The Greats: Cotman, Girtin, De Wint, Turner, Constable & Co.
I have often drawn on the work of the early 19th Century watercolourists for inspiration. From its origins in the 18th century as an aid to recording topography, and the passing delights of the Grand Tour, watercolour matured as an art form in the hands of Cotman and Co. Their work still has a freshness and immediacy, and I am sure Cotman's style influenced the later artists of the poster age. Turner's fascination with light started with his watercolours, and had Thomas Girtin led a longer life perhaps he would have equalled Turner's achievements with this medium.
So it is not surprising that I should have tried out elements of the style found in these great watercolourists (with varying degrees of success), as my own work continues to evolve.
Greta Bridge, By John Sell Cotman, 1807. A famous image, and one of many paintings he did around this subject. I like the use of reflection, and the contrasting colours and texture of the stones; also the the way the house stands out against the darkness of the trees beyond. Cotman's skies are deceptively simple - look elsewhere for the railway poster-style of art.
The Dismasted Brig, by John Sell Cotman. I like his treatment of the sea and sky, with overlaying washes of colour to suggest curtains of rain, light and shade.
Mousehold Heath, Norwich, by John Sell Cotman, 1810. The winding track leads you to the windmill on the horizon.
Storiths Heights, Wharfedale, Yorkshire, by Thomas Girtin, 1802. I think this painting is very atmospheric, and suggests the slightly bleak remoteness of this area. Girtin painted many mountains and hills in similar style.
View of Warwick Castle, by Peter de Wint (1784-1849). I love the simplicity, spontaneity of this water sketch where perspective is given by contrasting tones. It has a much more contemporary feel than the date would suggest.
Study of Clouds at Hampstead, by John Constable, 1830. I am a bit of a cloud-gazer, too, and Constable was a master at depicting the cloudscape in all its infinite variety.
Stonehenge, by John Constable, 1836. A famous image, but it shows Constable's connection with nature and a sense of the mysterious and ramntic elements of the landscape. It's a world away from the placid nature of "The Haywain", for example.
The Frome at Stapleton, Bristol, by Francis Danby, 1823. I like the judicious use of red for the figure in the middle ground that draws you further into the picture, and is a visual counterpoint to the curve of the river. The slightly misty blue/grey background also lends perspective.
Mortlake Terrace: the seat of William Moffatt Esq. , Summer's Evening, by J.M.W. Turner, 1827. I like the way the artist looks into the light, and the strong shadows thrown up by the trees illuminating the foliage.