69 pp. + 89 black and white illustrations. This is still the essential starting point for any study of Wilson's drawings. It provides the first reliable assessment and ground rules for their critique. Using examples from his own and other collections Ford differentiates their functions as studies, designs, sketches, and finished drawings, and discusses critical problems, including dating, authenticity and their relationship with Wilson's paintings. Among the author's most powerful claims is his assertion that in his understanding of light Wilson was 'far in advance of contemporaries and a direct forerunner of Constable.' (p. 29)
