_ THE

THE BIG
BIG BOOK
BOOK OF
OF
WATERC
WATERCOJ0R
By José M.
By Jose M. Par
Parram on
ramon

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 $$ 24.95
24.95

THE BIG
THE BOOK OF
BIG BOOK OF
WATERCOLOR
WATERCOLOR
By
By Jose
Jose M.
M. Parramon
Parramon
A watercolor
A watercolor painting must be
painting must be aa /ala prima—
prima —
inin the
the moment,
moment, fast,
fast, spontaneous. The
spontaneous. The
secret is to
secret is to understand the medium
understand the medium itself:
itself:
its
its watery,
watery, translucent
translucent texture,
texture, its
its fluid
fluid

rhythms,
rhythms, its its vivid, gem-like colors
vivid, gem-like colors which
which
render
render such such irresistible
irresistible results.
results.

InIn this extraordinary exploration

this extraordinary exploration of
of the
the
technique of
technique of watercolor
watercolor painting, a world
painting, a world
renowned
renowned artist, teacher, and
artist, teacher, and author
author ofof 27
27
books shares aa wealth of
books shares wealth of practical
practical and
and
Creative
creative knowledge
knowledge withwith the
the beginning
beginning or or
more professional
more professional painter.
painter. From his survey
From his survey
of the
of the masters —
masters—old old and
and new—to —
new to the the ac-
ac-
tual application
tual application of
of the craft,
the craft, José M.
Jose M.
Parramon shows the
Parramon shows the reader not simply
reader not simply how
how
to mix
to mix color,
color, choose
choose brushes,
brushes, understand
understand
paper
paper surfaces, select aa palette,
surfaces, select furnish
palette, furnish
the studio,
the studio, but
but also
also how to
how compose,
to compose,
evaluate
evaluate tone, execute perspective,
tone, execute perspective, trans-
trans-
late
late lighting effects, and
lighting effects, and interpret
interpret aa theme.
theme.
Parramon's “active pictures"
Parramon's "active pictures’ are
are carefully
carefully
selected
selected to
to complement
complement thethe text and ex-
text and ex-
pand the
pand the reader's understanding. He
reader's understanding. He dem-
dem-
onstrates the techniques
onstrates the techniques of of wet-on-wet
wet-on-wet
painting, drybrush,
painting, drybrush, sponge
sponge texturing, Su-
texturing, su-
perimposition of
perimposition of translucent
translucent shapes
shapes and
and
colors,
colors, use of the
use of the paper
paper asas white,
white, and an
and an
examination of
examination of style.
style. He experiments with
He experiments with
ranges of color
ranges of —
color—warm,
warm, cold, and broken
cold, and broken
—
—asas he enjoins you,
he enjoins you, the reader, to
the reader, to
“do it,”
"do it," to
to really follow his
really follow procedures and
his procedures and
practice
practice the the demonstrations
demonstrations so so perfectly
perfectly
worked out
worked out in this book.
in this book.
The author includes
The author step-by-step prac-
includes step-by-step prac-
tice demonstrations that trace the painting
tice demonstrations that trace the painting
process
process in in watercolor
watercolor forfor seven classical
seven classical
themes: rustic
themes: rustic landscape,
landscape, landscape
landscape withwith
aa house,
house, cityscape,
cityscape, seascape,
seascape, harbor
harbor
scene,
scene, still life, animals,
still life, animals, the
the human figure.
human figure.
Teaching, communicating
Teaching, communicating with the
with the
reader/student
reader/student isis clearly
clearly aa labor of love
labor of love for
for

José
Jose M.
M. Parramon.
Parramon. His His presence,
presence, patience,
patience,
knowledge, and
knowledge, enthusiasm are
and enthusiasm felt
are felt
throughout
throughout The The Big
Big Book
Book of of Watercolor
Watercolor
Painting
Painting asas he
he Strives
strives toto "create
“create inin the
the
reader the
reader idea that
the idea that the
the artist
artist is
is beside
beside
him, painting
him, painting with
with him,
him, explaining
explaining inin per-
per-
son how to
son how to do
do it.” Wonderfully
it." detailed,
Wonderfully detailed,
lavishly illustrated,
lavishly illustrated, TheThe Big
Big Book
Book ofof Water-
Water-
color Painting is a joy to look at, an
color Painting is a joy to look at, an
unending
unending source
source of
of information, and an
information, and an
inspiration
inspiration to paint.
to paint.

192 pages. 9
192 pages. 9 xx 12
12 (23
(23 xx 30.5 cm). 382
30.5 cm). color
382 color
plates. Glossary.
plates. Glossary.
WATSON-GUPTILL PUBLICATIONS
WATSON-GUPTILL PUBLICATIONS
 = Phe
4we
= RY |
=p or

2 4
 THE
THE
BIG
BIG BOOK
BOOK
OF WATERCOLOR
OF WATERCOLOR
PAINTING
PAINTING
 THE
THE
BIG BOOK
BIG BOOK
OF WATERCOLOR
OF WATERCOLOR
PAINTING
PAINTING
The history,
The history, the
the studio,
studio, the
the materials
materials
the techniques,
the techniques, thethe subjects,
subjects, the
the theory
theory
and the practice of watercolor painting
and the practice of watercolor painting

by
by

JOSE M.
JOSE M. PARRAMON
PARRAMON

WATSON - GUPTILL
WATSON -GUPTILL PUBLICATIONS
PUBLICATIONS // NEW
NEW. YORK
YORK
 os
Copyright
Copyright ©(£ 1985
1985 by
by José M. Parramon
Jose M. Parramon Vilasalé
Vilasalo

Published
Published 1985
1985 in
in Spain
Spain by
by Parramon
Parramon Ediciones,
Kdiciones, S.A.,
S.A.,
Barcelona
Barcelona

First
First published
published 1985
1985 in
in the
the United States by
United States by Watson-
Watson-
Guptill
( iiiplill Publications,
Publications, aa division of Billboard
division of Billboard
Publications,
Publications, Inc.,
Inc., 1515
1515 Broadway,
Broadway, NewNew York,
York, N.Y.
N.Y.
10036.
10036.

Library of
library of Congress
Congress Catalog
Catalog Number 84-40386
Number 84-40386
ISBN
ISBN 0-8230-0496-1
0-8230-0496-1

Printed
Printed in
in Spain
Spain by
by
Cayfosa, Sta. Perpétua de
Cayfosa, Sta. Perpetua de Mogoda
Mogoda
Barcelona (Espaiia).
Barcelona (Kspaha).

Register Book
Register Book Number: 785
Number: 785
Legal
legal Deposit:
Deposit: B-32171-87
B-32171-87

AllAll rights
rights reserved.
reserved. No part of
No part this publication
of this publication may
may
ee be reproduced
be reproduced or
or used
used in any form
in any form or
or by
by any
any
i —
means —graphie, electronic, or mechanical, including
means graphic, electronic, or mechanical, including
photocopying,
photocopying, taping or information
taping or information storage
storage
and retrieval systems —
without written permission of
the publishers.

