DOI issue:
No. 52 (July, 1897)
DOI article:Baldry, Alfred Lys: George Chester: the last of the old landscape school
DOI Page / Citation link: https://doi.org/10.11588/diglit.18389#0118
George Chester
"IN THE VALLEY OF THE ARUN FROM A PAINTING BY GEORGE CHESTER
efforts was established the reputation of this country and the sounder beliefs of these masters were
as the home of a type of art which was at the time abandoned for a more artificial and mannered
of its creation practically unique, a type which has method of interpreting Nature,
since been accepted in many other parts of the world It is because the artistic point of view underwent
as a pattern worthy of the sincerest imitation. To this marked change that the position held by Mr.
the influence of this school is certainly to be George Chester, whose death was recorded at the
ascribed the growth of another school, that of the beginning of June, is so particularly interesting. To
French Romanticists, which has left in the history him belongs the distinction of having, practically
of art a mark that nothing can ever efface. unsupported, maintained till the present day all
The period during which this signal demonstra- that was best in the methods of the great masters
tion of the vitality of the British school endured of landscape in the past. He bridged over, by a
was exactly half a century, from 1800 to 185c. At succession of noble canvases, the interval between
its outset Gainsborough and Richard Wilson were the magnificent achievements of Turner, Constable,
already but memories, and George Morland, whose and Cox, and the efforts of the present day, when
admirable landscapes foreshadowed the work which at last signs are seen of a revival of the wholesome
was to follow, was practically at the end of his romanticism which was the dominant characteristic
career. Turner was already known, and was com- of our school at its best. He was born in 1813, in
mencing to make his way to the front, but he stood the very midst of the triumphs of the men whom
almost alone. In 1800, however, J. S. Cotman we justly regard as chief among the founders of our
first appeared as an exhibitor ; Constable in 1802 ; modern art. Turner, at the time, was supreme, an
David Cox in 1805 ; Crome in 1806 ; and De Wint exhibitor of nearly thirty years' standing, and yet far
in 1807 ; and they were followed within a few years from those darker days when his powers began to
by Clarkson Stanfield, Miiller, George Cole, and show sad signs of waning. David Cox had estab-
Henry Dawson. By 1850, however, this phalanx lished his reputation by some ten years of exhibit-
of admirable artists was almost entirely broken up; ing ; Constable had reached the period of his fullest
and hardly any one remained to carry on the work maturity; and Cotman, Crome, and De Wint were
which they had begun. Landscape of another in the first tide of artistic success. It was natural
sort, less simple and direct, began to be fashionable; that George Chester, growing up amid surroundings
101
"IN THE VALLEY OF THE ARUN FROM A PAINTING BY GEORGE CHESTER
efforts was established the reputation of this country and the sounder beliefs of these masters were
as the home of a type of art which was at the time abandoned for a more artificial and mannered
of its creation practically unique, a type which has method of interpreting Nature,
since been accepted in many other parts of the world It is because the artistic point of view underwent
as a pattern worthy of the sincerest imitation. To this marked change that the position held by Mr.
the influence of this school is certainly to be George Chester, whose death was recorded at the
ascribed the growth of another school, that of the beginning of June, is so particularly interesting. To
French Romanticists, which has left in the history him belongs the distinction of having, practically
of art a mark that nothing can ever efface. unsupported, maintained till the present day all
The period during which this signal demonstra- that was best in the methods of the great masters
tion of the vitality of the British school endured of landscape in the past. He bridged over, by a
was exactly half a century, from 1800 to 185c. At succession of noble canvases, the interval between
its outset Gainsborough and Richard Wilson were the magnificent achievements of Turner, Constable,
already but memories, and George Morland, whose and Cox, and the efforts of the present day, when
admirable landscapes foreshadowed the work which at last signs are seen of a revival of the wholesome
was to follow, was practically at the end of his romanticism which was the dominant characteristic
career. Turner was already known, and was com- of our school at its best. He was born in 1813, in
mencing to make his way to the front, but he stood the very midst of the triumphs of the men whom
almost alone. In 1800, however, J. S. Cotman we justly regard as chief among the founders of our
first appeared as an exhibitor ; Constable in 1802 ; modern art. Turner, at the time, was supreme, an
David Cox in 1805 ; Crome in 1806 ; and De Wint exhibitor of nearly thirty years' standing, and yet far
in 1807 ; and they were followed within a few years from those darker days when his powers began to
by Clarkson Stanfield, Miiller, George Cole, and show sad signs of waning. David Cox had estab-
Henry Dawson. By 1850, however, this phalanx lished his reputation by some ten years of exhibit-
of admirable artists was almost entirely broken up; ing ; Constable had reached the period of his fullest
and hardly any one remained to carry on the work maturity; and Cotman, Crome, and De Wint were
which they had begun. Landscape of another in the first tide of artistic success. It was natural
sort, less simple and direct, began to be fashionable; that George Chester, growing up amid surroundings
101