DOI issue:
Nr. 116 (November 1902)
DOI article:Shaw Sparrow, Walter: The centenary of Thomas Girtin: his genius and work
DOI Page / Citation link:https://doi.org/10.11588/diglit.19877#0096
Thomas Girtin
as ample in simplicity of style as Girtin's sun-
set in the White House at Chelsea, a picture which
Turner rated very highly. He confessed, indeed,
according to tradition, that this was work he had
never surpassed himself. One morning a dealer
called on him in a hackney coach, and looking at
his pictures said: "These are very fine, Mr.
Turner, but I have brought something finer with
me." " I don't know what that can be," Turner
answered, "unless it's Tom Girtin's White House
at Chelsea."
The White House, now the property of Mr.
Horatio Micholls, hangs to-day near a Turner
water-colour, as well as in the same room with
several works by David Cox ; and it not only holds
its own quite easily, but enables any one to arrive
at a clear understanding of the distinctive merit of
its painter. Girtin goes straight to his point,
wasting not a single second on anything unessen-
tial to the amplitude of his general effect. In
his methods of work, however subtle the results
produced, there is always an assured strength, a
soldierly directness, a self-discipline that gives him
ease and confidence and dignity; and so perfect in
largeness of design is the restful, quiet beauty of
his ensemble, that his best works have an abiding
value hard to over-estimate. Though remarkable for
the sobriety of their colour, they have yet, within
their low tones, a peculiar radiancy full of persuasive
charm, a sort of modest radiancy that seems to
shine gently through a whole room. Again,
beautiful as these best works are when studied
near the eye they do not invite close examina-
tion ; rather do they keep one at a distance, in
order that their light and breadth may be seen
largely in focus. It is not thus that Turner's
influence comes to anyone through his water-
colours. A handling like Turner's, wonderfully
subtle, infinitely delicate and intricate, cannot but
be admired like a jewel. It entices one to
examine it closely at arm's length, and one feels
that the play ot imagination and the charm of
colour are too exquisite to be decorative in pictures
for a wall. In truth, water-colours by Turner are
treasures for a portfolio; they cannot be studied
with an attention too minute, nor can they be
"THE GUILDHALL, EXETER " FROM THE PENCIL SKETCH BY THOMAS GIRTIN
(In the Collection of George W. Girtin, Esq.)
84
as ample in simplicity of style as Girtin's sun-
set in the White House at Chelsea, a picture which
Turner rated very highly. He confessed, indeed,
according to tradition, that this was work he had
never surpassed himself. One morning a dealer
called on him in a hackney coach, and looking at
his pictures said: "These are very fine, Mr.
Turner, but I have brought something finer with
me." " I don't know what that can be," Turner
answered, "unless it's Tom Girtin's White House
at Chelsea."
The White House, now the property of Mr.
Horatio Micholls, hangs to-day near a Turner
water-colour, as well as in the same room with
several works by David Cox ; and it not only holds
its own quite easily, but enables any one to arrive
at a clear understanding of the distinctive merit of
its painter. Girtin goes straight to his point,
wasting not a single second on anything unessen-
tial to the amplitude of his general effect. In
his methods of work, however subtle the results
produced, there is always an assured strength, a
soldierly directness, a self-discipline that gives him
ease and confidence and dignity; and so perfect in
largeness of design is the restful, quiet beauty of
his ensemble, that his best works have an abiding
value hard to over-estimate. Though remarkable for
the sobriety of their colour, they have yet, within
their low tones, a peculiar radiancy full of persuasive
charm, a sort of modest radiancy that seems to
shine gently through a whole room. Again,
beautiful as these best works are when studied
near the eye they do not invite close examina-
tion ; rather do they keep one at a distance, in
order that their light and breadth may be seen
largely in focus. It is not thus that Turner's
influence comes to anyone through his water-
colours. A handling like Turner's, wonderfully
subtle, infinitely delicate and intricate, cannot but
be admired like a jewel. It entices one to
examine it closely at arm's length, and one feels
that the play ot imagination and the charm of
colour are too exquisite to be decorative in pictures
for a wall. In truth, water-colours by Turner are
treasures for a portfolio; they cannot be studied
with an attention too minute, nor can they be
"THE GUILDHALL, EXETER " FROM THE PENCIL SKETCH BY THOMAS GIRTIN
(In the Collection of George W. Girtin, Esq.)
84