Manufactured in Spain
3 4 5 6677 88 9/89
9/89 88 87
88 87
 1

« , | Contents
Contents

Introduction,
Introduction, 99

History of
History watercolor painting,
of watercolor painting, 11
1

The painter's
The painter’s studio,
studio, 49
49
The studio
The studio for
for painting
painting in
in watercolor, 50
watercolor, 50
Lighting the
Lighting professional studio,
the professional studio, 51
51
Furniture and tools,
Furniture and tools, 52
52
Running water,
Running water, wall
wall unit, armchair, 54
unit, armchair, 54

Materials and
Materials and tools,
tools, 55
55
The easel, 56
The easel, 56
Paper
Paper for watercolor painting,
for watercolor painting, 58
58
Stretching the paper, 61
Stretching the paper, 61
Watercolor colors,
Watercolor colors, 6262
Watercolor
Watercolor color chart, 64
color chart, 64
Watercolors commonly
Watercolors commonly used, 66
used, 66
Tempera
Tempera colors
colors (gouache),
(gouache), 67 67
The
The palette box, 68
palette box, 68
Jose M. a Parramon.
Saz (Cuenca).
Saz (Cuenca).
Villar

Private
Private Col-
Col-
del
Moisteners,
Moisteners, masking
masking fluid,
fluid, fixatives, and more,
fixatives, and 70
more, 70
lection.
lection. Water,
Water, 71
71
Brushes for watercolor
Brushes for watercolor painting, 72
painting, 72
Brushes:
Brushes: their
their use and care,
use and 74
care, 74
Other
Other materials,
materials, 75
75

Drawing:
Drawing: the foundation of
the foundation of watercolor, 77
watercolor, 77
Cube,
Cube, cylinder, sphere, 78
cylinder, sphere, 78
Fit, dimension, proportions,
Fit, dimension, proportions, 80
80
Light and shade:
Light and shade: tonal
tonal values, 82
values, 82
Doing
Doing aa quick sketch, 83
quick sketch, 83
A special
A special exercise, 84
exercise, 84
The right perspective, 86
The right perspective, 86
Aerial
Aerial perspective, atmosphere, contrast,
perspective, atmosphere, contrast, 91
91
Plato’s
Plato's rule,
rule, 92
92
Vitruvius’ golden
Vitruvius' golden section,
section, 93
93
Compositional
Compositional schemes,
schemes, 94
94
The third
The third dimension, 95
dimension, 95
Composition
Composition in practice,
in practice, 96
96

Wash: warm-up
Wash: warm-up for
for watercolor,
watercolor, 97
97
Characteristics and
Characteristics and similarities,
similarities, 98
98
First practical
First practical exercises,
exercises, 99
99
Techniques of
Techniques watercolor, 103
of watercolor, 103
Painting with
Painting with two
two colors,
colors, 108
108
Examples in wash, 112
Examples in wash, 112

Theory
Theory and
and practice in color,
practice in color, 113
113
Primary, secondary
Primary, secondary and tertiary colors,
and tertiary colors, 114
114
Complementary colors,
Complementary colors, 115
115
The color
The color of forms; the
of forms; color of
the color of shadows,
shadows, 116
116
Colorists and
Colorists value painters,
and value painters, i117 17
Harmony, 118
Harmony, 118
To
To Maria,
Maria, my
my wife
wife
 Color mixing
Color mixing inin watercolor,
watercolor, 119
119
Three
Three basic colors, 120
basic colors, 120
Warm colors,
Warm colors, 121
121
Cold colors,
Cold 124
colors, 124
Broken colors,
Broken colors, 126126
“Special” colors, 127127
1
"Special' colors,
Painting a watercolor with
Painting a watercolor with three
three colors, 128
colors, 128

Technique
Technique andand skills,
skills, 131
131
Dry watercolors,
Dry watercolors, wetwet watercolors,
watercolors, 132
132
Wet watercolors,
Wet watercolors, 133133
Synthesis, 134
Synthesis, 134
Synthesis and
Synthesis and interpretation, 136
interpretation, 136
Thumbnail
Thumbnail sketches,
sketches, 138
138

Watercolor painting in
Watercolor painting in practice,
practice, 141
141
The
The human
human figure, 142
figure, 142
Painting skies
Painting and clouds,
skies and clouds, 148 148
Painting trees, 152
Painting trees, 152
Painting
Painting aa landscape
landscape in in watercolors,
watercolors, 154154
Painting
Painting aa sea port in
sea port in watercolors,
watercolors, 160 160
Painting aa seascape
Painting seascape in watercolors, 164
in watercolors, 164
Painting an
Painting an illustration
illustration inin watercolors,
watercolors, 170170
Painting aa snowy landscape
Painting snowy landscape in in watercolors, 177
watercolors, 177
e José
Jose M
M. a Parramén, A snowy
Parramon. A snowy Glossary, 188
Glossary, 188
landscape. Private Collection.
landscape Private Collection.
 J, M.3
J. M a Parramon.
Parramon. Port
Port of Genoa.
of Genoa.
Private Collection.
Private Collection.
foe)
 —

