John Crome and John Sell Cotman Volume 32

This historic book may have numerous typos and missing text. Purchasers can download a free scanned copy of the original book (without typos) from the publisher. Not indexed. Not illustrated. 1897 Excerpt: ...off without some observation. I think the character of your clouds too affected, that is, too much of some of our modern painters, who mistake some of our great masters; because they sometimes put in some of those round characters of clouds, they must do the same; but if you look at any of their skies, they either assist in the composition or make some figure in the picture, nay, sometimes play the first fiddle.... Breath must be attended to if you paint, but a muscle gives it breath.'2 Your doing the same by the sky, making parts broad and of a good shape, that they may come in with your composition, forming one grand plan of light and shade, this must always please a good eye, and keep the attention of the spectator, and give delight to every one. Trifles in nature must be overlooked that we may have our feelings raised by seeing the whole picture at a glance, not knowing how or why we are so charmed. I have written you a long rigmarole story about giving dignity to whatever you paint--I fear so long that I should be scarcely able to understand what I mean myself. You will, I hope, take the will for the deed, and at the same time forgive all faults in diction, grammar, spelling, etc. 1 In the possession of Mr. A. J. Stark, the painter's son, and printed in the memoir prefixed to the catalogue of the sixth exhibition of the Norwich Art Circle. 2 This, at first sight, rather cryptic sentence must be read Breadth, as the context shows. This letter shows us that Crome did not work from a sort of unconscious instinct, but consciously pursued a chosen aim. And how excellently clear is his mind, how fine his aim! Crome's devotion to breadth and dignity is admirably seen in certain small pictures of "still life" and of plants, made probably as studies f...