DOI Artikel:
Holmes, Charles: The History of the Royal Society of Painters in Water-Colours
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.27085#0029
OF PAINTERS IN WATER-COLOURS
succeeding exhibition become more worthy of Approbation and
Patronage.” In all other respects this catalogue was got up in
exactly the same manner as those of the previous exhibitions.
For seven years, from 1813 to 1820, the Society continued on these
lines, and on the whole with a fair measure of success. In 1813,
1814, and 1815 there was a small surplus, but in 1816 the members
had to face a deficit of nearly £74. This falling off in the receipts
was disconcerting, but it had the good effect of inducing a recon-
sideration of the position of the Society, and it led in the following
year, when there was again a surplus, to the creation of a reserve
fund. It was agreed, moreover, that for the future the profits should
belong to the members in equal shares, instead of being divided
between them in proportions according to the estimated value of
their contributions to the exhibitions. In 1818 there was again a
surplus of more than £100, followed by a small deficit in 1819 and
1820 ; but, thanks to the existence of the reserve, these fluctuations
had ceased to be a source of anxiety. Indeed, so satisfied was the
Society with its position that it decided to institute three premiums
of £30 each, which were to be awarded to members as an induce-
ment to attempt ambitious works which would increase the attract-
iveness of the exhibitions. Barret, Cristall, and Cornelius Varley
were the first recipients of these awards.
The policy of holding shows of mixed oil paintings and water-colour
drawings had now had a full trial, and had been proved by results to
be more or less mistaken. It had certainly brought to the Society
no accession of prosperity ; it had, indeed, tended rather to diminish
its popularity and to weaken its position. So on June 5, 1820, a
meeting was called to decide what was to be the next move, and
after a long and serious debate a resolution was passed “ That the
Society shall henceforth be a Society of Painters in Water-Colours
only, and that no Oil Paintings shall be exhibited with their works.”
This was ratified at a second meeting about a week later, and the
original title of the Association was once more adopted. It was also
decided that the exhibitions should no longer be held at the gallery
in Spring Gardens, which for various reasons had become an unde-
sirable head-quarters.
Accordingly, in April 1821, the “seventeenth annual exhibition” of
the twice reconstructed Society was opened at the Egyptian Hall in
Piccadilly, where a room had been hired temporarily. This change
of quarters was made, to the public, the excuse for the alteration in
the policy of the members, and there appeared in the catalogue a
note stating that “ The Lease of the Room at Spring Gardens, lately
c h xvii
succeeding exhibition become more worthy of Approbation and
Patronage.” In all other respects this catalogue was got up in
exactly the same manner as those of the previous exhibitions.
For seven years, from 1813 to 1820, the Society continued on these
lines, and on the whole with a fair measure of success. In 1813,
1814, and 1815 there was a small surplus, but in 1816 the members
had to face a deficit of nearly £74. This falling off in the receipts
was disconcerting, but it had the good effect of inducing a recon-
sideration of the position of the Society, and it led in the following
year, when there was again a surplus, to the creation of a reserve
fund. It was agreed, moreover, that for the future the profits should
belong to the members in equal shares, instead of being divided
between them in proportions according to the estimated value of
their contributions to the exhibitions. In 1818 there was again a
surplus of more than £100, followed by a small deficit in 1819 and
1820 ; but, thanks to the existence of the reserve, these fluctuations
had ceased to be a source of anxiety. Indeed, so satisfied was the
Society with its position that it decided to institute three premiums
of £30 each, which were to be awarded to members as an induce-
ment to attempt ambitious works which would increase the attract-
iveness of the exhibitions. Barret, Cristall, and Cornelius Varley
were the first recipients of these awards.
The policy of holding shows of mixed oil paintings and water-colour
drawings had now had a full trial, and had been proved by results to
be more or less mistaken. It had certainly brought to the Society
no accession of prosperity ; it had, indeed, tended rather to diminish
its popularity and to weaken its position. So on June 5, 1820, a
meeting was called to decide what was to be the next move, and
after a long and serious debate a resolution was passed “ That the
Society shall henceforth be a Society of Painters in Water-Colours
only, and that no Oil Paintings shall be exhibited with their works.”
This was ratified at a second meeting about a week later, and the
original title of the Association was once more adopted. It was also
decided that the exhibitions should no longer be held at the gallery
in Spring Gardens, which for various reasons had become an unde-
sirable head-quarters.
Accordingly, in April 1821, the “seventeenth annual exhibition” of
the twice reconstructed Society was opened at the Egyptian Hall in
Piccadilly, where a room had been hired temporarily. This change
of quarters was made, to the public, the excuse for the alteration in
the policy of the members, and there appeared in the catalogue a
note stating that “ The Lease of the Room at Spring Gardens, lately
c h xvii