Introduction
introduction
Painting as
Painting as aa hobby,
hobby, only
only aa hobby...?
hobby...? able, x and
able and give
give my opinion
my of different
opinion of different
It sounds
It fine. But
sounds fine. there are
But there are hobbies
hobbies that
that brushes, colors,
brushes, colors, papers, etc. II have
papers, etc. have dedica-
dedica-
never take
never take off, they never
off, they never quite crystalize,
quite crystalize, ted an
ted an important
important part of this
part of this book
book toto explain-
explain-
because
because they are not
they are not taken seriously. Can
taken seriously. Can ing,
ing, by means of
by means pictures and
of pictures practical
and practical
you
you imagine someone who
imagine someone who plays the pi-
plays the pi- examples, the habits and techniques of
examples, the habits and techniques of
ano
ano for
for aa hobby
hobby butbut only
only sits
sits down
down toto prac-
prac- professional artists,
professional from the
artists, from the different
different
tice
tice once
once aa month?
month? systems for
systems for absorbing
absorbing andand reducing
reducing col- col-
Painting
Painting is like the
is like piano: one
the piano: must play
one must play itit ors, to
ors, to the different procedures
the different procedures for for "open-
“open-
often. It
often. It has
has its
its technique,
technique, its mechanics,
its mechanics, ing
ing up” white spaces
up" white spaces before
before or after paint-
or after paint-
its skills.
its skills. Likewise,
Likewise, one one must paint often,
must paint often, ing, wet or
ing, wet or dry.
dry. II have
have painted
painted wet
wet in in wet,
wet,
even more so in watercolors.
even more so in watercolors. and I have brought color theories into
and I have brought color theories into
It isis aa process,
It process, as you well
as you know, which
well know, which practical
practical useuse by proposing aa series
by proposing series ofof prac-
prac-
requires
requires assiduous practice; the
assiduous practice; the more
more one one tical
tical exercises
exercises beginning
beginning with
with painting
painting withwith
paints,
paints, the the better.
better. VanVan Gogh,
Gogh, who who waswas an an only
only three colors, which
three colors, tests and
which tests and proves
proves
indefatigable
indefatigable worker— worker—close close to 850 pain-
to 850 pain- that all of
that all of the
the colors
colors found
found inin Nature
Nature may may
tings and
tings and more
more thanthan 1000
1000 drawings
drawings in in the
the be
be made
made with with only
only the
the three primary col-
three primary col-
last year
last year ofof his
his life!—
life!— was pleased to
was pleased to quote
quote ors.
ors.
a remark
a remark on watercolors made
on watercolors made by by the
the Im-
Im- II have
have applied
applied to to painting
painting in in watercolors,
watercolors,
pressionist, Whistler: “Yes, I painted it in
pressionist, Whistler: "Yes, I painted it in all of the laws, rules, experiences, and
all of the laws, rules, experiences, and find-
find-
two hours,
two hours, butbut II worked
worked for for years
years inin order
order ings which
ings which II know know afterafter many
many years years of of
to be able
to be able toto do
do itit in
in two
two hours.”
hours." teaching
teaching art, art, in the areas
in the areas of of drawing,
drawing, color,
color,
Painting in
Painting in watercolors
watercolors isis most certainly
most certainly mixing,
mixing, colors, composition, interpreta-
colors, composition, interpreta-
an
an artart for amateurs with
for amateurs with the
the will
will and cap-
and cap- tion,
tion, and and blending.
blending. And And finally,
finally, II have
have
acity to
acity to work:
work: carried out
carried out aa series
series of of demonstrations—-
demonstrations
some with
some with the cooperation of
the cooperation of my
my friends,
friends,
leading
leading namesnames in in Spanish watercolor paint-
Spanish watercolor paint-
An art
An art which
which must be learned
must be and practiced
learned and practiced
ing—in which
ing—in which II explain
explain stepstep byby step
step and
and inin
aa practical manner the
practical manner the lessons
lessons contained
contained
In
In this
this book,
book, II have
have tried to bring
tried to bring together
together in this book.
in this book.
the
the knowledge necessary to
knowledge necessary to learn
learn to
to paint
paint It is a book
It is a book illustrated
illustrated with active and
with active and
in watercolors.
in watercolors. I have
Ihave researched
researched and and writ-
writ- instructive illustrations—
instructive illustrations—450 450 in all—and
in all— and itit
ten, first,
ten, about the
first, about history of
the history of watercolors,
watercolors, isis aa book
book to to take
take part
part in,in, with
with practical
practical
so that you may know when, who,
so that you may know when, who, why,
why, exercises you can carry out in color mix-
exercises you can carry out in color mix-
and how the
and how the first watercolor painters
first watercolor paint-
painters paint- ing, perspective,
ing, composition, and
perspective, composition, and other
other
ed, and
ed, and along
along the way II discovered,
the way discovered, some some technical
technical lessons.
lessons.
early figures—such
early figures— such as as the Academy of
the Academy of Dr.
Dr. Ah, but
Ah, but we we must
must playplay ourour whole
whole hand!
hand! II
Monro, in
Monro, in London—which
London—which filled filled me
me with
with have done
have done all all II can
can andand allall II know
know how how
surprise. I have brought together all man-
surprise. I have brought together all man- to do. Now it is your turn. It’s not enough
to do. Now it is your turn. It's not enough
ner of
ner of information
information and pictures, by
and pictures, by andand to say
to say that
that you haven’t the
you haven't time or
the time that
or that
about everybody,
about everybody, in in order
order toto inform
inform you you you don’t feel
you don't feel inspired.
inspired. ‘“‘Waiting
"Waiting for for inspi-
inspi-
with regard
with regard to to furniture, materials, and
furniture, materials, and ration is a vain act,” said Balzac, "one
ration is a vain act," said Balzac, “one
tools for
tools for watercolor
watercolor painting;
painting; II comment
comment must begin, take
must begin, take upup thethe material
material and and getget
on the different
on the different types and qualities
types and qualities avail-
avail- one’s hands dirty."
one's hands dirty.”
introduction
introduction

Beginning to
Beginning
process,
paint, like
to paint,
process, always
like any
any intellectual
intellectual
requires effort,
always requires effort, “we
"we try to
try to
BARA \ <3
ry ¥%

put it off
put it off with
with all type of
all type of excuses, the
excuses, the
pencil is dull,
pencil is dull, the
the palette
palette isis dirty..."
dirty...” Yes, but
Yes, but
it is also almost always true that, no
it is also almost always true that, no
sooner
sooner do do we
we start than we
start than feel an
we feel an uncon-
unob-
tainable passion to
tainable passion to continue
continue to to work.
work.
When this
When this passion
passion isis cultivated,
cultivated, it it be-
be-
comes
comes aa habit:
habit: the
the habit
habit of working.
of working.

Van Gogh
Van Gogh acquired
acquired this
this habit
habit of
of working
working
from the first day, with all the passion
from the first day, with all the passion
which isis reflected
which reflected in
in his paintings:
his paintings:

“From
"From the time II bought
the time bought mymy first col-
first col-

ors and
ors and painting
painting tools,
tools, II have
have beenbeen
coming
coming andand going,
going, painting
painting all
all day
day and
and
finishing
finishing exhausted.
exhausted. II haven't
haven’t been
been able
able
to contain myself, I haven’t been able
to contain myself, I haven't been able
Federico Lloveras.
Fedenco Embarca
Lloveras. Embarca-
to hold myself
to hold myself back
back nor
nor stop
stop work-
work- dero.
dero Private
Private Collection.
Collection.

ing.”
ing."

I hope
I hope this
this book
book will
will help
help you
you to
to begin
begin to
to
feel a passion
feel a passion for
for painting
painting in
in watercolors.
watercolors.

José
Jose M. Parramon.
M. Parramon.

