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John Crome was its president, and when John Sell Cotman joined them in , he became the vice president. The group then somewhat divided into two, where some artist followed Crome's realist manner and others opted to paint in Cotman's freestyle manner, painting pictures of the places they have never been before by looking at other sketches and making a few modifications.
The exhibition building demolished but the society re-opened three years later as the Norfolk and Suffolk institution for the promotion of fine arts, at a different venue.
The society flourished through the s when the exhibitions faltered and ceased in They revived again in but did not gain the same success as they had previously achieved, considering that Crome had died. The president and founding member of the Norwich art society was John Crome, who painted more than pieces but did not publicly distribute them in his lifetime.
His works are renowned for their originality and vision, inspired by direct observation of the natural environment. He was the first English artist to paint identifiable species of trees rather than the generalized forms. The movement declined because of a lack of exposure to the outside world, as the majority of their canvasses were collected by the industrialist J.
Colman, and had went on permanent display in the Norwich Castle Museum from the s onward. Their paintings anticipated the next generation of painters, the impressionist landscape painting. Also, some of the provincial art movements that succeeded the Norwich School included the Newlyn School of through and the midth Century Saint Ives School.
The Norfolk landscapes that fascinated the Norwich school's paintings continued to inspire such later artists as Horace Tuck , Alfred Munnings , and Edward Seago , whose works derived direct inspiration from the Norwich paintings years after the decline of the movement. The Norwich school's unique achievement was the production of a large body of landscape oils and watercolors painted primarily in the open air by a group of self-taught working class artist.
He was fifty-two years old. It is believed that on the day of his death he spoke to his eldest son, twenty-seven year old John Berney Crome.
He begged him never to forget the dignity of Art, saying:. Berney Crome, John Thirtle, R. Ladbrooke, David Hodgson, M.
Cotman, etc. This book can be read on-line at:. In the art world one often hears about Schools. Not just meaning art establishments but denoting a group of artists who work from a specific location. Prime examples of this are the Barbizon School, which was active from about through to , and takes its name from the village of Barbizon, France, near the Forest of Fontainebleau.
Probably the best known School in Britain was the Newlyn School, an art colony of artists based in or around Newlyn, a fishing village adjacent to Penzance, on the south coast of Cornwall, from the s until the early twentieth century. In this blog I am looking at a group of artists who worked out of the county of Norfolk, specifically the town of Norwich. These were painters of the Norwich School, or Norwich Society of Artists , which came into being in in the town of Norwich and was the first provincial art movement in Britain.
The study of landscape about the town are infinitely beautiful and inexhaustible. The Norwich Society of Artists was founded in by John Crome and Robert Ladbrooke and their idea was that artists could meet and exchange ideas. The Society set down its aims as being:. The Society, once formed had their first meeting in a local tavern, The Hole in the Wall.
Two years later they moved to new premises and the extra space allowing the members to use as a studio and also exhibit their work. Their first exhibition was held in and it was a great success, so much so, that they held an annual exhibition there for the next twenty years. Unfortunately, the building had to be demolished but three years later, in , the Society members regrouped and became the Norfolk and Suffolk Institution for the Promotion of the Fine Arts.
The leading light of the Norwich School of Painters was John Crome who then attracted many friends and pupils until his death in Leadership of the Society then fell on John Sell Cotman, who had been a member of the society since , and who continued to keep the Society together until he left Norwich for London in The Society effectively ceased to exist from that date.
He was the eldest of ten children. His father, Edmund Cotman, formerly a barber but latterly a draper by trade, had married Ann Sell. John Sell Cotman initially studied at the Norwich School, which is one of the oldest schools in the world having been founded in However, during his time at school John Cotman had developed a love of art and was determined that he would not spend his working life behind a shop counter.
At the age of 16, he left home and went to London to study art. Whilst living in London he managed to earn some money by colouring aquatints for Anglo-German lithographer and publisher, Rudolph Ackerman, who had, in , established a print-shop and drawing-school in The Strand. Ackermann had set up a lithographic press and begun a trade in prints. It was whilst Cotman was in London that he also met Doctor Thomas Monro, who was an avid art collector.
Besides being an amateur painter and art collector, he was also a patron to a number of young aspiring artists including Thomas Girtin. Monro had a house in Adelphi Terrace, London where he had his studio and a country house in Merry Hill, a suburb of Bushey just fifteen miles from the capital. Monro liked to surround himself with other artists and J.
