Classic English watercolour technique begins with JOHN SELL COTMAN and TOM GIRTIN in the late 18th. and early 19th. Century.
MELVILLE reached the apex about a hundred years later.
He travelled widely in southern Europe and the Middle East. Many of his paintings are on a large scale.
Like BRENET he had a 'photographic' eye.
Most of these images come from:
THE GLASGOW BOYS by ROGER BILLCLIFFE
ISBN: 0-7195-4118-2
(The book that revived interest in a forgotten group of Scots artists who were Melville's followers.)
13 comments:
!!!!!!!!!!!!!!!!!!!!!!!!!
I've no much words.
Those are some of the most fascinating work I've ever seen.
I can't believe that this is watercolor!!.
I can't choose wich one is my favourite, probably the bull-ring one, or the one in the boats...
What really amazed me is the little details, something that I found so difficult with the uncontrolable watercolor.
He remind me the work of another artist who use the watercolor in similar way: Mariano Fortuny.
Och!!
Och aye!!
Alberto,
I have a monograph on Melville...Somewhere?
If I can just find it I will post some more.
I think I saw some work by FORTUNY in Barcelona.
I am very curious about the evolution of these artists: their similarities, their development. It's not about art as 'individual' expression.
"It's not about art as 'individual' expression."
If you are inclined I would like to hear more about this.
I do not know either of the artists you speak of beyond what you have posted.
MELVILLE and FORTUNY are seen as 'ORIENTALISTS', which we are told is a very bad thing. FORTUNY was a luscious technician and a typical 19th.C artist of the academic school.
MELVILLE's work is closer to reportage and impressionism.
Technically, FORTUNY is often amazing but it's curious how some of it seems ridiculous to us where MELVILLE's romanticism is honestly attuned to his perception and capture of what is real.
The 2 'arab' paintings pictured here were probably done to mimic the manner of FORTUNY, GEROME, MEISSONIER...the successful academicians of the time. MELVILLE was a provincial in the high imperialist age. The posh critics scoffed at his work - they called it 'blottesque'.
I think it has the ring of truth in it.
Re: 'individual' expression:
I believe that art forms have a kind of life of their own. They rise up from the primaeval soup than dissolve back to enrich the mass.
Oil painting is a case in point.
It begins with the renaissance and reaches its apex in VERMEER - there is no greater oil painter than VERMEER: everything is there, both past and future.
The folk blues is another.
The greatest privilege of my life was to see and hear OTIS SPANN and T BONE WALKER bring the blues down like showers of rain. Within a year or two they were gone forever.
Yes, I know people still do good oil paintings and play soulful blues. But show me a painting like VERMEER's "Allegory of History"...Play me a blues like MUDDY WATERS's "Baby, you got me standin' around cryin'"
Amen, brother
I thank you, Professor Ross!
:O)Fantastic !I love watercolor very much!In Russia i know only one great artist L.Premazzi.
http://hermitage.museum.ru/html_En/05/hm88_4_00.html
Hello Andrei,
I don't know PREMAZZI....Enlighten us.
I think it was about 15 years ago that a sudden flush of Russian books on 19th.-early 20th. century artists appeared in Britain. They were my introduction to ARKHIP KUINJI and VALENTIN SEROV.
(I will be posting the work of both these masters soon.)
O yes there are great masters! I love their pictures in Tretjakov gallery. If one day you will be in Moscow I shall show you .:O)
The Blue Night, Venice, is lurking somehere in the Tate museum. London. It's a mix of transparent watercolour and gouache.
Fantastic! The bull going berserk is mighty - looks like a bomb went off in that arena.
These artists you find & bring to us are just incredible.
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