DOI Page / Citation link:
https://doi.org/10.11588/diglit.61252#0392
348
COLLECTION OF SIR R. PEEL.
unrivalled in number and merit, except by the royal col-
lection at Windsor. They are fifteen in number. The
half length of Lady Peel is one of the finest Lawrence
ever painted, in the lady-like pose, the quiet, pensive ele-
gance of the figure, the richness, harmony, and brilliance
of the colour; while the series of portraits of distinguished
statesmen of our own time, give to this collection the value
and importance of an historic gallery. Sir Thomas Law-
rence was the successor of Sir Joshua Reynolds in genius,
fashion, and fame; but, though his fervent admirer, not
his imitator.* No two painters can be more different;
“it is therefore easier to contrast, than to compare
them. Thus, the excellences of Sir Joshua Reynolds are
more allied to the Venetian school, those of Sir Thomas
Lawrence to the Flemish school. Sir Joshua reminds us
more of Giorgione and Titian, Sir Thomas of Van Dyck,
and Lely. Both are graceful, but the grace of Sir Joshua
Reynolds is more poetical, that of Sir Thomas more spi-
rituel. There is more of fancy and feeling in Sir Joshua,
more of high-bred elegance in Sir Thomas Lawrence. The
first is the sweeter colourist, the latter, the more vigorous
draughtsman. In the portraits of Sir Joshua, there is ever
a predominance of sentiment; in those of Sir Thomas, a
predominance of intellect. The pencil of the latter would
instinctively illuminate with animation the most pensive
face; and the genius of the former would throw a shade
of tenderness into the countenance of a virago.”f
The contrast here drawn does not derogate from the
* Vide Life of Wilkie, vol. iii. p. 39. In the last conversation which Wilkie
had with Sir Thomas Lawrence, they talked of the comparative merits of Sir
Joshua and Van Dyck. Sir Thomas expressed his exceeding admiration of Sir
Joshua Reynolds, who, he thought, had, with Rembrandt, carried the imitation
of nature,, in regard to colour's, further than any of the old masters ; at the
same time, he admitted that Reynolds could not be felt or admired by foreigners.
Is this true ? I never knew a foreigner of taste, artist or amateur, who did not
admire Reynolds.
t Introduction to “ The Beauties of the Court of Charles II.” edit. 1829.
COLLECTION OF SIR R. PEEL.
unrivalled in number and merit, except by the royal col-
lection at Windsor. They are fifteen in number. The
half length of Lady Peel is one of the finest Lawrence
ever painted, in the lady-like pose, the quiet, pensive ele-
gance of the figure, the richness, harmony, and brilliance
of the colour; while the series of portraits of distinguished
statesmen of our own time, give to this collection the value
and importance of an historic gallery. Sir Thomas Law-
rence was the successor of Sir Joshua Reynolds in genius,
fashion, and fame; but, though his fervent admirer, not
his imitator.* No two painters can be more different;
“it is therefore easier to contrast, than to compare
them. Thus, the excellences of Sir Joshua Reynolds are
more allied to the Venetian school, those of Sir Thomas
Lawrence to the Flemish school. Sir Joshua reminds us
more of Giorgione and Titian, Sir Thomas of Van Dyck,
and Lely. Both are graceful, but the grace of Sir Joshua
Reynolds is more poetical, that of Sir Thomas more spi-
rituel. There is more of fancy and feeling in Sir Joshua,
more of high-bred elegance in Sir Thomas Lawrence. The
first is the sweeter colourist, the latter, the more vigorous
draughtsman. In the portraits of Sir Joshua, there is ever
a predominance of sentiment; in those of Sir Thomas, a
predominance of intellect. The pencil of the latter would
instinctively illuminate with animation the most pensive
face; and the genius of the former would throw a shade
of tenderness into the countenance of a virago.”f
The contrast here drawn does not derogate from the
* Vide Life of Wilkie, vol. iii. p. 39. In the last conversation which Wilkie
had with Sir Thomas Lawrence, they talked of the comparative merits of Sir
Joshua and Van Dyck. Sir Thomas expressed his exceeding admiration of Sir
Joshua Reynolds, who, he thought, had, with Rembrandt, carried the imitation
of nature,, in regard to colour's, further than any of the old masters ; at the
same time, he admitted that Reynolds could not be felt or admired by foreigners.
Is this true ? I never knew a foreigner of taste, artist or amateur, who did not
admire Reynolds.
t Introduction to “ The Beauties of the Court of Charles II.” edit. 1829.