Wilson Online Reference
Farington Biographical Note 2
Author
Joseph Farington
Title/Description
Memoir of Richard Wilson 2
Publisher
Unpublished manuscript
Country
UK
Printed/Manuscript
Primary unique
Source Institution
National Library of Wales; purchased from Pickering and Chatto Ltd, London, 1982.
Document Inventory/Accession No
MS 21820F; formerly B1982/27
Full Text
p. 5 Blank with modern title in blue: Richard Wilson, R.A. Written by Joseph Farington, R.A. p. 5b. Blank p. 6 ‘Richd. Wilson Claude Lorrain, and Cuyp, were the painters whose works He most delighted in. The Hues in their pictures, and their powers of imitating arial [sic] effects, were the constant theme Of his admiration. “Tint of air” was a favourite expression of Wilson. To obtain this He was always striving; and to give a “hollow effect” as He called it, to his pictures. Though a picture might be ingenious in other respects, if the colouring wanted harmony, it afforded him little pleasure. Standing one day before a large picture of rocks, trees, and a waterfall, painted by Barrett [sic] for the Duke of Buccleugh [sic], which was executed with facility, but the colouring discordant, “Eggs and spinage” [sic] said Wilson. This great master constantly recommended to his pupils to study from nature, observing, that “He who follows must be behind." – Though Wilson painted with a free hand, and did not labour the finishing part of his pictures, yet He did not encourage a slight manner of executing. – One of his pupils who was too careless in this respect, after many remonstrances, He humourously tried for a waste of colours. p. 6b Wilson did not pay much attention to the colours He used excepting Ultramarine: without that colour /he often asserted\ the true arial tints of skies and distances, could not be expressed. Wilson’s best pictures were painted between the 40th. and 55th. years of his age. After the latter period He gradually declined into a weaker manner of painting, and a yellowish green tint prevailed too much over his pictures. To His Pupils Wilson was an excellent master. He had no secrets in his art; and his Painting room was always open to them. He not only allowed them to attend him while He was painting; whenever they desired it, but would occasionally call them into his room, when He would communicate remarks, which, in the course of his practise [sic], had occurred to him, and by which He thought they would be benefitted. This intercourse was enlivened by the variety of his conversation; and He often introduced apt stories which He told with humour and point. Wilson as a Humourist occasionally indulged himself in whimsical p. 7 singularities. Before He went to Italy, He was a member of and constantly attended the Artists Club, held at the Turks Head, Tavern in Gerrard-street, Soho square. On His return from Italy, after an absence of 8 years, He did not announce his return or call on any of his acquaintance but going early to the Club placed himself in a corner of the room where He formerly was accustomed to sit, and, with a pipe in his mouth as usual waited the coming in of his old companions who were separately surprised to see their old friend in his place & unaltered. Sir Joshua Reynolds and Wilson never were very cordial. Sir Joshua was sometimes unguarded in His expressions and Wilson retorted. Speaking at the Turks Head Club, one evening, of the picture of St. Peter Martyr by Titian, Sir Joshua said “The Landscape and inferior parts of the Picture”, -- Wilson taking up a glass, said, “My service to you Sir Joshua, “The Landscape and inferior parts of the Picture”. -- At the same Club Sir Joshua spoke very highly of Gainsborough. “He is the best Landscape p. 7b Painter of the time” said Sir Joshua, -- Wilson rising, replied, “and the best Portrait Painter too.” – p. 7v Anecdote of Wilson While Wilson was painting that sublime & beautiful Landscape which Woollet [sic] has engraved, and which is distinguished by the name of Celadon & Amelia, a Friend came into his room and seeing the representation of a Landstorm, Lightning, and a female Figure [illegible] by the flash, exclaimed “Why, Wilson, this more than a common Landscape; It ought to be /a\ Historical: if there were a good Male figure it would give us Thomson’s Celadon and Amelia; But who can paint the lover as he stood.” p. 7vb “Why I can”, said the Artist, and immediately introduced the man with expanded arm, who is now in the print. -- p. 8 Blank p. 8b Two pencil accession numbers at bottom of page: NLW MS. 21820 E B1982/27
Updated by Compiler
2024-10-02 00:00:00