Wednesday, 10 March 2010
Monday, 8 March 2010
William Westall in China and India (1)
Adapting parts of articles published in 'The Journal of the Families in British India Society', 'Marg', and 'Cook's Log' (as listed on the blog in my published articles) plus material from other sources, I have now gathered together the areas relevant to William Westall's stays in China and India. This is episode 1.
Following the shipwreck which concluded William Westall's expedition to Australia under the command of Matthew Flinders, William decided to travel to China. A vessel which had been captured from the Spanish was adapted for British use, named the 'Rolla'. It reached Whampoa in China on December 14th 1803 with William on board. As Sir William Foster writes in 'British Artists in India 1760 - 1820 (Walpole Society 1930/31): 'The China records at the India Office (vol 145 p 153) inform us that on 25 January 1804 he (William Westall) "being extremely desirous of proceeding to Ceylon and other parts of India which have hitherto been but little visited by artists, and to make up for the deficiency of his drawings etc, which the barren coast of New Holland afforded him no opportunity of doing, applied to the President (of the East India Company) for permission for that purpose, requesting at the same time introductions to the Governments to which he might proceed, to facilitate his object"; and that Committee, approving his project, caused the desired letters to be written to the Governors of Madras, Bombay, Ceylon, and Prince of Wales Island". Farington's Diary vol ii p272 (Greig edition) was told that Westall's action was taken on the advice of Mr David Lance, one of the members of the Select Committee at Canton.' In the Yale edition of his Diaries Farington notes on 9 August 1804 information supplied by his nephew Lieut Flinders:'At China he (William Westall) was persuaded by Mr Lance one of the Super Cargo's to return back to India'
David Lance was one of Sir Joseph Banks's 'extraordinarily large contingent of collectors...busy gathering plant specimens and shipping them back to their mentor in Soho Square' (see David Mackay 'Presiding Genius of Exploration: Banks, Cook, and Empire, 1767-1805.) He is mentioned in E.Bretschneider 'History of European Botanical Discoveries in China' and a biography of Peter Good (by J.Britten & G.S. Boulger)with respect to introducing plants from China to Kew. Peter Good was Gardener on the Flinders expedition and had been a Kew gardener. It is clear that Lance's views had a strong impact on William.
William was in China for about two months before travelling to India on 'The Carron' as part of the fleet that left Macao on February 6 (Farington has Feb 5)under the command of Commodore Nathaniel Dance. He eye witnessed the action about a week later in which the fleet repulsed an attack by a French squadron under Admiral Linois. The Bombay portion of Dance's fleet, after touching on Malacca, Penang, Point de Galle and Cannanore arrived in Bombay on April 30,1804. Among the passengers named by the Bombay Courier on May 5 was 'Mr Westhall'.
Following the shipwreck which concluded William Westall's expedition to Australia under the command of Matthew Flinders, William decided to travel to China. A vessel which had been captured from the Spanish was adapted for British use, named the 'Rolla'. It reached Whampoa in China on December 14th 1803 with William on board. As Sir William Foster writes in 'British Artists in India 1760 - 1820 (Walpole Society 1930/31): 'The China records at the India Office (vol 145 p 153) inform us that on 25 January 1804 he (William Westall) "being extremely desirous of proceeding to Ceylon and other parts of India which have hitherto been but little visited by artists, and to make up for the deficiency of his drawings etc, which the barren coast of New Holland afforded him no opportunity of doing, applied to the President (of the East India Company) for permission for that purpose, requesting at the same time introductions to the Governments to which he might proceed, to facilitate his object"; and that Committee, approving his project, caused the desired letters to be written to the Governors of Madras, Bombay, Ceylon, and Prince of Wales Island". Farington's Diary vol ii p272 (Greig edition) was told that Westall's action was taken on the advice of Mr David Lance, one of the members of the Select Committee at Canton.' In the Yale edition of his Diaries Farington notes on 9 August 1804 information supplied by his nephew Lieut Flinders:'At China he (William Westall) was persuaded by Mr Lance one of the Super Cargo's to return back to India'
David Lance was one of Sir Joseph Banks's 'extraordinarily large contingent of collectors...busy gathering plant specimens and shipping them back to their mentor in Soho Square' (see David Mackay 'Presiding Genius of Exploration: Banks, Cook, and Empire, 1767-1805.) He is mentioned in E.Bretschneider 'History of European Botanical Discoveries in China' and a biography of Peter Good (by J.Britten & G.S. Boulger)with respect to introducing plants from China to Kew. Peter Good was Gardener on the Flinders expedition and had been a Kew gardener. It is clear that Lance's views had a strong impact on William.
