George AFripp and Alfred DFripp . l than British in style), but a refinement offeeling and much atmospheric effect. There isalso evident at all periods great fidelity to whathe saw and felt in Nature, so that almost all hisdrawings are at once true, unostentatious, andremarkable for accurate draftsmanship. Asa strong draftsman he resembled his friendMiiller, who, however, was less strict in ad-hering to topographical exactitude. In thewords of Mr. A. J. Finberg,* Miillers ** viewof Nature is rather melodramatic than genuinelypoetical. His slightly superficial treatment isbetter suited to subje
George AFripp and Alfred DFripp . l than British in style), but a refinement offeeling and much atmospheric effect. There isalso evident at all periods great fidelity to whathe saw and felt in Nature, so that almost all hisdrawings are at once true, unostentatious, andremarkable for accurate draftsmanship. Asa strong draftsman he resembled his friendMiiller, who, however, was less strict in ad-hering to topographical exactitude. In thewords of Mr. A. J. Finberg,* Miillers ** viewof Nature is rather melodramatic than genuinelypoetical. His slightly superficial treatment isbetter suited to subjects with which we have asuperficial acquaintance. Hence his Easternsketches have generally been more admired thanhis drawings and paintings of English subjects. In 1841, after Fripp had exhibited severalpictures at the Fine Arts Academy in Bristol(the forerunner of the Royal West of EnglandAcademy, and founded by Mrs. Ellen Sharpies,of Bath), he removed to London; and having • The English Wattr-Colour Painters, 1905, p. 164. 14. George A. Fripp Sketched in 1834. -hen there William Muller In H. Stuart Thojnpsoris Collection submitted a few probationary drawings, he wasat once elected an Associate of the Society ofPainters in Water-Colours. He began hisAssociateship in 1841 with views from theBristol district, viz.: St. Vincents Rocks;Clifton, Moonlight; View on the Avon; and Sceneon the Avon near Bath. There were also threeContinental subjects, viz. : Heidelberg, Via MalaPass, and Tivoli. In 1842, he sent Tenby Castleand Caerphilly Castle, three views of Durham,and four Thames subjects, the first of a verylong series. In 1844, appeared the first of manyYorkshire views, viz. : Richmond Castle andBolton Abbey. Of these last two subjects hemade many subsequent drawings. Fripp became a full Member of the Societyin 1845. He held the post of secretary from1848 to his resignation in 1854, through pressureof other work and a growing family. Again, in1864, he filled a gap until Wi
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Keywords: ., bookcentury1900, bookdecade1900, bookidgeorgeafripp, bookyear1900
