DOI Seite / Zitierlink:
https://doi.org/10.11588/diglit.61252#0393
INTRODUCTION.
349
fame and merit of the most accomplished portrait-painter
of our own age. Every one who recollects the exhibitions
of the Royal Academy in Lawrence’s time, can never for-
get the grace and glory which his bright productions shed
around. How they illuminated the room! There has
been nothing like them since. I remember, as if it were
yesterday, walking at once straight up the great room at
Somerset House, to the portrait of Lady Peel, which hung
in the centre of the upper end, on a level with the eye,
not turning to the right, nor to the left, and then standing
before it in an ecstasy of admiration. Fuseli, after abusing
Lawrence in good set terms, would suddenly pause, and
exclaim, with an oath, “ but—he paints eyes like Titian I”
I am not sure of this; but it is true that he drew much
better than Sir Joshua. It is in the precision and power of
his drawing that he particularly reminds us of Van Dyck,
though he repudiated, almost with indignation, the idea of
ever imitating him. That he should have talked of Cor-
reggio and Parmegianino, and painted like Van Dyck, is
no more a reproach to Lawrence, than it was to Sir Joshua
to worship Michael Angelo and paint like Titian. In
both the natural talent overpowered the cultivated taste,
as it must ever do, where there is strong original genius.
After the lapse of some years, I see no reason to suppress the above cri-
ticism ; it is in accordance with opinions matured by reflection. In justice,
however, to Sir Thomas Lawrence, I will venture to add here part of a letter
from himself, in which he gives his own view of his own style of art. It
is surely most interesting and characteristic; but hitherto I have refused,
though often earnestly requested, to allow the publication of it, feeling that the
tone of compliment to myself could hardly be justified, even by Lawrence’s
habitual courtesy.
“ Russell Square, Dec. 3, 1829.
“ Dear Madam,—From the proof I have just had of the generosity of your
nature, I am sure you will extend it to me, where I acknowledge it is wanting.
******
“ You may, indeed, guess at the many claims on my time, but you are like-
wise to know that I have the artist’s happy faculty of arranging them.
“ I fear you have done injustice to others, in selecting me as the object of
comparison with our great man. I owe it chiefly to the flattering confidence
349
fame and merit of the most accomplished portrait-painter
of our own age. Every one who recollects the exhibitions
of the Royal Academy in Lawrence’s time, can never for-
get the grace and glory which his bright productions shed
around. How they illuminated the room! There has
been nothing like them since. I remember, as if it were
yesterday, walking at once straight up the great room at
Somerset House, to the portrait of Lady Peel, which hung
in the centre of the upper end, on a level with the eye,
not turning to the right, nor to the left, and then standing
before it in an ecstasy of admiration. Fuseli, after abusing
Lawrence in good set terms, would suddenly pause, and
exclaim, with an oath, “ but—he paints eyes like Titian I”
I am not sure of this; but it is true that he drew much
better than Sir Joshua. It is in the precision and power of
his drawing that he particularly reminds us of Van Dyck,
though he repudiated, almost with indignation, the idea of
ever imitating him. That he should have talked of Cor-
reggio and Parmegianino, and painted like Van Dyck, is
no more a reproach to Lawrence, than it was to Sir Joshua
to worship Michael Angelo and paint like Titian. In
both the natural talent overpowered the cultivated taste,
as it must ever do, where there is strong original genius.
After the lapse of some years, I see no reason to suppress the above cri-
ticism ; it is in accordance with opinions matured by reflection. In justice,
however, to Sir Thomas Lawrence, I will venture to add here part of a letter
from himself, in which he gives his own view of his own style of art. It
is surely most interesting and characteristic; but hitherto I have refused,
though often earnestly requested, to allow the publication of it, feeling that the
tone of compliment to myself could hardly be justified, even by Lawrence’s
habitual courtesy.
“ Russell Square, Dec. 3, 1829.
“ Dear Madam,—From the proof I have just had of the generosity of your
nature, I am sure you will extend it to me, where I acknowledge it is wanting.
******
“ You may, indeed, guess at the many claims on my time, but you are like-
wise to know that I have the artist’s happy faculty of arranging them.
“ I fear you have done injustice to others, in selecting me as the object of
comparison with our great man. I owe it chiefly to the flattering confidence