William was in China for about two months before travelling to India on 'The Carron' as part of the fleet that left Macao on February 6 (Farington has Feb 5)under the command of Commodore Nathaniel Dance. He eye witnessed the action about a week later in which the fleet repulsed an attack by a French squadron under Admiral Linois. The Bombay portion of Dance's fleet, after touching on Malacca, Penang, Point de Galle and Cannanore arrived in Bombay on April 30,1804. Among the passengers named by the Bombay Courier on May 5 was 'Mr Westhall'.
Saturday, 6 March 2010
Southey letters
Sothebys 19 July 1960 - letter quoted from Robert Southey to William Westall
'...Your brother will use his own judgement as to the subjects. My notion was that as the poem (A Tale of Paraguay) had little to do with passion, & less with action, the more simple & quiescent the subjects which might be chosen to illustrate it, the more characteristic they would be. I hope very shortly to send him the oncluding book: it is more than half written: but the stanza has fettered my progress in a manner which might make me suspect a natural decay of power, if I did not feel the same strength and alacricity as ever when I am out of it..'
The letter is from Keswick. It is one of six mentioned to William Westall between 20 January and 20 February, 1832.
They were catalogued with a letter to Westall from Dora Wordsworth (daughter of the poet) and a manuscript poem 'To my dearest Friend Westall' signed John Ayton dated October, 1826. This would be to Richard Westall (see his Will with respect to John Ayton)
A full letter in typed transcript from Southey to William Westall from Keswick Jan 1822. Left to my brother by our uncle William Edmund Westall and given to me.
'My dear Westall,
I wrote to Longman some little time ago saying I could have the "Tale of Paraguay" ready for publication this season, and desiring that your brother might make three drawings from it. Their answer was "When you have the Tale of Paraguay ready we will consider respecting plates.
The enormous charge now made for drawings and engravings is such as to amount almost to prohibition.
Those which have been lately done for the Scoth Novels have not answered and we believe it is not the intention of the parties to illustrate any more". By this you see how unavailing it would be for me to write to them respecting the illustrations of "Roderick". And indeed I do not see of what use it could be, as we do not want them to take part in the speculation. In common course of trade they must sell them when they are ordered, and more than this they would not do unless the concern was wholly their own.
Murray said to me that he had seen the drawings, spoke very highly of them, and added that he should be most happy to engage in the engravings and publication of them.
He was to confer about it with Bedford, he said.
When I wrote in reply I let him know what number of copies had been sold, which I believe he had very much underated.
Further I have not heard.
Do you act according to your own judgement, and I will be ready at the time you specify with half the adventure. Much as I should like to see the drawings, it is better to defer this gratification as the engravers are less occupied just now.
I shall be a great deal before the public in the ensuing year, and with that sort of notoriety which may be of use to the prints.
They may very likely lead to a series from the other poems.
Edith shall copy the few sketches which I possess. They were taken by one quite unacquainted with the art, the two best of the collection were many years ago put into the hands of an artist at Bristol on his travels to make drawings that they might be engraved for my letters - but he took them away, and we never heard of him or them afterwards.
It is possible that my Uncle may have the originals, and I will write to him about them.
I have two scenes in the Life of Sir J. Moore's retreat which, if you had sketched them, would have been fine things indeed.
Edith will set about them directly. And I will put out my feelers in all directions to find where sketches may be obtained.
Murray could be of material assistance here.
The book about the new, or rather, old process in painting has been sent me and I have been much struck with the ingenuity of the authoress in seeing the hint which a mere accident gave her and pursuing it so steadily and successfully. Have you seen the book or the pictures painted in the manner there described.
