DOI Heft:
No. 298 (January 1918)
DOI Artikel:Gibson, Frank: Paul and Thomas Sandby
DOI Seite / Zitierlink:https://doi.org/10.11588/diglit.21264#0153
Paul and Thomas Sandby
41 WINDSOR PARK”
(/;/ the collection of Edward Marsh, Esq.) BY PAUL sandby, r.A.
of the Royal Military Academy at Woolwich,
a position he held until 1796, when he retired
on a pension of £50 per annum. Teaching seems
to have been his chief means of support, and he
had a good many pupils. He was selected by
King George III to instruct his sons in drawing.
In addition to this he had an extensive circle
of pupils amongst the nobility and good families
in London, which, however, did not prevent
him from working hard at the profession of a
landscape painter. There were two sides to
his art. The best and most pictorial part
seemed to be that which he did for his own
pleasure, work which went farthest away from
topography and showed foreign and traditional
influences, and was not only of the classical
landscape founded on Italy and Claude, but
that of the Dutch School, Ruysdael and
Hobbema. He was an artist of most versatile
talent, and he not only painted in water-colour
and oil, but also engraved, and very well too,
in aquatint—an invention, it is said, he was the
first to introduce into England. He was greatly
interested, too, in technical experiments in
mediums and colours. For he had, like other
artists of his day, to manufacture his own water-
colours, both transparent and opaque. His
drawings may be broadly divided into two classes
—those where he used pure transparent colour,
often simple outline and wash, and those where
he used much body colour and other mediums.
The art of painting in opaque water-colour
was practised in Europe and in the East, where
it no doubt originated, for many centuries.
In China and Japan it was used for important
pictures. In India and Persia, as well as in
Europe, it was employed for illuminated missals
and miniatures. The miniatures by Holbein
and Nicholas Hilliard, and, best of all, those by
Samuel Cooper, are the finest examples of body-
colour painting in England. Paul Sandby was
the first to work with it in England in the
eighteenth century. As he grew older he
favoured that method more and more. Perhaps
137
41 WINDSOR PARK”
(/;/ the collection of Edward Marsh, Esq.) BY PAUL sandby, r.A.
of the Royal Military Academy at Woolwich,
a position he held until 1796, when he retired
on a pension of £50 per annum. Teaching seems
to have been his chief means of support, and he
had a good many pupils. He was selected by
King George III to instruct his sons in drawing.
In addition to this he had an extensive circle
of pupils amongst the nobility and good families
in London, which, however, did not prevent
him from working hard at the profession of a
landscape painter. There were two sides to
his art. The best and most pictorial part
seemed to be that which he did for his own
pleasure, work which went farthest away from
topography and showed foreign and traditional
influences, and was not only of the classical
landscape founded on Italy and Claude, but
that of the Dutch School, Ruysdael and
Hobbema. He was an artist of most versatile
talent, and he not only painted in water-colour
and oil, but also engraved, and very well too,
in aquatint—an invention, it is said, he was the
first to introduce into England. He was greatly
interested, too, in technical experiments in
mediums and colours. For he had, like other
artists of his day, to manufacture his own water-
colours, both transparent and opaque. His
drawings may be broadly divided into two classes
—those where he used pure transparent colour,
often simple outline and wash, and those where
he used much body colour and other mediums.
The art of painting in opaque water-colour
was practised in Europe and in the East, where
it no doubt originated, for many centuries.
In China and Japan it was used for important
pictures. In India and Persia, as well as in
Europe, it was employed for illuminated missals
and miniatures. The miniatures by Holbein
and Nicholas Hilliard, and, best of all, those by
Samuel Cooper, are the finest examples of body-
colour painting in England. Paul Sandby was
the first to work with it in England in the
eighteenth century. As he grew older he
favoured that method more and more. Perhaps
137