Turner was a frequent visitor. He ran an art Academy where he would offer evening art classes, some of which were attended by John Sell Cotman. John Sell Cotman managed to gain the patronage of Monro and through him met many of the leading British artists of the time and it was through his friendship with Turner, Girtin and Peter de Wint that Cotman continued his artistic development. He enjoyed taking trips out to sketch and it is believed that in he accompanied Thomas Girtin on a sketching trip to North Wales.
A pencil drawing of this subject can be found in Leeds City Art Gallery, and it may well have been the inspiration for this very finished example of a Cotman watercolour. Considering Cotman had had no formal art tuition it is amazing the artistic standard he had reached for someone of such a young age for when he was aged just eighteen, he first exhibited at the Royal Academy showing five works, four depicting scenes from the Surrey countryside and one was of Harlech Castle.
When touring North Wales in , he made a series of drawings and watercolours of Welsh subjects during the following years. The castle at Harlech was built in the thirteenth century by Edward I, and was often represented by artists at this time.
It features in watercolours by Girtin, Varley and Turner as well as Cotman. The success Cotman believed would come about in London never materialised and in he returned to his hometown of Norwich and began earning his living as an art tutor. When he returned to Norwich he also joined the Norwich Society of Artists. In he became president of the society. One of my favourite works by Cotman is a watercolour entitled Greta Bridge measuring just 22cms x 33cms. Cotman completed the small work in which can be found in the British Museum.
A second version of the painting, a much larger one, 30cms x 50cms , was completed by Cotman in and is housed in the Norwich Castle Museum. Both of these watercolours recreate the rural solitude and tranquillity of the Greta area of North Yorkshire, where Cotman spent the summers of � John Cotman had arrived at Rokeby on the evening of July 31st , accompanied by his friend and patron, Francis Cholmeley.
It had been arranged in advance that the two men were to stay as guests of the owner of Rokeby Park, John Bacon Sawrey Morritt. Cotman stayed at the house for about three weeks and when his hosts left on business, he remained nearby, taking up lodgings in a room at the local inn, which is the large building to the left of the bridge.
Cotman then continued the work he had begun along the river Greta that skirts the park. It is a wonderfully balanced composition depicting the Greta Bridge, with its striking, single arch, which runs horizontally across the picture, in some way dividing it in two and yet uniting it into a single scene.
The arch of the bridge epitomizes a great feat of engineering, which Cotman, with his love of architecture, admired. The bridge replaced a Roman single-arched bridge of the same design. Cotman had a love of bridges and sketched many. For him, a bridge was a meeting point or landmark for travellers and would often be a point of reference on maps where rivers and roads meet.
Cotman was fascinated by the interaction of this man-made feature and how it harmoniously interacted with a natural setting. In , Cotman married Ann Mills, the daughter of a farmer from the nearby village of Felbrigg and the couple went on to have five children.
During his time as a drawing master he taught the local banker, botanist and antiquary Dawson Turner and his children. They became close friends and Dawson Turner introduced him to many prospective students.
Cotman began to be interested in etchings and issued the first of his in He moved from Norwich and for the next ten years he lived in the Norfolk coastal town of Yarmouth and this gave him the opportunity to complete a number of seascapes such as his oil painting Dutch Boats off Yarmouth which depicts a coastal scene at Yarmouth and is a reminder of British naval triumphs over the Dutch navy.
England and the Dutch Republic, despite having been allied for a century when they again went to war in , a conflict that lasted four years and became known as the Fourth Anglo-Dutch War. The conflict followed secret Dutch trade and negotiations with the American colonies, who, at the time, were in revolt against England. It was around this time that Cotman concentrated on printmaking. The majority of his etchings were architectural in nature, with numerous ones of old Yorkshire and Norfolk buildings.
It is more than likely that this move towards etchings and printmaking was due to, and inspired in part by his friend and patron, Dawson Turner. Unlike academic, London-based painters who romanticized the English countryside, John Sell Cotman and other members of the Norwich School painted landscapes in their immediate surroundings.
It is now part of the Art Institute Chicago collection. In , Cotman, with help from his patron, made the first of three tours of Normandy and out of these journeys came a book in entitled, Architectural Antiquities of Normandy, one of various books he illustrated with his etchings.
In January , through the good auspices of J. He and his family left Norwich and relocated to the London borough of Bloomsbury. Two years later, his eldest son Miles Edmond Cotman was appointed to assist him. Sadly, with these financial problems, which had afflicted him during most of his working life, came bouts of depression, ill health and despondency brought on by the poor sales of his work.
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