You have most likely seen Lord Byron's abuse of me. I reply to it because it contains a direct charge of calumny which it is proper to meet with a direct denial. And this gives me an opportunity of laying on the lash as he deserves.
My letter is gone this day to Wordsworth and as soon as he returns it I shall dispatch it to the Courier. Murray will be sending to me sooner than Longman.
I shall very much like to see your stone drawings. Is there any secret in the printing these things which we have not yet discovered in this country? The ladies all desire their kind remembrances.
When is there a chance of seeing you in this country?
Did it ever occur to you that views in illusration of Wordsworth poem, would be a promising speculation?
I do not know so promising a one. They should be a sma;l size and such as Lakers would purchase.
God Bless you,
Yours affectionately
Robert Southey'
To William Westall, Esqre; A.R.A.
18 Mornington Place,
Hampstead Road
'...Your brother will use his own judgement as to the subjects. My notion was that as the poem (A Tale of Paraguay) had little to do with passion, & less with action, the more simple & quiescent the subjects which might be chosen to illustrate it, the more characteristic they would be. I hope very shortly to send him the oncluding book: it is more than half written: but the stanza has fettered my progress in a manner which might make me suspect a natural decay of power, if I did not feel the same strength and alacricity as ever when I am out of it..'
The letter is from Keswick. It is one of six mentioned to William Westall between 20 January and 20 February, 1832.
They were catalogued with a letter to Westall from Dora Wordsworth (daughter of the poet) and a manuscript poem 'To my dearest Friend Westall' signed John Ayton dated October, 1826. This would be to Richard Westall (see his Will with respect to John Ayton)
A full letter in typed transcript from Southey to William Westall from Keswick Jan 1822. Left to my brother by our uncle William Edmund Westall and given to me.
'My dear Westall,
I wrote to Longman some little time ago saying I could have the "Tale of Paraguay" ready for publication this season, and desiring that your brother might make three drawings from it. Their answer was "When you have the Tale of Paraguay ready we will consider respecting plates.
The enormous charge now made for drawings and engravings is such as to amount almost to prohibition.
Those which have been lately done for the Scoth Novels have not answered and we believe it is not the intention of the parties to illustrate any more". By this you see how unavailing it would be for me to write to them respecting the illustrations of "Roderick". And indeed I do not see of what use it could be, as we do not want them to take part in the speculation. In common course of trade they must sell them when they are ordered, and more than this they would not do unless the concern was wholly their own.
Murray said to me that he had seen the drawings, spoke very highly of them, and added that he should be most happy to engage in the engravings and publication of them.
He was to confer about it with Bedford, he said.
When I wrote in reply I let him know what number of copies had been sold, which I believe he had very much underated.
Further I have not heard.
Do you act according to your own judgement, and I will be ready at the time you specify with half the adventure. Much as I should like to see the drawings, it is better to defer this gratification as the engravers are less occupied just now.
I shall be a great deal before the public in the ensuing year, and with that sort of notoriety which may be of use to the prints.
They may very likely lead to a series from the other poems.
Edith shall copy the few sketches which I possess. They were taken by one quite unacquainted with the art, the two best of the collection were many years ago put into the hands of an artist at Bristol on his travels to make drawings that they might be engraved for my letters - but he took them away, and we never heard of him or them afterwards.
It is possible that my Uncle may have the originals, and I will write to him about them.
I have two scenes in the Life of Sir J. Moore's retreat which, if you had sketched them, would have been fine things indeed.
Edith will set about them directly. And I will put out my feelers in all directions to find where sketches may be obtained.
Murray could be of material assistance here.
The book about the new, or rather, old process in painting has been sent me and I have been much struck with the ingenuity of the authoress in seeing the hint which a mere accident gave her and pursuing it so steadily and successfully. Have you seen the book or the pictures painted in the manner there described.
You have most likely seen Lord Byron's abuse of me. I reply to it because it contains a direct charge of calumny which it is proper to meet with a direct denial. And this gives me an opportunity of laying on the lash as he deserves.
My letter is gone this day to Wordsworth and as soon as he returns it I shall dispatch it to the Courier. Murray will be sending to me sooner than Longman.
