English Painters, with a Chapter on American Painters

by H. J. Wilmot-Buxton; S. R. Koehler

In spite of the marked progress of water-colour painting, there was as yet no adequate accommodation for the exhibition of drawings produced in that mode. The room assigned to works in water colour at the Royal Academy exhibitions was described as "a condemned cell." The general public still believed in the superiority of oil painting, and worshipped a big, indifferent picture in that mode, whilst they allowed gems of art to hang unnoticed in the water-colour room. To remedy this the Water-Colour Society was founded on November 30th, 1804, the originators being Hills, Pyne, Shelley, Wills, Glover and Varley. William Sawrey Gilpin was the first President. This society gave new and increased vigour to water-colour art, and a second body, the Associated Artists in Water Colours, was formed in 1808. The older society exhibited the works of members only, the new association was less exclusive: the career of the latter was brief. The Water-Colour Society also lost popularity after a while, and in 1813 the members determined to dissolve it. Twelve of their number, however, were averse to this course, and maintained the annual exhibition during a few years, with small success. Meanwhile, the other members, in 1814, opened an exhibition in New Bond Street, and invited contributions from British water-colour artists who belonged to no other society. This effort failed. The original body styled itself "The Society of Painters in Oil and Water Colours," for a time admitted oil paintings, and made other alterations in its rules, but in 1821 returned to its original constitution. In 1823 it was established in its present premises in Pall Mall East, since which date it has flourished. In 1881 it became The Royal Society of Painters in Water Colours.

In 1831 The New Water-Colour Society was formed, a body which two years later changed its title to that of The New Society of Painters in Water Colours. In 1863 it became the Institute of Painters in Water Colours, a title it still retains. The great increase in the numbers of artists of this class rendered the formation of the second society necessary. A third exhibition of water colours was formed in the Dudley Gallery, which has recently undergone a reorganization in its Committee of Management.

JOHN VARLEY (1778—1842) was at first the assistant of a silversmith, then of a portrait painter, and subsequently of an architectural draughtsman. After a time he found his true vocation in landscape-painting with water colours. He was as we have seen, one of the founders of the Water-Colour Society. His works are noteworthy for simplicity and pathos, but his later productions, owing to the necessity of working against time, are very slight. Varley chiefly painted Welsh scenes, many of which are at South Kensington, e.g. Beddgellert Bridge and Harlech Castle.

WILLIAM HAVELL (1782—1857), another of the foundation members of the Water-Colour Society, was a constant exhibitor till 1817, when he visited India. On his return he chiefly contributed oil paintings to the Royal Academy. Havell was one of those who aided to carry water-colour painting beyond mere topography, and in later works he adopted the "sunny method" of Turner.

SAMUEL PROUT (1783—1852) is best known by his sketches of continental scenery, e.g. Würzburg, the Arch of Constantine at Rome, and the Porch of Ratisbon Cathedral (South Kensington). He excelled as a painter of cottages and ancient ruins, but rarely succeeded with foliage. He published drawing-books, containing studies from nature.

DAVID COX (1783—1859), the son of a blacksmith, was born at Birmingham. He was a weakly child, and amused himself with drawing instead of the rougher sports of his companions. Instructed by a local artist, he found employment in painting lockets, and as a scene-painter at the theatre at Birmingham and at Astley's Amphitheatre in Lambeth. Devoting himself to landscape, and assisted by John Varley, Cox soon became one of the most eminent artists of his school, remarkable for the truthfulness of his colouring, the purity and brilliancy of the light in his pictures. He was elected a member of the Water-Colour Society in 1813. His style may be studied at South Kensington. His works are now highly prized.

THOMAS MILES RICHARDSON (1784—1848), a native of Newcastle-on-Tyne, is said to have been seized with a desire to become a painter on seeing a landscape by Cox. He began as apprentice to a cabinet-maker. Exchanging this vocation for that of a schoolmaster, he finally accepted art as his calling, and became a distinguished landscape painter.

ANTHONY VANDYKE COPLEY FIELDING (1787—1855) proved worthy of the names he bore. He was a pupil of Varley, and contributed his first picture to the Water-Colour exhibition of 1810. From that time his success was assured. During his life his works commanded very high prices. He was elected President of the Water-Colour Society in 1831, and held that office till his death. Fielding executed some excellent oil paintings. "He delights in distances, extensive flats, and rolling downs. It is true that while space is often obtained, the result is emptiness." An example of this is The South Downs, Devon, at South Kensington. Marine pieces are among Fielding's best works, but even these are mannered.