and Worcester, and Drummond, Archbishop of York. The Archbishop was so charmed by Agrippa with the Ashes of Germanicus, that he introduced West to George III., who became a warm and faithful supporter of the artist. From 1767 to 1802 West was almost exclusively employed by the King, and received large sums of money. He was one of the original members of the Royal Academy, and on the death of Reynolds, became President. His inaugural address, which, like all he did, was highly praised, had two subjects—the excellence of British art and the gracious benevolence of his Majesty. The illness of George III. put an end to West's attendance at Court, and he proceeded into a wider field of art, choosing that of religion. Here he was more successful than in many of his former pictures, as in Christ healing the Sick (National Gallery), Christ rejected, and Death on the Pale Horse. He died on the 11th of March, 1820, aged eighty-two. West, so popular in the days of George III., is utterly neglected now. If he aimed at being great, he succeeded only in the size of his pictures. A cold, passionless mediocrity was the highest point to which he attained, and of his pictures we may say as the old Scotsman said of Rob Roy, that they are "too bad for blessing, and too good for banning." Redgrave says: "His compositions were more studied than natural, the action often conventional and dramatic; the draperies, although learned, heavy and without truth. His colour often wants freshness and variety of tint, and is hot and foxy." We owe to West, however, the example of courage in attempting great religious subjects, and in departing from the absurd custom of representing the warriors of all nations clad like ancient Romans. In his Death of Wolfe, West insisted, contrary to the advice of Reynolds, in painting his soldiers in their proper dress.
JOHN SINGLETON COPLEY, R.A. (1737—1815), was born at Boston, America, then one of our colonies, his father being English and his mother Irish. Boston in those days could offer no facilities for art-education, but Copley went to Nature—the best of teachers. He commenced with portraits and domestic life, and between 1760 and 1767 sent pictures to London, where they excited considerable interest. In 1774, he visited the Old World, first England, then Italy, and finally settled in London in 1775. In the following year he exhibited a "conversation" piece at the Royal Academy, and was elected an Associate in 1777. In 1778, William Pitt, Earl of Chatham, whilst speaking in the House of Lords against the practice of taxing our colonists without their consent, was seized with a fatal illness. This incident, specially interesting to an American, suggested The Death of the Earl of Chatham (National Gallery), which at once raised the painter to a high place in the ranks of British artists. The popularity of Copley was greatly owing to his choice of subjects. Instead of dealing with ancient history or classic fables, with which the general public was but imperfectly acquainted, he selected events of the day, or of modern times, and contrived to combine portraiture, ever popular in England, with the dramatic incidents of his pictures. Copley was made a full member of the Royal Academy in 1779, and maintained his popularity by The Death of Major Peirson (National Gallery)—which represents an attack of the French on St. Helier's, Jersey, in 1781, and the fall of young Major Peirson in the moment of his victory. Following the path thus wisely selected, Copley produced Charles I. ordering the Arrest of the Five Members, The Repulse of the Spanish Floating Batteries at Gibraltar by Lord Heathfield (painted for the City of London, now in the Guildhall), The Assassination of Buckingham, The Battle of the Boyne, &c. He exhibited only forty-two works in the Royal Academy, all of which were portraits except The Offer of the Crown to Lady Jane Grey, and The Resurrection. In sacred subjects, Copley was far less successful than in the particular style of art to which he mainly adhered. His son became famous as Lord Chancellor Lyndhurst.
