Haden. Old Oaks, Chatsworth
Size of the original charcoal drawing, 14 × 20 inches
The drawings done after 1858 were much broader in style than the early sketches, and vary in method, being in lead pencil, pen and ink, chalk, charcoal, and water-color. Thrown off in a moment of inspiration, as a poet would throw off a lyric, he chose the material which chanced to be at hand. Some are on sheets of writing paper, and many valuable ones are on perishable blotting paper. Here and there among these “slight” sketches are specimens that in their economy of line, their stamp of decision, and their interpretative insight, suggest the work of his great master Rembrandt. What strikes one above all is their vigor and “bigness.” There is no dainty indecision about them; they go straight for the heart of the subject, giving the vigorous impression of a vigorous mind. They do not give all that could be said on the subject, but they give all that he feels is best worth saying. They make an intellectual appeal to the mind and do not tire with unnecessary platitudes.
The water-color drawings show a good but scarcely a great colorist. They are in the “grand” manner and the best of them have a fine atmospheric quality, as in the Dinkley Ferry here, which reminds one of a good De Wint. The Course of the Ribble is probably one of the most finished drawings he ever did, and shows to the highest degree of what he was capable in this medium when time allowed and when loving care was exercised. It is wonderfully mellow, good in color, and true in drawing, but has less of the white heat of inspiration:—I envy the fortunate possessor! The Lancashire River, a drawing of the same subject as the etching with the same title, is perhaps his finest piece of color.
But it is in his large charcoal drawings of the end of the seventies that he rises to his greatest heights,—in the sketches done around Swanage in the south of Dorsetshire, and at Chatsworth, and two or three drawn from the stores of his memory. What a revelation it was to me when—I scarcely like to count how many years ago—I first passed into that peaceful little “garden room” that looked out upon the old-time bowling green at Woodcote Manor and saw around its walls some four and twenty of these large charcoal drawings! It was as though some new planet swam into my ken! I had never seen so much suggested with such simple means. Two or three hours’ work with a sheet of rough paper, a piece of charcoal, and a mezzotint scraper! Heath and woodland, sea cliff and river glen, radiant light and quivering mist, houses sleeping in the sun and mysterious shadows lurking in the corners of the quaint old kitchen or the romantic ruin, or lying full length before the giant boles of centuries-old oaks; all suggested with equal ease and magic mastery! Many and many an hour did I afterward spend in that little treasure-house, ever finding fresh beauties revealed to me, and learning through them to see in Nature much that had previously been hidden from me. Haden’s etchings had proved him to be a great master in line, these drawings proved him to be almost equally great in tone. What particularly strikes one is the variety and transparency of his shadows. They are not black patches, but receding planes of varying densities. And what atmospheric quality they have! Driving mist and slanting rain, and sun rays penetrating the moisture-laden air, as though by a magician, are fixed for us on paper.
Haden. Course of the Ribble below Preston
Size of the original water-color, 12½ × 19 inches
