Fair women in painting and poetry (1894) (14783907573)

Identifier: fairwomeninpaint00shar (find matches)

Title: Fair women in painting and poetry

Year: 1894 (1890s)

Authors: Sharp, William, 1855-1905

Subjects: Women in literature Women in art Women Beauty, Personal

Publisher: London : Seeley New York : Macmillan

Contributing Library: Harold B. Lee Library

Digitizing Sponsor: Brigham Young University

Text Appearing Before Image:

y the decisive consideration wasone of immediate £ s. d. He followed the line of least resistance,moving from London to his native district because the latter held outhopes of a sufficient income for his wants, and left future developments totake care of themselves. At eighteen he accordingly returned to Sudbury, where he was mostcordially received. Good looks, a reputation for talent, a bright intelli-gence in conversation combined with perfect modesty of bearing, gavehim a peculiar charm for those with whom he was brought into contact.He at once began the earnest study of landscape, rising at dawn to noteeffects of early morning light, and often working till sunset. The sylvanbeauty of the Suffolk fields and lanes was to him, as to Constable, a never-failing source of inspiration. There was not, he used to declare, apicturesque clump of trees, nor even a single tree of any beauty, no, norhedgerow, stem, nor post, about his native place, that was not indeliblypictured in his memory.

Text Appearing After Image:

THOMAS GAINSBOROUGH 15 At this distance of time it is impossible to trace the influences underwhich he laboured otherwise than by the intrinsic evidence in his work.Like every other painter reared in the eastern counties, he seems to haveformed himself on Dutch models. Just as, a generation later, OldCrome and his disciples were to mould themselves on the examples ofHobbema and Ruysdael, so Gainsborough seems to have taken themediocre Wynants for his master. The connection is unmistakable. Inhis early pictures the method is thoroughly Wynants-like. The con-ceptions throw back to the Dutchmans ; the palette is like his ; thebits of roadside scenery, even the placing of the figures, the oppositionsof sky and earth, of cloud and tree, of sandy foreground and forest edge,of empty to crowded spaces, are so identical in both men that the differencecould hardly be expressed in words. It is only in the delicacy of hiscolour and impasto that Gainsborough shows a distinct superiority atthis tim

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1894

Harold B. Lee Library

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