I shall very much like to see your stone drawings. Is there any secret in the printing these things which we have not yet discovered in this country? The ladies all desire their kind remembrances.
When is there a chance of seeing you in this country?
Did it ever occur to you that views in illusration of Wordsworth poem, would be a promising speculation?
I do not know so promising a one. They should be a sma;l size and such as Lakers would purchase.
God Bless you,
Yours affectionately
Robert Southey'
To William Westall, Esqre; A.R.A.
18 Mornington Place,
Hampstead Road
Thursday, 4 March 2010
William Westall's Indian Views
In 1817 William Westall exhibited 'An Indian Army in a pass of the Ghauts, Decan, East Indies' at the Royal Academy (no 317). There is a similar painting also exhibited at the RA in 1824 (no 139) as 'Distant view of the Marhatta Country from the Boa Ghaut, between Bombay and Poonah'
The British Institution gave measurements of pictures and in 1818 W. Westall exhibited 'An Indian Army in the pass of the Ghauts Decan, East Indies', measuring 6 ft 6 ins by 5ft 5 ins as the outside of the frame. In 1825 the BI showed (no392) 'Distant View of the Marhatta Country. From the Boa Ghaut between Bombay and Poonah' with measurements 6ft 6ins by 5ft 6ins.
The two paintings would seem to have been at the RA and BI in consecutive years.
John Landseer wrote for William's obituary in the 'Art Journal' April 1850: 'Westall's forte was landscape portraiture...a large picture by his hand, a grand mountain scene with a lofty waterfall; a "View among the Ghauts of Hindostan', a picture possessing much the charming grey aerial tone and just degraduation on which the early fame of Turner was founded'.
Contemporary comment appeared in 'The European Magazine'Vol 85, June 1824 on the exhibition then at Somerset House: 'The academician Turner is absent this season...where we are so generally accustomed to see him in his glory...Turner's absence...is in great measure compensated by Calcott and W.Westall, who severally display merits that in Turner are often amalgamated...no 139 is entitled, Distant View of the Mahratta Country from the Boa Ghaut. This Boa Ghaut, we take to be the native country of the dreadful Boa serpent, and it looks like it. The figures represented, are a detatchment of the native army, commanded by an English officer, who, the day the study was made, passed the Ghaut with part of the artillery taken by Sir Arthur Wellesley at the Battle of Assaye Deccan. This picture is a grand assemblage of Indian forest scenery, with rocks and mountains, from which a river is precipitated; and will add to Mr W. Westall's well earned reputation as a travelled landscape painter of first rate ability. The very soul of the performance resides in that tender mixture of humid haze with the effulgence of sunlight, which confers at once beauty and vastness of dimensions on wild scenery, and of which we have endeavoured to suggest the idea above, as pervading a large portion of the admired landscapes of Turner'
Comment also appeared in Ackermann's 'Repository of Arts' Vol V p 168, 1818. This was of the BI exhibition. It reads: 'If an excellent and picturesque representation of Eastern scenery can recommend a subject, this has certainly this recommendation: the colouring is strong and vivid, and the scenery extremely interesting.'
In June 1824 Vol III (3rd series) p. 355 of the 'Repository of Arts' describes Westall's 'peculiarly romantic and well painted' picture at the RA. The 'Literary Gazette' July 10, 1824 no 390 p 442 refers the same painting as 'very highly interesting..striking, grand, and picturesque.'
In 1837 George Baxter reproduced 'The Boa Ghaut' explaining the Ghaut or gate forms 'one of the most striking peculiarities of Central India'. C.T. Courtney Lewis in 'Baxter: Picture Printer of the 19th Century' (1911) suggests that there are two prints of this Boa Ghaut picture 'one more artistic than the other.
Dr Mildred Archer whilst looking through some photographs of paintings with me found one very like the Baxter reproduction. The painting had previously been attributed to William Havell. I was able to see this original painting and a photograph of it can be seen on p. 28 of Turner Studies (Tate) Vol 4 No 1.
The British Institution gave measurements of pictures and in 1818 W. Westall exhibited 'An Indian Army in the pass of the Ghauts Decan, East Indies', measuring 6 ft 6 ins by 5ft 5 ins as the outside of the frame. In 1825 the BI showed (no392) 'Distant View of the Marhatta Country. From the Boa Ghaut between Bombay and Poonah' with measurements 6ft 6ins by 5ft 6ins.
