DOI chapter:
Chapter VII: Leighton
DOI Page / Citation link:https://doi.org/10.11588/diglit.62482#0369
LEIGHTON
203
is low, they are nevertheless the works of a great colourist,
and recall some of the paintings by Tintoretto in Venice,
which might be almost mistaken for monochromes by those who
have not a keen sense of colour. The “Judgment of Paris ”
is perhaps the most notable example of this phase of Watts’
art. His feeling for “ style ” and beauty of form and model-
ling in the human figure is shown to perfection in this picture.
The “Endymion,” “The Wife of Pygmalion,” the small
canvass of “ The Vision of Britomart,” “ A Prodigal,” “ Paolo
and Francesca,” “Orpheus and Euridice,” are all examples of
the scale being restricted to subdued tints. The love of
colour, however, in its fullest chords and most brilliant hues
soon reasserted itself. I saw it gradually blending with the
more intricate and subtle effects of tone in the years when we
first knew him. I remember discussing one of my favourite
pictures in the National Gallery, Turner’s “Ulysses deriding
Polyphemus,” with Watts. He visited the Turner room
frequently about that time to drink in the colour from the
later work, and it made the subject of many of our talks.
The small canvass of “The Court of Death’’ was the finest
example of this uniting of colour, tone, and atmosphere
exhibited among the thirty pictures at Leighton House.
The splendid piece of direct painting in the portrait of Lady
Dudley, also exhibited, was one of the pictures Watts referred
to when he wrote from Brighton : “ I am trying here to do
absolutely simple work, setting aside grounds and methods
and every consideration but simple aim. I feel a certain
sense of emancipation, but the things are trifles.” Trifles!
Never did Watts, I think, paint anything to equal this
portrait in certain qualities. The complexion has the rich
full colour and texture of fruit, the vigour in the workmanship
shows what Watts could do when he was working against time.
He ended the letter referring to it by saying he must finish
203
is low, they are nevertheless the works of a great colourist,
and recall some of the paintings by Tintoretto in Venice,
which might be almost mistaken for monochromes by those who
have not a keen sense of colour. The “Judgment of Paris ”
is perhaps the most notable example of this phase of Watts’
art. His feeling for “ style ” and beauty of form and model-
ling in the human figure is shown to perfection in this picture.
The “Endymion,” “The Wife of Pygmalion,” the small
canvass of “ The Vision of Britomart,” “ A Prodigal,” “ Paolo
and Francesca,” “Orpheus and Euridice,” are all examples of
the scale being restricted to subdued tints. The love of
colour, however, in its fullest chords and most brilliant hues
soon reasserted itself. I saw it gradually blending with the
more intricate and subtle effects of tone in the years when we
first knew him. I remember discussing one of my favourite
pictures in the National Gallery, Turner’s “Ulysses deriding
Polyphemus,” with Watts. He visited the Turner room
frequently about that time to drink in the colour from the
later work, and it made the subject of many of our talks.
The small canvass of “The Court of Death’’ was the finest
example of this uniting of colour, tone, and atmosphere
exhibited among the thirty pictures at Leighton House.
The splendid piece of direct painting in the portrait of Lady
Dudley, also exhibited, was one of the pictures Watts referred
to when he wrote from Brighton : “ I am trying here to do
absolutely simple work, setting aside grounds and methods
and every consideration but simple aim. I feel a certain
sense of emancipation, but the things are trifles.” Trifles!
Never did Watts, I think, paint anything to equal this
portrait in certain qualities. The complexion has the rich
full colour and texture of fruit, the vigour in the workmanship
shows what Watts could do when he was working against time.
He ended the letter referring to it by saying he must finish