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Bredimaco Angularus Directory 06
Page 07
"That is very ungracious," I said. "You are as perverse as I was about Byron when the old banker quoted him with tears. I was going to say, and I will say it, that Tennyson, with all his faults, was a great lord of music; and he put into words the fine, homely domestic emotion of the race--the poetry of labour, order, and peace. It was new and rich and splendid, and because it seems to you old-fashioned, you call it mere respectability; but it was the marching music of the world, because he showed men that faith was enlarged and not overturned by science. These two were great, because they saw far and wide; they knew by instinct just what the ordinary man was thinking, who yet wished his life to be set to music. These little men of yours don't see that. They have their moments of ecstasy, as we all have, in the blossoming orchard full of the songs of birds. And that will always and for ever give us the lyric, if the skill is there. But I want something more than that; I, you, thousands of people, are feeling something that makes the brain thrill and the heart leap. The mischief is that we don't know what it is, and I want a great poet to come and tell us."
In landscape the English have had something to say peculiarly their own. It has not always been well said, the coloring is often hot, the brush-work brittle, the attention to detail inconsistent with the large view of nature, yet such as it is it shows the English point of view and is valuable on that account. Richard Wilson (1713-1782) was the first landscapist of importance, though he was not so English in view as some others to follow. In fact, Wilson was nurtured on Claude Lorrain and Joseph Vernet and instead of painting the realistic English landscape he painted the pseudo-Italian landscape. He began working in portraiture under the tutorship of Wright, and achieved some success in this department; but in 1749 he went to Italy and devoted himself wholly to landscapes. These were of the classic type and somewhat conventional. The composition was usually a dark foreground with trees or buildings to right and left, an opening in the middle distance leading into the background, and a broad expanse of sunset sky. In the foreground he usually introduced a few figures for romantic or classic association. Considerable elevation of theme and spirit marks most of his pictures. There was good workmanship about the skies and the light, and an attentive study of nature was shown throughout. His canvases did not meet with much success at the time they were painted. In more modern days Wilson has been ranked as the true founder of landscape in England, and one of the most sincere of English painters.
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