George AFripp and Alfred DFripp . ipps work at that time; and it is of interest tocompare the treatment in minute detail of thewoodwork and still-life with the contemporarywork of Holman Hunt and the other Pre-Raphaelites. After Fripps return to England in 1859, thenext year, we find him in Dorset—at Swanage,Lulworth and Blandford. He and his secondwife lived in Dorset, and the sixties werelargely spent in sketching about Blandfordwhere they resided from 1861 to 1869, withfrequent summer sojourns at Swanage, wherehe painted every year from about 1860 to 1878,and afterwards at Lulworth for the
George AFripp and Alfred DFripp . ipps work at that time; and it is of interest tocompare the treatment in minute detail of thewoodwork and still-life with the contemporarywork of Holman Hunt and the other Pre-Raphaelites. After Fripps return to England in 1859, thenext year, we find him in Dorset—at Swanage,Lulworth and Blandford. He and his secondwife lived in Dorset, and the sixties werelargely spent in sketching about Blandfordwhere they resided from 1861 to 1869, withfrequent summer sojourns at Swanage, wherehe painted every year from about 1860 to 1878,and afterwards at Lulworth for the rest of hislife. It was in Dorset that his chief work wasdone. After he was elected Secretary of theSociety of Painters in Water-Golour in 1870,he removed to Hampstead. That attractiveneighbourhood was chosen partly in order tobe near his friend Edwin W. Field, the Societyssolicitor. But nevertheless, Fripp contrived tospend much time in Dorset. At the Bethnal Green Museum can be seentwo of Fripps charming Dorset scenes with 48. Size 6 X />s ColU\ti,^>i J figures, viz.: Fisher Boys on a Rock, signed anddated 1863 ; and The Piping Shepherd, signed,but undated, the scene being on the Downabove Swanage. In the words of Roget: ** The drawings ofthe Italian period possess a richness and force ofcolour which is more subdued, though not lessharmonious, in his later works, under increasedrefinement and more elaborate finish, and asuccessful endeavour to present the delicategreys of mist-laden atmosphere on our nativeshore. The Athenceum, in 1895, also remarked thatthe British themes which followed FrippsItalian pictures were ** treated in a less em-phatic, broader and more homogeneous mannerthan before ... and marked • • . the growthof a taste for opalescent greys, a lower range oftints and tones of much greater refinement. Weare inclined to attribute a good deal of thischange to the influence of George Mason, wholived with Fripp in Rome
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Keywords: ., bookcentury1900, bookdecade1900, bookidgeorgeafripp, bookyear1900