10
 .

history
t

of watercolor
of watercolor
painting
painting

f<*ti

“The least
'The least essay
essay written
written by
by aa painter
painter
willadvance
will advancethe
the theory
theory ofthe
of the art better
art better
than
than aa million
million volumes.”
volumes."
Sir
Sir Joshua
Joshua Reynolds
Reynolds (1723-1792)
(1723-1792)
te ee
re
 HISTORY OF
HISTORY OF WATERCOLOR PAINTING
WATERCOLOR PAINTING

Origins
origins

Man
Man has has been
been writing and illustrating
writing and illustrating booksbooks qestealen pomp
nom
' 7B Fig. 6—
Fig Opening of
6-Opening
Hunefer mummy from
Hunefer mummy
of the
the Mouth,
from the
Mouth,
the book
book
for 3,500
for years.
3,500 years. of the dead
of the dead ofof the
the same
same per-
per-
It was
It originally on
was originally the banks
on the banks of of the
the Nile
Nile in in son, papyrus
son, papyrus from
from thethe 13th
13th

Egypt that aa fibrous plant

Egypt that fibrous plant named
named cyperus
cyperus papy-
papy- century
century B.C..
B.C., British
British Museum,
Museum,
London.
London.
rus was discovered
rus was discovered whose
whose bark, cut into
bark, cut into strips,
strips,

could be
could be rolled
rolled into
into aa scroll.
scroll. These
These rollsrolls of of
papyrus were used to write and illustrate scrolls
papyrus were used to write and illustrate scrolls Fig. 7— (Below) Adam
Fig. 7-(Below) Adam and Eve,
and Eve,
page
page from
from aa Bible
Bible manuscript
dealing with science, history, magic,
magic, and and relig-
relig-
manuscript
dealing with science, history,
by
by Alcuin or Moutier
Alcuin or Moutier Grandval,
Grandval,
ion. Another
ion. important use
Another important use was that of
was that of bury-
bury- from the
from the Carolingian period.
Carolingian period.

ing the scrolls

ing the with the
scrolls with the dead
dead as as an
an aid
aid in their
in their E'<£"CHHt 834-43
834-43 A.D.,
A.D., watercolor
watercolor on on
parchment,
parchment, British Museum,
British Museum.
journey to the other world. The writings were
journey to the other world. The writings were si 6 London.
London.
to help
to help them
them explain their deeds
explain their deeds to to Osiris,
Osiris,
judge of
judge the dead.
of the dead. The
The images
images in in these
these scrolls,
scrolls,
90° *&<V*i
Fol t.. a
known
known sincesince then
then asas miniatures,
miniatures, were were painted
painted iyPN.
with transparent colors.
with transparent
for ochres
for ochres and
colors. The
and siennas
siennas came
The pigments
came from
pigments used
from the
used
the earth;
earth;
a a
red came from minerals such
such asas cinnabar; azu-
red came
ral ah
from minerals cinnabar; azu-
rite was used to
rite was used to obtain blue; malachite for
obtain blue; malachite for
green; cropiment for
green; cropiment for yellow,
yellow, and rexalgar for
and rexalgar for
orange.
orange. BlackBlack waswas made
made from from burnt
burnt willow
willow
wood;
wood; chalk produced white.
chalk produced white. These
These pigments
pigments
were blended with
were blended with gum arabic and
gum arabic and egg
egg white
white
and
and were applied diluted
were applied diluted in in water.
water. In In short,
short,
they were watercolors.
they were watercolors.
One thousand years
One thousand later, around
years later, around 170 BC,
170 BC,
parchment
parchment was
was used
used for the first
for the time by
first time by Eu-
Eu-
menes II,
menes king of
II, king Pergamum. This
of Pergamum. This new
new writing
writing
surface was
surface was obtained
obtained from sheep or
from sheep goat skin
or goat skin
treated with
treated lime and
with lime and sheared
sheared and and softened
softened
with
with aa pumice
pumice stone.
stone. These parchment sheets
These parchment sheets
were joined into
were joined into small
small notebooks
notebooks knownknown as as
codices which were in turn joined to form aa
codices which were in turn joined to form
book called
book called aa codex.
codex. Parchment
Parchment has has been used
been used
ever since
ever since toto make manuscripts.
make manuscripts.
Until the
Until the 9th century most
9th century most miniatures,
miniatures, wheth-
wheth-
er in Greece, Rome, Syria, or Byzantium,
er in Greece, Rome, Syria, or Byzantium,
were painted
were from aa mixture
painted from mixture of of watercolor
watercolor andand
lead white,
lead white, producing
producing an an opaque
opaque watercolor.
watercolor.
The 9th
The 9th century marked the
century marked the beginning
beginning of of the
the
reign of
reign Charlemagne, emperor of the Carolin-
of Charlemagne, emperor of the Carolin-
gians.
gians.
Charlemagne
Charlemagne placed placed great importance on
great importance on the
the
creation of manuscripts; he found great artists
creation of manuscripts; he found great artists

who
who alternated
alternated in the use
in the use of
of both
both opaque
opaque and
and Fig. 8-(Above)
Fig. 8—(Above) Francesco
Francesco Pe-
Pe-
transparent watercolors.
transparent This mixture
watercolors. This mixture was used
was used sellino, Allegory
Allegory of of Rome,
Rome.

ec
sellino.

during the late

during the late Middle
Middle Ages and even
Ages and even reached
reached = Ne Sain I . miniature,
miniature. gouache
gouache on
on

the Renaissance
the Renaissance when the use
when the use of
of watercolors
watercolors SC YOU en PLE c frou icy parchment; borders
parchment; borders of the
of the

BaD SH AE EMOTE CORUL Ww frame painted

frame painted in watercolor.
in watercolor.

in miniature
in miniature paintings
paintings became
became common.
common. 1S (eey qa On wee From
From thethe manuscript
manuscript De Se-
De Se-
nek cundo Bello
Bello Punico
Punico Poema,
These are in effect, the
the origins
origins of watercolor PAA cfte See {cree
cundo Poema.
These are in effect, of watercolor
1447-55, Hermitage Museum,
Museum,
pviife cite nee Sar
1447-55, Hermitage
painting.
painting. Leningrad.
Leningrad.

Fig.
Fig. 9—(Right) Page from
9- (Right) Page the
from the
manuscript
manuscript on the Poems
on the Poems of of
Charles d'Orléans (imprisoned
Charles d'Orleans (imprisoned
in the
in the Tower of London
Tower of London around
around
1500),
1 watercolor and
500). watercolor and gouache
gouache
on
on parchment, British Museum,
parchment, British Museum,
London.
London

