Watts (1817-1904)

齺Watts (1817-1904)

The Project Gutenberg eBook, Watts (1817-1904), by William Loftus Hare
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Title: Watts (1817-1904)
Author: William Loftus Hare
Release Date: September 17, 2004 [eBook #13477]
Language: English
Character set encoding: ISO-8859-1
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WATTS (1817-1904)
by
W. LOFTUS HARE
Illustrated with Eight Reproductions in Colour

[Illustration: PLATE I.--DEATH CROWNING INNOCENCE
(Frontispiece)
A little child lying in the lap of the winged figure of Death. Death, ever to Watts a silent angel of pity, "takes charge of Innocence, placing it beyond the reach of evil." It was first exhibited at the Winter Exhibition of the New Gallery, 1896, and was given to the nation in 1897. It is now at the Tate Gallery.]

MASTERPIECES IN COLOUR
EDITED BY T. LEMAN HARE
"MASTERPIECES IN COLOUR" SERIES
ARTIST. AUTHOR. VELAZQUEZ. S.L. BENSUSAN. REYNOLDS. S.L. BENSUSAN. TURNER. C. LEWIS HIND. ROMNEY. C. LEWIS HIND. GREUZE. ALYS EYRE MACKLIN. BOTTICELLI. HENRY B. BINNS. ROSSETTI. LUCIEN PISSARRO. BELLINI. GEORGE HAY. FRA ANGELICO. JAMES MASON. REMBRANDT. JOSEF ISRAELS. LEIGHTON. A. LYS BALDRY. RAPHAEL. PAUL G. KONODY. HOLMAN HUNT. MARY E. COLERIDGE. TITIAN. S.L. BENSUSAN. MILLAIS. A. LYS BALDRY. CARLO DOLCI. GEORGE HAY. GAINSBOROUGH. MAX ROTHSCHILD. TINTORETTO. S.L. BENSUSAN. LUINI. JAMES MASON. FRANZ HALS. EDGCUMBE STALEY. VAN DYCK. PERCY M. TURNER. LEONARDO DA VINCI. M.W. BROCKWELL. RUBENS. S.L. BENSUSAN. WHISTLER. T. MARTIN WOOD. HOLBEIN. S.L. BENSUSAN. BURNE-JONES. A. LYS BALDRY. VIGéE LE BRUN. C. HALDANE MACFALL. CHARDIN. PAUL G. KONODY. FRAGONARD. C. HALDANE MACFALL. MEMLINC. W.H.J. & J.C. WEALE. CONSTABLE. C. LEWIS HIND. RAEBURN. JAMES L. CAW. JOHN S. SARGENT. T. MARTIN WOOD. LAWRENCE. S.L. BENSUSAN. DüRER. H.E.A. FURST. MILLET. PERCY M. TURNER. WATTEAU. C. LEWIS HIND. HOGARTH. C. LEWIS HIND. MURILLO. S.L. BENSUSAN. WATTS. W. LOFTUS HARE. INGRES. A.J. FINBERG.
Others in Preparation.
The Publishers have to acknowledge the permission of Mrs. Watts to reproduce the series of paintings here included.

[Illustration: IN SEMPITERNUM.]

LIST OF ILLUSTRATIONS
Plate
I. Death crowning Innocence Frontispiece At the Tate Gallery
II. The Minotaur At the Tate Gallery
III. Hope At the Tate Gallery
IV. Thomas Carlyle At the South Kensington Museum
V. Love and Life At the Tate Gallery
VI. Love Triumphant At the Tate Gallery
VII. The Good Samaritan At the Manchester Art Gallery
VIII. Prayer At the Manchester Art Gallery
[Illustration]

I
A BIOGRAPHICAL OUTLINE
In July of 1904 the eighty-seven mortal years of George Frederick Watts came to an end. He had outlived all the contemporaries and acquaintances of his youth; few, even among the now living, knew him in his middle age; while to those of the present generation, who knew little of the man though much of his work, he appeared as members of the Ionides family, thus inaugurating the series of private and public portraits for which he became so famous. The Watts of our day, however, the teacher first and the painter afterwards, had not yet come on the scene. His first aspiration towards monumental painting began in the year 1843, when in a competition for the decoration of the Houses of Parliament he gained a prize of ￡300 for his cartoon of "Caractacus led Captive through the Streets of Rome." At this time, when history was claiming pictorial art as her servant and expositor, young Watts carried off the prize against the whole of his competitors. This company included the well-known historical painter Haydon, who, from a sense of the impossibility of battling against his financial difficulties, and from the neglect, real or fancied, of the leading politicians, destroyed himself by his own hand.
The ￡300 took the successful competitor to Italy, where for four years he remained as a guest of Lord Holland. Glimpses of the Italy he gazed upon and loved are preserved for us in a landscape of the hillside town of Fiesole with blue sky and clouds, another of a castellated villa and mountains near Florence, and a third of the "Carrara Mountains near Pisa"; while of his portraiture of that day, "Lady Holland" and "Lady Dorothy Nevill" are relics of the Italian visit.
[Illustration: PLATE II.--THE MINOTAUR
In this terrible figure, half man, half bull, gazing over the sea from the battlement of a hill tower, we see the artist's representation of the greed and lust associated with modern civilisations. The picture was exhibited at the Winter Exhibition of the New Gallery, 1896, and formed part of the Watts Gift in 1897. It hangs in the Watts Room at the Tate Gallery.]
Italy, and particularly Florence, was perpetual fascination and inspiration to Watts. There he imbibed the influences of Orcagna