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Study for Croome Court, Worcestershire
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Study for Croome Court, Worcestershire
Credit Line
Private Collection, England
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Artist
Richard Wilson (1713/14-1782)
Title
Study for Croome Court, Worcestershire
Date
1758 (undated)
Medium
Black chalk and stump over graphite, heightened with white on white laid paper.
Dimensions
331 x 239 mm
Dimensions
13 x 9 3/8 in.
Details
Links
Collection
Private Collection
Accession Number
Wilson Online Reference
D348
Description
Exhibited
London 1925 (84); Manchester 1925 (6); London, Cardiff and New Haven, 1982-83 (82)
London 1925 (84); Manchester 1925 (6); London, Cardiff and New Haven, 1982-83 (82)
Provenance
Commissioned by the 6th Earl of Coventry; [...] Captain Richard Ford; Mrs Richard Ford
Commissioned by the 6th Earl of Coventry; [...] Captain Richard Ford; Mrs Richard Ford
Signature/inscription
Unsigned; no inscription
Unsigned; no inscription
Techniques and materials
Collectors' marks
Verso inscriptions
[1] Ink in a later hand: Croome Lord Coventry's.
[1] Ink in a later hand: Croome Lord Coventry's.
Mount inscriptions
Labels
Subject
Croome Court was the first independent landscaping project carried out by Lancelot 'Capability' Brown (1716-1783). The house itself, the church, the wooden bridge and the ice-house in the park were also built to his designs.
Croome Court was the first independent landscaping project carried out by Lancelot 'Capability' Brown (1716-1783). The house itself, the church, the wooden bridge and the ice-house in the park were also built to his designs.
Related Subjects
Related Drawings
Related Prints
Versions
Related Paintings
P83 <i>Croome Court, Worcestershire</i>, Private Collection, England
P83
Croome Court, Worcestershire
, Private Collection, England
Related Works by Other Artists
Critical commentary
A study for P83 <i>Croome Court, Worcestershire</i>, the sheet seems to have been cut down at some point - the far right of the final scene is missing and the drawing seems to have been cropped right along the edge of Croome Court. On the ridge to the left of the house is the proposed classical church, which is very different from the Gothic building eventually constructed and visible in P83. When Wilson executed this study, the church was not built and the design had not been finalised between Brown and Lord Coventry. They had planned a classical church with a portico and columns but this was eventually scrapped. It would have been similar to the chapel at Compton Verney, which Brown designed in the late 1770s. At some point Wilson must have seen designs for or a description of the final church as shown in P83. It was not built until the early 1760s and not consecrated until 1763. Solkin has remarked how the study clearly distinguishes between its two sources of visual inspiration - the Netherlandish and Roman traditions of landscape composition. Thus while the pencil lines, drawn on the spot, describe a Dutch type of river scene, this has then been worked up in the studio through the addition of a Claudean framing tree and extensive modelling in black chalk, stump and white highlights.
A study for P83
Croome Court, Worcestershire
, the sheet seems to have been cut down at some point - the far right of the final scene is missing and the drawing seems to have been cropped right along the edge of Croome Court. On the ridge to the left of the house is the proposed classical church, which is very different from the Gothic building eventually constructed and visible in P83. When Wilson executed this study, the church was not built and the design had not been finalised between Brown and Lord Coventry. They had planned a classical church with a portico and columns but this was eventually scrapped. It would have been similar to the chapel at Compton Verney, which Brown designed in the late 1770s. At some point Wilson must have seen designs for or a description of the final church as shown in P83. It was not built until the early 1760s and not consecrated until 1763.
Solkin has remarked how the study clearly distinguishes between its two sources of visual inspiration - the Netherlandish and Roman traditions of landscape composition. Thus while the pencil lines, drawn on the spot, describe a Dutch type of river scene, this has then been worked up in the studio through the addition of a Claudean framing tree and extensive modelling in black chalk, stump and white highlights.
Previous Cat/Ref Nos
Bibliography
Ford 1951 p.62, no. 72; WGC pp. 43. 71, 87, 88, 111, 149, 173, pl. 33b; Solkin 1982, pp. 196-97
Ford 1951 p.62, no. 72; WGC pp. 43. 71, 87, 88, 111, 149, 173, pl. 33b; Solkin 1982, pp. 196-97
Link to WG Constable Archive Record
<a href="http://calmview.co.uk/paulmelloncentre/calmview/Record.aspx?src=CalmView.Catalog&id=WGC%2f1%2f1%2f39" title="WGC/1/1/39" class="rewritten">WGC/1/1/39</a>
WGC/1/1/39
Location featured in work
More Information
Condition/Conservation
Illustrations of the Work
Updated by Compiler
Work of Art
Paintings
Croome Court, Worcestershire
, Private Collection, England
Exhibitions
London, Tate Gallery, Cardiff, National Museum of Wales, and New Haven, Conn., Yale Center for British Art, 3 November 1982 - 19 June 1983
London, National Gallery, Millbank (Tate Gallery), 26 June - 30 September 1925
Manchester City Art Gallery, 22 October - 5 December 1925
Biographies
George William, 6th Earl of Coventry, 1722-1809
Documents
David Solkin,
Richard Wilson: The Landscape of Reaction
Part of a sketchbook
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