12
12
 HISTORY OF
HISTORY WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

durer: the
durer: the first
first ““watercolorist™
"watercolorisf
Albrecht Durer
Albrecht Dtirer from Nuremberg, who
from Nuremberg, who waswas
described
described as “ardent and
as "ardent and austere"
austere” by
by the paint-
the paint-
er Cornelius, was
er Cornelius, was the
the greatest German paint-
greatest German paint-
er
er and engraver
and engraver of of the
the 16th century. During
16th century. During
his lifetime (1471-1528)
his lifetime (1471-1528) hehe wrote
wrote three books,
three books,
executed over 1000
executed over drawings, almost
1000 drawings, 250 wood-
almost 250 wood-
cuts, 100 copper engravings, and painted aa
cuts, 100 copper engravings, and painted
grand total
grand total of
of 188 canvases, of
188 canvases, which 86
of which 86 were
were
watercolors. Durer's
watercolors. Diirer’s first
first known
known painting
painting is a
is a

watercolor landscape which

watercolor landscape which he he painted
painted at the
at the
age of
age of eighteen.
eighteen. All this isis quite
All this quite amazing.
amazing. VeryVery
few people
few people knowknow thatthat Diirer
Durer alternated
alternated be- be-
tween oil
tween oil and watercolor painting.
and watercolor painting. Although
Although
his
his oil
oil paintings,
paintings, such such as as Adam
Adam and and Eve
Eve and
and
Self-Portrait
Self-Portrait withwith Gloves,
Gloves, bothboth in the Prado
in the Prado in in
Madrid, are well known, few people are aware
Madrid, are well known, few people are aware
that he
that did watercolor
he did watercolor paintings
paintings as as good
good asas the
the
landscape
landscape shownshown here.
here. WhyWhy is is it
it that
that watercol-
watercol-
ors are
ors are notnot considered
considered on on a a level
level with
with oil oil
paintings? As
paintings? As wewe will
will learn
learn later on, the
later on, use of
the use of
watercolor for
watercolor for its own sake
its own sake diddid not
not gain
gain recog-
recog-
nition until
until the latter part
part of
of the 18th century.
century.
10
nition the latter the 18th Fig.
Fig. 10—Albrecht
10- Albrecht Durer,
Durer. Wing
Wing Fig. 11—Albrecht
Fig. 11— Albrecht Durer,
Durer, View
View v0
ofaa Small
Small Blue
Blue Bird,
Bird, watercol- of
of Kalchreuth,
Kalchreuth. watercolor
watercolor on
During
During Diirer’s
Durer's time watercolors were said to
of watercol- on
time watercolors were said to
or on
or parchment, Albertina,
on parchment, Albertina. paper, previously
paper, previously inin Bremen,
Bremen,
Vienna.
Vienna. Kunsthalle.
Kunsthalle. 1
11

Fa wets ls

13
13
 HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

durer: the
durer: the first "watercolorist"
first ““watercolorist”’

Fig.
Fig 12—Albrecht Durer.
12-Albrecht Durer, Se/f-
Self-

Portrait with
Portrait with Gloves,
Gloves, (detail)
(detail).

The Prado,
The Prado, Madrid-
Madrid. Inthis paint-
In this paint-

ing there
ing there isis an
an inscription
imscniption inin
German that
German that reads:
reads’ "I“| have
have
painted this portrait
painted this portrait according
according
toto my
my features
features atat the
the age
age of
of
twenty-six.” This
twenty-six." This self-portrait
self-portrait
inin oils
olls was
was painted
painted the
the same
same
year (1498)
year that Durer
1 498) that
( Durer did
did the
the
Series of
series of engravings
engravingsof the Apo-
of the Apo-
calypse that
calypse that brought
brought him
him inter-
inter-

national fame.
national fame. Durer
Durer isis said
said to
to
have wanted to
have wanted to emphasize
emphasize his his

mastery
mastery andand merit
merit asas anan artist
artist

and man
and man of letters
of letters in in this
this

self-portrait
self-portrait.

aa
~
a =
Fig
Fig. 13—Albrecht Durer,
13-Albrecht 7he
Durer. The
Large Piece of
Large Piece Turf, watercolor
of Turf, watercolor
on
on paper, Albertina, Vienna
paper, Albertina, Vienna. In In

contrast
contrast with the landscape
with the landscape on on
the previous
the page--loose,
previous page— care
loose, care-
free, with
free, with aa style
style and brush
and brush-
stroke
stroke comparable
comparable to to those
those ofof aa
modern artist—
modern artist— Durer
Durer offers
offers usus
here
here aa detailed,
detailed. hyper-realist
hyper-realist
finish, in
finish, in which
which opaque
opaque waterwater-
color isis used
color used withwith sureness.
sureness
The work.
The work. 41 41 cm cm X 31
X 31.55 cm
cm
(16" X
(16° X 12.5"),
12.5"), was
was painted
painted
from
from nature.
nature, as as was
was Customary
customary
with Durer
with Durer who,who, according
according to tc
his
his biographers,
biographers, felt
felt a
a true
true
passion for animals
passion for animals and
and nature
nature
13
serve a documentary
serve a function. They
documentary function. They were
were the
the separate
separate chapter for his
chapter for his watercolors,
watercolors, but in-
but in-
first
first draft
draft ofaa future
of future oil
oil painting.
painting. This underesti-
This underesti- stead meshed them
stead meshed them with
with the
the sketches.
sketches. Other
Other
mation
mation of of watercolor
watercolor was was still evident in
still evident the
in the authors
authors who have written
who have written about Durer, such
about Durer, such
early part of
early part of the
the 20th century. During
20th century. During the
the 1930s
1930s as Lippman, Winkler,
as Lippman, Winkler, and
and Panofsky,
Panofsky, have fol-
have fol-
the Tietze
the brothers, who
Tietze brothers, who wrote
wrote thethe most
most com-
com- lowed their classification.
lowed their classification.
plete catalog of
plete catalog of Durer'
Diirer’s s work, did not
work, did not add
add aa Albrecht Durer was
Albrecht Durer was undoubtedly
undoubtedly one
one of
of the
the

14
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

14
14

forerunners
forerunners of of watercolor. His example,
watercolor. His example, how-
how- Fig. 14-Albrecht
Fig. 14—Albrecht Durer, The
Durer. The this model, he
this model, he sometimes used
sometimes used flected
flected in the
in animal's eye
the animal's and
eye .hh1
Hare,
Hare, watercolor
watercolor on paper, Al-
on paper, Al- opaque watercolors
opaque to outline,
watercolors to outline, that its shadow
shadow falls falls onon aa
ever, was not followed
followed by artists after him.
that its
ever, was not by artists after him.
bertina, Vienna.
bertina, Vienna InIn the
the course
course for example,
for example, light
light fur
fur on
on aa smooth
smooth flooifloor If so,
If Durer painl
so. Durer paint
For close to
For close to 300
300 years
years watercolor remained aa
watercolor remained of his
of his life
life as an artist,
as an artist, Durer
Durer dark background Durer
dark background Durer always
always ed from
ed fioni nature,
i
with the
latum, with the model
model
painted various
various animals:
animals: horses, painted from
from nature;
nature; critics and inin front
From of el him, but he he also
step in
step in the
the process of oil
process of oil painting.
painting.
painted horses, painted critics and him, bul also
lions, aa crab,
lions, crab, aa parrot,
parrot, squir-
squir- students
students assure
assure us that this
us that this painted from
painted from memory,
memory, using using
rels, aa lobster,
rels, and even
lobster, and even aa sea
sea hare
hare waswas caught
caught alive and shut
alive and shut the model
the model as as aa live
live reference
reference
lion, always
lion, with the
always with the precious-
precious inaa room
in room where the artist
where the artist paint
paint that
that hehe consulted
consulted as as it moved
it moved
ness
ness of of this hare, always
this hare, always in in ed
ed itit. To
To prove this assertion
prove this assertion
watercolor,
watercolor, although,
although, as with
as with they
they say that aa window
say that window is is re
re-