The two paintings would seem to have been at the RA and BI in consecutive years.
John Landseer wrote for William's obituary in the 'Art Journal' April 1850: 'Westall's forte was landscape portraiture...a large picture by his hand, a grand mountain scene with a lofty waterfall; a "View among the Ghauts of Hindostan', a picture possessing much the charming grey aerial tone and just degraduation on which the early fame of Turner was founded'.
Contemporary comment appeared in 'The European Magazine'Vol 85, June 1824 on the exhibition then at Somerset House: 'The academician Turner is absent this season...where we are so generally accustomed to see him in his glory...Turner's absence...is in great measure compensated by Calcott and W.Westall, who severally display merits that in Turner are often amalgamated...no 139 is entitled, Distant View of the Mahratta Country from the Boa Ghaut. This Boa Ghaut, we take to be the native country of the dreadful Boa serpent, and it looks like it. The figures represented, are a detatchment of the native army, commanded by an English officer, who, the day the study was made, passed the Ghaut with part of the artillery taken by Sir Arthur Wellesley at the Battle of Assaye Deccan. This picture is a grand assemblage of Indian forest scenery, with rocks and mountains, from which a river is precipitated; and will add to Mr W. Westall's well earned reputation as a travelled landscape painter of first rate ability. The very soul of the performance resides in that tender mixture of humid haze with the effulgence of sunlight, which confers at once beauty and vastness of dimensions on wild scenery, and of which we have endeavoured to suggest the idea above, as pervading a large portion of the admired landscapes of Turner'
Comment also appeared in Ackermann's 'Repository of Arts' Vol V p 168, 1818. This was of the BI exhibition. It reads: 'If an excellent and picturesque representation of Eastern scenery can recommend a subject, this has certainly this recommendation: the colouring is strong and vivid, and the scenery extremely interesting.'
In June 1824 Vol III (3rd series) p. 355 of the 'Repository of Arts' describes Westall's 'peculiarly romantic and well painted' picture at the RA. The 'Literary Gazette' July 10, 1824 no 390 p 442 refers the same painting as 'very highly interesting..striking, grand, and picturesque.'
In 1837 George Baxter reproduced 'The Boa Ghaut' explaining the Ghaut or gate forms 'one of the most striking peculiarities of Central India'. C.T. Courtney Lewis in 'Baxter: Picture Printer of the 19th Century' (1911) suggests that there are two prints of this Boa Ghaut picture 'one more artistic than the other.
Dr Mildred Archer whilst looking through some photographs of paintings with me found one very like the Baxter reproduction. The painting had previously been attributed to William Havell. I was able to see this original painting and a photograph of it can be seen on p. 28 of Turner Studies (Tate) Vol 4 No 1.
Opinion of William Westall
Final extract from cuts to Turner Studies article.
R.N. James, in 'Painters and their work' (L.Upcott Gill 1896) Vol III pp 284/5) made some interesting observations about William Westall when he wrote: 'To speak of William Westall's pictures as those of a topographical painter who made his sketches and watercolours, as has been done, is to do him much injustice, for both in watercolours and in oils his works, while correct views, are none the less good paintings, in which the colouring and management of light and shade are excellent'.
Colonel Grant in 'Old English Landscape Painters' (Vol VII p 532) an erratic observer of British art but one with a wide knowledge of his field, wrote: 'When Westall set up his easel at home, beside Windermere, or before the embattled brow of Yorkshire Richmond, or better still by the sunny flats of Ely and Cambridge, very peaceful and beautiful paintings resulted'.
R.N. James, in 'Painters and their work' (L.Upcott Gill 1896) Vol III pp 284/5) made some interesting observations about William Westall when he wrote: 'To speak of William Westall's pictures as those of a topographical painter who made his sketches and watercolours, as has been done, is to do him much injustice, for both in watercolours and in oils his works, while correct views, are none the less good paintings, in which the colouring and management of light and shade are excellent'.
