The life and paintings of Vicat Cole, RA. . critics who had, all his life long, been decryinghis work on account of this very finish, and stamps,with the warrant of a master of his craft, his finalapj^robation of the practice of the modern School ofEnglish landscape of which he is the foremost repre-sentative. Full of beauty as the picture is, those wholoved Vicat Cole will always regard with tenderregret this, his farewell to Nature. p EARLY SEPIA SKETCH OF RICHMOND. RICHMOND HILL. T happens, strangely enough, that the nextpicture of the series— Richmond Hill, ex-hibited in 1875—is the earlie
The life and paintings of Vicat Cole, RA. . critics who had, all his life long, been decryinghis work on account of this very finish, and stamps,with the warrant of a master of his craft, his finalapj^robation of the practice of the modern School ofEnglish landscape of which he is the foremost repre-sentative. Full of beauty as the picture is, those wholoved Vicat Cole will always regard with tenderregret this, his farewell to Nature. p EARLY SEPIA SKETCH OF RICHMOND. RICHMOND HILL. T happens, strangely enough, that the nextpicture of the series— Richmond Hill, ex-hibited in 1875—is the earliest of the Thameslandscapes painted by the artist ; it is also oneof the most striking. The view from the Terraceat Richmond is, perhaps, the best-known representativeview of the river. It has been celebrated often bypainter and poet, and with good reason. The tine trees,the grand sweep of the rivers curve, and the woodedplain stretching to the horizon combine in presenting alandscape which enchants the eye by its i; niLLr Vicat Cole had Long been taken by its beauty; itMas a scene which liis art was peculiarly fitted torepresent worthily on canvas — a perfect type of allthat is fair in English scenery. And as such he liasportrayed it, with all the force and exquisite feelingwhich distinguish his work. His mastery of themysteries of the infinite delicate gradations of tone,by which the perspective of receding distance is ex-pressed, is admirably shown, and the silvery gleam andsoft reflections on the river are rendered with anindescribable charm. The part of the canvas occupiedby these presents an ideal scene of loveliness andgrace, to which the finely designed, and as finelypainted trees at the foot of the hill form a mosteffective setting. Remarkable as the left of the picture is for theskill of its artistic grouping, its chief power and attrac-tion lie in the marvellous shadow-painting. Of thispart of the canvas Mr. Ruskin, in his notes on
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Keywords: ., bookcentury1800, bookdecade1890, bookidlifepainting, bookyear1898