1)
15
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

watercolor as
watercolor as an
an aid: 16th and
aid: 16th 17th centuries
and 17th centuries
Diirer was
Durer was anan exception.
exception. Fifty
Fifty years
years before
before
him, Jacobo
him, Jacobo Bellini
Bellini had
had painted
painted some watercol-
some watercol-
ors as
ors preliminary sketches,
as preliminary which served
sketches, which served asas
inspiration for
inspiration the paintings
for the paintings and
and murals
murals of of his
his
sons, Gentile
sons, Gentile and Giovanni, and
and Giovanni, his son-in-
and his son-in-
law Mantegna. Bellini, however, never really
law Mantegna. Bellini, however, never really
painted with watercolor.
painted with watercolor.
Watercolor for
Watercolor its own
for its own sake disappeared after
sake disappeared after
Diirer. However,
Durer. However, itit waswas frequently used as
frequently used an
as an
aid for oil
aid for painting. This
oil painting. This technique
technique is is most
most
common among
common among the Flemish artists,
the Flemish artists, specifi-
specifi-
cally Rubens.
cally Rubens.
Peter Paul
Peter Paul Rubens
Rubens painted
painted close
close to
to 1000
1000 paint-
paint-
ings (to be exact, Bodart’s catalog names 993).
ings (to be exact, Bodart's catalog names 993).
A
A great part of
great part his work
of his work consisted of large
consisted of large
paintings used
paintings used to
to decorate
decorate churches and pal-
churches and pal-
aces. His
aces. His famous
famous cycle
cycle ofof 24
24 paintings
paintings on on the
the
life of
life of Marie
Marie de de Medici,
Medici, now now in in the Louvre, is
the Louvre, is
made up
made up ofof panels
panels that measure 3.94
that measure 3.94 xX 2.95m.
2.95m.
Its central
Its central work,work, Henry
Henry IV, IV, measures
measures 3.94 3.94 X X
7.27m. Rubens organized his workshop in aa
7.27m. Rubens organized his workshop in
way that
way that facilitated
facilitated the creation of
the creation of many
many paint-
paint-
ings of
ings of large
large proportions.
proportions. His His young assitants,
young assitants,
such as
such as van Dyck, Jordaens,
van Dyck, Jordaens, and Snyders, later
and Snyders, later
achieved independent
achieved independent recognition.
recognition. Rubens Rubens
would first
would first draw
draw aa preliminary
preliminary sketchsketch andand then
then
paint
paint a a watercolor.
watercolor. From From thisthis watercolor
watercolor draftdraft
he painted a scaled-down preliminary work.
he painted a scaled-down preliminary work.
Then
Then his his assistants were given
assistants were given allall the sketches
the sketches
and they
and they painted
painted thethe original almost to
original almost to comple-
comple-
tion, leaving
tion, leaving Rubens
Rubens the the job
job of of applying
applying the the
final
final touches.
touches.
When Anthony
When Anthony van van Dyck
Dyck left
left Rubens’s
Rubens's work- work-
shop, he
shop, he traveled
traveled to to England.
England. He He painted
painted some
some
watercolor landscapes
watercolor landscapes whichwhich he would later
he would later
use as backdrops to his oil portraits. Jacob
use as backdrops to his oil portraits. Jacob
Jordaens used
Jordaens watercolors as
used watercolors as aa young
young man man in in
cartoons for
cartoons tapestries. He
for tapestries. stayed with
He stayed with Rubens
Rubens
until the
until the latter's
latter’s death.
death. Jordaens
Jordaens triedtried to follow
to follow
in his master’s footsteps by
in his master's footsteps by continuing Ru-
continuing Ru-
bens’s technique
bens's technique of using small
of using watercolor
small watercolor
sketches.
sketches.
This use
This use of of watercolor
watercolor isis seen throughout
seen throughout
Europe during
during the 16th and
and 17th
17th centuries. Ha
bens. The ea ate, thee
Figs. 15. 16. 17-
(Above) Ru-
Europe the 16th centuries. Stoning of St Step-
The only
The only exception
exception is
is Holland
Holland where
where van
van hen, watercolor sketch. Her-
hen, watercolor sketch. Her-
r'" Jb
Avercamp, van
Avercamp, van Everdingen
Everdingen and
and the
the van
van Ostade
Ostade Hee nese
mitage Museum. Leningrad.
=!
(Right, fig. 16.) Sketch in oil.
brothers,
brothers, among
among others,
others, painted
painted watercolor
watercolor Roval sys
Royal Brussels. (Right.
Palace. Brussels. (Right,

sketches and
sketches and first
first drafts
drafts which
which they
they would
would sell
sell fig. 17.)
fig.
17.) Final
Final rendenng
rendering of of
***§
to craftsmen and
to craftsmen and to
to the
the petit
petit bourgeoisie of = Museum
bourgeoisie of 7° Sto7/79
Museum of St. Stephen.
The Stoning of
of Fine
of
Stephen.
Fine Arts, Valen-
Valen-
St.

Arts.
3!
Amsterdam.
Amsterdam. ciennes.
ciennes.
R<4

16

16
 HISTORY OF
HISTORY OF WATERCOLOR PAINTING
WATERCOLOR PAINTING

• '
^ Fig. 18-
Fig. 18—Anthony
Landscape
Landscape at
van Dyck.
Anthony van Dyck,
Birmingham
at Birmingham
Port Barbierov Institute
Port. Barbierov of Fine
Institute of Fine
Arts,
Arts, Moscow. It isis believed
Moscow. It believed
that during
that during hishis second
second staystay inin
England, from
England, from 16321632 until his
until his

death inin 11641,

death 641 van
, van Dyck
Dyck paint-
paint-
ed several
ed several landscapes
landscapes in in wa-
wa-
tercolor that
tercolor that served
served as as studies
studies
and models
and models for for oil painting and
oil painting and
as
as backgrounds
backgrounds for for some
some of of
his portraits.
his portraits.

