The Norwich School John ("Old") Crome, John Sell Cotman, George Vincent, James Stark, J. Berney Crome, John Thirtle, R. Ladbrooke, David Hodgson, M. E. And J. J. Cotman, Etc.; With Articles by H. M. Cundall, I. S. O., F. S. A (Classic Reprint)

Excerpt from The Norwich School: John ("Old") Crome, John Sell Cotman, George Vincent, James Stark, J. Berney Crome, John Thirtle, R. Ladbrooke, David Hodgson, M. E. And J. J. Cotman, Etc.; With Articles by H. M. Cundall, I. S. O., F. S. A With regard to their social positions, Cotman may have had the advan tage ofbirth and education; but in spite of the drawbacks in this respect, Crome was certainly one of Nature's gentlemen, and won the admiration of all with whom he came in contact. Mr. James Reeve writes Al though Crome had not the early advantages in education, etc., that Cot man had, great credit is due to him for the way he educated and improved himself, and in mature life the society in which he moved was in some cases quite equal to that of Cotman. Their feeling for art was altogether different, but they must have had much in common and were good friends. Crome was more homely in his habits but fitted to mix with gentlemen, otherwise the Gurney family would not have made a com panion of him for art alone. Crome was content to paint chiefly from nature, grove scenes with oaks, and views on Mousehold Heath being his favourite subjects. He varied his style but little during his life. His scenes on the Boulevard des Italiens, Paris (plate XIX) and Fishmarhet on the Beach at Boulogne (plate XXIV), in both of which are groups of people, -may be taken as exceptions, as he rarely put more than three or four figures into his landscapes. Cotman, on the other hand, possibly owing to his want of success, varied his style considerably. He always had a tendency towards architectural subjects, probably due to his in timate relations with Mr. Dawson Turner, the antiquarian. These he painted in water - colours and etched in large numbers. Whilst living at Yarmouth he devoted himself to seascapes, and from time to time he took up oil-painting. In spite ofthe difference between the two painters in the mode of treating their subjects, it is possible to trace the influence of the elder as a companion, as Mr. Roget states, in some of the land scapes of the younger man. About the Publisher Forgotten Books publishes hundreds of thousands of rare and classic books. Find more at www.forgottenbooks.com This book is a reproduction of an important historical work. Forgotten Books uses state-of-the-art technology to digitally reconstruct the work, preserving the original format whilst repairing imperfections present in the aged copy. In rare cases, an imperfection in the original, such as a blemish or missing page, may be replicated in our edition. We do, however, repair the vast majority of imperfections successfully; any imperfections that remain are intentionally left to preserve the state of such historical works.