Colonel Grant in 'Old English Landscape Painters' (Vol VII p 532) an erratic observer of British art but one with a wide knowledge of his field, wrote: 'When Westall set up his easel at home, beside Windermere, or before the embattled brow of Yorkshire Richmond, or better still by the sunny flats of Ely and Cambridge, very peaceful and beautiful paintings resulted'.
Westall,Turner & Girtin
Another extract from the cuts to 'The Westall Brothers'
The 'Somerset House Gazette' in a series of articles on 'The Rise and Progress of Water Colour Painting in England' (No IV p 113 29 Nov 1823) commented that 'Were we to neglect to mention Mr Richard Westall, whose historical and poetical compositions displayed so elegant a taste in the grouping of the human figure, whilst a young man, and the contemporary of Turner and Girtin, we should do great injustice to his merits.' The article went on to suggest that Westall 'as one of the founders of the British school of water-colour painting' was reaching in his pictures at the Royal Academy standards of force, clarity and contrast which excited no less admiration with 'all judges of art' than did 'the admired works of Turner and Girtin'. The author, probably the editor of the Journal W.H. Pyne, of the above relates that Westall never lived up to the hopes of his early admirers because, due to 'the benevolence of his heart, yielding to the claims of family affection' he was forced to 'labour for profit'. S.T. Prideaux in 'Aquatint Engraving' (published by Duckworth in 1909 p.185) mentions 'A Treatise on Ackermann's Superfine Water-Colours (1801)' with directions to prepare and use them, including succinct hints on drawing and painting' in which the author 'recommends the study of Turner, Girtin and Westall'. The index entry gives this as a reference to William Westall but in 1801 William was unknown; this clearly a reference to Richard Westall.The same error is made in 'The Tempting Prospect' by Michael Clarke (British Museum publications 1981).
If we are to have a balanced re-assessment of Richard Westall I can think of no better place to start than a letter by Richard James, formerly lecturer at the Barber Institute of Fine Arts at Birmingham University, who wrote to me: (Feb 2 1982)
'Richard Westall seems interesting to me less for any influence he may have had on others than for the influences he absorbed and displays in his own work. Of all the figure painters of what one might loosely describe as the "Boydell generation" he seems the most typical in the blend one finds of neo-calssical composition, proto-romanticism, diluted Fuseli, the stage traditions of Kemble and Mrs Siddons etc etc. As a style it marks the end, rather than a new beginning - the end of attempts to live up to Reynolds's advice and ambitions for history painting...I believe that his importance, or rather his usefulness, is that he typified so much that was current and alive in the last two decades of the 19th century.' It could be said that Westall led, in some ways, an era of British art from which Turner emerged to replace him.
James describes 'The First Interview of Henry IV of France with the Fair Gabrielle' by Westall, exhibited at the RA in 1829 (no79) and which was shown at the Fine Arts Society in April 1971 as 'Westall doing a Bonington, in some respects' One wonders if it might not have been that Bonington 'did a Westall'.
The 'Somerset House Gazette' in a series of articles on 'The Rise and Progress of Water Colour Painting in England' (No IV p 113 29 Nov 1823) commented that 'Were we to neglect to mention Mr Richard Westall, whose historical and poetical compositions displayed so elegant a taste in the grouping of the human figure, whilst a young man, and the contemporary of Turner and Girtin, we should do great injustice to his merits.' The article went on to suggest that Westall 'as one of the founders of the British school of water-colour painting' was reaching in his pictures at the Royal Academy standards of force, clarity and contrast which excited no less admiration with 'all judges of art' than did 'the admired works of Turner and Girtin'. The author, probably the editor of the Journal W.H. Pyne, of the above relates that Westall never lived up to the hopes of his early admirers because, due to 'the benevolence of his heart, yielding to the claims of family affection' he was forced to 'labour for profit'. S.T. Prideaux in 'Aquatint Engraving' (published by Duckworth in 1909 p.185) mentions 'A Treatise on Ackermann's Superfine Water-Colours (1801)' with directions to prepare and use them, including succinct hints on drawing and painting' in which the author 'recommends the study of Turner, Girtin and Westall'. The index entry gives this as a reference to William Westall but in 1801 William was unknown; this clearly a reference to Richard Westall.The same error is made in 'The Tempting Prospect' by Michael Clarke (British Museum publications 1981).