18
18

ie! s

~e y YA | Px. . >»

é
~ =i a = jhe
Sct

Fig.
Fig. 19—Adriaen
19— Adnaen van van Ostade,
Ostade, Fig.
Fig. 20—Jacob
20— Jacob Jordaens,
Jordaens, tercolor sketches prior
tercolor sketches prior to to com-
com-
Peasants, Hermitage
Peasants. Hermitage Museum,
Museum, The Arriba/,
The Arribal, British
British Museum,
Museum, pleting his works
pleting his works in
in oil.
oll.
Leningrad.
Leningrad. In the 17th
In the century,
17th century, London.
London. When Rubens died.
When Rubens died,
when
when watercolor painting was
watercolor painting was Jordaens tried
Jordaens tried to
to continue his
continue his
an
an aid to oil
aid to oil painting, some
painting, some master’s work and
master's work and he even fin-
he even fin-
19
Dutch
Dutch artists
artists painted small wa-
painted small wa- ished the uncompleted
ished the paint-
uncompleted paint-
tercolors on
tercolors on popular
popular themes,
themes, ings that Spain
ings that had commis-
Spain had commis-
which were
which were sold
sold toto craftsmen
craftsmen sioned Rubens to
sioned Rubens to do.
do. He
He later
later

and the
and the petit
petit bourgeoisie
bourgeoisie of of followed
followed Rubens’s
Rubens's work meth-
work meth-
Amsterdam.
Amsterdam ods very closely,
ods very closely, studying
studying wa-
wa-

17
17
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

monochromatic watercolor
monochromatic watercolor
According
According to Cennino Cennini,
to Cennino Cennini, anan Italian art-
Italian art-
ist and
ist and educator,
educator, during the Renaissance
during the Renaissance and and
after, in
after, in the 16th and
the 16th and 17th
17th centuries, all artists
centuries, all artists

used
used watercolor...
watercolor. with only
with
. only one
. one color. In his
color. In his
book Libro dell’Arte (1390)
book Libro dell 'Arte (1390) he says:
he says: “After
"After
accentuating the design
accentuating the design you will give
you will give shading
shading
to
to the shapes by
the shapes using ink
by using ink washes.
washes. It It is
is neces-
neces-
sary to use the amount of water that fits in
sary to use the amount of water that fits in aa
nutshell with two ink
nutshell with two ink drops.
drops. The shading must
The shading must
be done
be done with
with aa brush
brush mademade of of hair from aa
hair from
sable’s
sable's tail.
tail. When
When the the washes
washes mustmust be be darker
darker
the same technique should be applied but more
the same technique should be applied but more
ink
ink drops
drops should
should be be used.”
used."
Cennini’s
Cennini's bookbook merely
merely explains artistic proce-
explains artistic proce-
dures that
dures that were already
were already in in use during the
use during 14th
the 14th
century.
century. Thus, from Giotto
Thus, from Giotto to to the mid-18th
the mid- 18th
century,
century, 400 years later,
400 years later, when watercolor paint
when watercolor paint
began
began to to be used for
be used for finished
finished works,
works, artists
artists inin
general painted
general painted according
according to to Cennini’s
Cennini's for- for-
mula.
mula.
For example:
For Raphael’s frescoes
example: Raphael's in the
frescoes in the Stanza
Stanza
della Signatura.
della Signatura. Raphael was commissioned
Raphael was commissioned
by Pope
by Pope Julius
Julius II
I] between 1509 and
between 1509 1511 to
and 1511 to
paint some
paint some murals
murals for the Pope's
for the Pope’s new
new rooms
rooms
in the
in the Vatican
Vatican palace. Different museums
palace. Different museums
now house the preliminary sketches and
now house the preliminary sketches and stu-
stu-
dies of
dies of figures
figures and
and parts
parts of of the body in
the body fore-
in fore-
shortened perspectives,
shortened perspectives, as as well as the
well as the final
final
cartoon, aa monochrome
cartoon, monochrome watercolor
watercolor painted
painted
with two
with two sepia colors. (fig.
sepia colors, (fig. 20,
20, mural
mural project
project
The Schooi of
The School Athens from
of Athens from the the Stanza della
Stanza della
Signatura).
Signatura). This
This work
work method
method was followed by
was followed by
Raphael, Leonardo,
Raphael, Leonardo, and
and Michelangelo when-
Michelangelo when-
ever they had to paint an important mural or
ever they had to paint an important mural or
painting.
painting.
Monochromatic watercolor was
Monochromatic watercolor was also
also the
the me-
me-
dium
dium used
used when sketching outdoors.
when sketching outdoors. On
On these
these
occasions the paper
occasions the paper used
used was
was gray or was
gray or was
painted
painted previously with aa yellow
previously with yellow or or ochre
ochre
background. This
background. was then
This was painted with
then painted sepia
with sepia
and
and water according to
water according to Cennini's
Cennini’s formula.
formula.
These
These sketches
sketches were
were only used as
only used notes and
as notes and asas
an aid when
an aid when doing an oil
doing an painting.
oil painting.

Fig. 21=Raphael.
Fig. 21 The Schoo!
-Raphael. The School shows the
shows the exact
exact character of
character of
of Athens,
of Athens, project painted in
project painted in the figures,
the figures, their
their form, expres-
form, expres-
watercolor Ambrosiana, Milan
watercolor Ambrosiana. Milan sion. position,
sion, position, light
light and
and shad-
shad-
ow,
ow, etc.. enabling Raphael's
etc. enabling Raphael's
Fig. 22—Raphael. The
Fig 22-Raphael, The School
Schoo! assistants
assistants toto work
work more easily
more easily
of Athens,
of Athens, fresco
fresco in
in the
the Stanza
Stanza when doing
when the actual
doing the actual fresco.
fresco.
della
della Segnatura,
Segnatura. Vatican.
Vatican.
Rome Observe the
Rome Observe the differ-
differ-
ences between
ences between the
the final
final paint-
paint
ing and
ing the project
and the project painted
painted in in
wash in
wash in shades
shades of sepia Sever-
of sepia Sever-
al figures
al figures were
were added for the
added for the
final picture.
final picture, but the
but projection
the projection

18
18
 HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

~«

24
24

Fig. 23—Salvator
Fig. 23— Salvator Rosa, Study
Rosa, Study Fig. 24—Guercino,
Fig. Landscape
24-Guercino, Landscape the model's
the position and
model's position and the
the
of
of Trees, wash, Hermitage
Trees, wash. Hermitage Mu- Mu with aa
with Volcano, British Mu-
Volcano, British Mu- effects of
effects light
of lightand shadow
and shadow
seum,
seum, Leningrad.
Leningrad. TheThe dexterity.
dexterity, seum, London.
seum, London. This is an
This is exam
an exam- He even
He adds aa few
even adds few figures
figures to
to
sureness, and
sureness, skill with
and skill which
with which ple of
ple of the
the use of sepia
use of sepia wash
wash on
on help the
help the viewer understandid dis
viewer underst.ii dis
this study
this study of trees was
of trees was done
done is1s gray paper In
gray paper In this
this wash we
wash we tances and
tances and proportions,
proportions, all with
all with

of aa quality
of quality comparable
comparable to to the
the can see the
can see the artist's skill and
artist's skill and just a few
just a few brushstrokes.
brushstrokes
resolution of
resolution of aa professional
professional wa-
wa- knowledge of
knowledge of the medium in
the medium tn
tercolor artist
tercolor artist of today.
of today. the way
the in which
way in which hehe indicates
indicates
23
23

