. A short history of art . lvania, he enjoyedthe doubtful advantage of being regarded as an infantprodigy, and, when he reached London by way of Italy,entered upon a popularity that finally landed him presi-dent of the Royal Academy. While he painted some fairlygood portraits, his ambition was to be a painter in thegrand style, and his example tended to foster the ideathat sound qualities of craftsmanship were of less im-portance than eloquent subjects, rendered in grandiloquentcompositions. This influence was somewhat counteracted by Copley (1737-1815) that of John Singleton Copley, the son o
. A short history of art . lvania, he enjoyedthe doubtful advantage of being regarded as an infantprodigy, and, when he reached London by way of Italy,entered upon a popularity that finally landed him presi-dent of the Royal Academy. While he painted some fairlygood portraits, his ambition was to be a painter in thegrand style, and his example tended to foster the ideathat sound qualities of craftsmanship were of less im-portance than eloquent subjects, rendered in grandiloquentcompositions. This influence was somewhat counteracted by Copley (1737-1815) that of John Singleton Copley, the son of Irish parentswho had emigrated to Boston. Here Copley developed intothe leading portrait painter of Colonial society; but, beingof Tory proclivities and scenting ahead the crisis of therevolution, he left America and after a stay in Italy set-tled in London. His Colonial portraits are full of charac-ter, well drawn, and not without a fine colour-sense. Theirdeficiency is in the use of the brush. Copley had had little 588. WILLIAM E*TY YOUTH ON THE PROW AND PLEASURE AT THE HELMA confused composition on sentimental, classicalistic lines. fiassK«i;?»S!K»!^esas^;
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Keywords: ., boo, bookcentury1900, bookdecade1910, booksubjectart, bookyear1913