If we are to have a balanced re-assessment of Richard Westall I can think of no better place to start than a letter by Richard James, formerly lecturer at the Barber Institute of Fine Arts at Birmingham University, who wrote to me: (Feb 2 1982)
'Richard Westall seems interesting to me less for any influence he may have had on others than for the influences he absorbed and displays in his own work. Of all the figure painters of what one might loosely describe as the "Boydell generation" he seems the most typical in the blend one finds of neo-calssical composition, proto-romanticism, diluted Fuseli, the stage traditions of Kemble and Mrs Siddons etc etc. As a style it marks the end, rather than a new beginning - the end of attempts to live up to Reynolds's advice and ambitions for history painting...I believe that his importance, or rather his usefulness, is that he typified so much that was current and alive in the last two decades of the 19th century.' It could be said that Westall led, in some ways, an era of British art from which Turner emerged to replace him.
James describes 'The First Interview of Henry IV of France with the Fair Gabrielle' by Westall, exhibited at the RA in 1829 (no79) and which was shown at the Fine Arts Society in April 1971 as 'Westall doing a Bonington, in some respects' One wonders if it might not have been that Bonington 'did a Westall'.
Tuesday, 2 March 2010
Richard Westall & Turner
In 1984 my article on the Westall Brothers was published in 'Turner Studies'. Eric Shanes, the editor, kindly wrote of the final revised text: 'It now reads excellently'. These revisions meant cutting some of the original text and I think it is worth putting some of the cuts on the blog now, starting with this one:
'Richard Westall was considered in a series of articles in the 'Repository of Arts on Painting in Watercolours'. In January, 1813 the writer(thought to have been either Rudolf Ackermann or James Northcote, although Northcote seems unlikely)suggested that 'The entire development of richness and effect which at length elevated this art (of watercolour painting) to vie with the force of painting in oil, was left for the genius of Richard Westall to complete. The drawings of this master, when a very young man, excited universal admiration. Not only the cognoscenti, but the professors themselves, were for some time at a loss to discover by what means he was enabled to produce such splendour of colours and depth of effect...For several years, the historical and elegant compositions of Westall, were principal objects of attraction to the Exhibitions of the Royal Academy...Innumerable engravings have been made from the designs of this artist, many of them on a large scale, which were coloured in imitation of the originals, and have had an extensive circulation, not only in England, but, previous to the impediments created by the wars, in every part of the Continent..The extraordinary productions from the pencil of Westall at once excited the capacities of his contemporaries to the fullest stretch of exertion. Turner was the first to raise himself to rival fame. It was sufficient for his energetic mind to see, that his materials used in his department of art were capable of effecting so much. Without becoming a copyist, he laboured to produce in landscape pictures that should comprehend the same extent of scale, of splendour and effect.'
More texts later!
'Richard Westall was considered in a series of articles in the 'Repository of Arts on Painting in Watercolours'. In January, 1813 the writer(thought to have been either Rudolf Ackermann or James Northcote, although Northcote seems unlikely)suggested that 'The entire development of richness and effect which at length elevated this art (of watercolour painting) to vie with the force of painting in oil, was left for the genius of Richard Westall to complete. The drawings of this master, when a very young man, excited universal admiration. Not only the cognoscenti, but the professors themselves, were for some time at a loss to discover by what means he was enabled to produce such splendour of colours and depth of effect...For several years, the historical and elegant compositions of Westall, were principal objects of attraction to the Exhibitions of the Royal Academy...Innumerable engravings have been made from the designs of this artist, many of them on a large scale, which were coloured in imitation of the originals, and have had an extensive circulation, not only in England, but, previous to the impediments created by the wars, in every part of the Continent..The extraordinary productions from the pencil of Westall at once excited the capacities of his contemporaries to the fullest stretch of exertion. Turner was the first to raise himself to rival fame. It was sufficient for his energetic mind to see, that his materials used in his department of art were capable of effecting so much. Without becoming a copyist, he laboured to produce in landscape pictures that should comprehend the same extent of scale, of splendour and effect.'
More texts later!
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