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