19
19
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

wash: forerunner of
wash: forerunner watercolor
of watercolor

In
In the
the historical evolution of
historical evolution watercolor we
of watercolor we
must also mention
must also mention Rembrandt.
Rembrandt. For For although
although
Rembrandt
Rembrandt nevernever painted
painted watercolors,
watercolors, he made
he made
hundreds of sketches in brown
hundreds of sketches in bistre or
brown bistre or sepia
sepia
wash (this
wash (this last made from
last made from thethe “ink”
"ink" ofof the
the
cuttlefish) with
cuttlefish) with such
such skill and practice
skill and he was
practice he was
able to
able to successfully reflect volume,
successfully reflect volume, shadow,
shadow,
darkness and
darkness and... such
.such color:
. .color: These
These sketches
sketches
were Rembrandt's
were Rembrandt’s color color notes.
notes.
While Rembrandt
While Rembrandt worked worked in in Amsterdam,
Amsterdam,
Claude Lorraine was busy painting landscapes
Claude Lorraine was busy painting landscapes
in Rome.
in Rome. His His landscapes
landscapes were were ofof enormous
enormous
proportions and
proportions and were
were commissioned
commissioned by by clergy-
clergy-
men and
men and kings
kings such
such asas Urban
Urban VIII and Philip
VIII and Philip
IV of Spain. Constable, the
IV of Spain. Constable, the well-known
well-known Brit- Brit-
ish landscape
ish landscape artist, said the
artist, said the following
following in in one
one
communication to
communication to the Royal Academy
the Royal Academy of Lon-
of Lon-
don: "It
don: “It has
has been
been said
said that Lorraine isis the
that Lorraine the best
best
landscape artist
landscape in the
artist in world and
the world and this
this is
is well
well --
deserved praise.
deserved praise. His main attribute
His main is the
attribute is the mix-
mix-
ture of
ture of splendor with quietude,
splendor with color with
quietude, color fresh-
with fresh-
ness, shadow
ness, shadow andand light.” Lorraine would
light." Lorraine first
would first
make a a preliminary
make preliminary wash wash sketch
sketch of his idea
of his idea
and would then go to the countryside and
and would then go to the countryside and
would continue
would continue the the process
process outout of doors. He
of doors. He
used two
used two or or three colors in
three colors the same
in the range:
same range:
sienna, sepia,
sienna, umber. His
sepia, umber. His landscapes
landscapes in in oils,
oils,
which often measured up to 2.5 X 2 m, would
which often measured up to 2.5 x 2 m, would
require
require at at least
least eight
eight wash
wash drawings
drawings as as well
well asas
some pencil
some pencil or charcoal sketches
or charcoal sketches before
before com-
com-
pletion. ItIt tok
pletion. tok him
him twotwo months
months to to complete
complete a a
painting.
painting.
The
The same
same can can bebe said
said of Frenchman Nicolas
of Frenchman Nicolas
Poussin who,
Poussin together with
who, together Claude Lorraine,
with Claude Lorraine,
is considered
is considered an an innovator
innovator of of the
the English
English land-
land-
scape school.
scape These two
school. These two artists
artists were undoubt-
were undoubt-
edly aa great
edly great influence
influence on on the
the group
group of of English
English
artists
artists whowho usedused watercolor
watercolor from from the the 18th
18th
century on. Nicolas Poussin alternated relig-
century on. Nicolas Poussin alternated relig-

ious or
ious or mythological
mythological figure figure paintings
paintings with with
landscapes in
landscapes in which
which mythological figures also
mythological figures also
appeared.
appeared. Poussin
Poussin worked,
worked, as as did
did Lorraine,
Lorraine,
from aa series
from series ofof preliminary
preliminary wash wash sketches
sketches
drawn from
drawn from nature.
nature. In In some
some of his sketches
of his sketches
made with
made with just two colors
just two colors andand occasionally
occasionally
black, the
black, the richness
richness of tones and
of tones and range
range of of light
light
25
are so marvelous that they seem to be actual
are so marvelous that they seem to be actual
color notes.
color notes. to those of
to those watercolor, its
of watercolor, its own
own place
place as some-
as some- Fig. 25-
Fig. 25—Rembrandt,
Rembrandt. Figure
Figure
Study,
Study. Ryksmuseum,
Rijksmuseum, Amster-
Like many 17th
17th century
century artists, Rembrandt, thing more than
than just
just an
an aid in oil
oil painting.
painting. At
Amster-
Like many artists, Rembrandt, thing more aid in At
dam. As
dam this sketch
As this sketch shows,
shows.
Lorraine, and
Lorraine, and Poussin
Poussin did
did not
not yet use watercol-
yet use watercol- this point
this point all that was
all that needed was
was needed was one
one factor
factor Rembrandt's mastery of
Rembrandt's mastery of wash
wash
or. However,
or. However, they
they gave
gave wash, which was
wash, which was aa that
that would
would give
give watercolor
watercolor thethe necessary push.
necessary push. was incredible.
was This mastery
incredible This mastery
derives from
derives from an
an absolute
absolute sure-
sure-
procedure which
procedure which required techniques similar
required techniques similar This happened
This happened with the “Grand
with the "Grand Tour.”
Tour." ness
ness inin constructing
constructing and draw-
and draw-
ing.
ing.

20
20
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

Fig.
Fig. 26—Claude
26— Claude Lorraine,
Lorraine,
Landscape
Landscape with River, View
with River, View of
of
the Tiber
the Tiber from
from Monte
Monte Mario,
Mario.
Rome,
Rome, British
British Museum,
Museum, Lon- Lon-
don.
dorv.

Fig. 27-Nicolas
Fig. 27—Nicolas Poussin,
Poussin, The
The
Moller
Mol/er Bndge Near Rome,
Bridge Near Rome, A\-
Al-

bertina
bertina Museum, Vienna
Museum. Vienna.

U 27

21
21
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

the 18th
the 18th century:
century: the
the english
english discove
discoverr rome
rome
The English "discovered"
The English “discovered” Rome Rome toward
toward the the
middle of
middle of the
the 18th
18th century.
century. AtAt this
this time
time King
King
George
George II IT was adamantly trying
was adamantly trying to to transform
transform
England from
England from anan agricultural
agricultural country
country intointo anan
industrial and
industrial and commercial
commercial nation. Small cot-
nation. Small cot-
tage industries
tage industries were were being
being replaced
replaced by by fact-
fact-
ories, and commerce
ories, and commerce was was looking
looking to to broaden
broaden its its
horizons overseas
horizons overseas andand in the colonies.
in the colonies. Hun-
Hun-
dreds of
dreds of businessmen,
businessmen, industrialists,
industrialists, intellec-
intellec-
tuals, artists, and aristocrats traveled frequently
tuals, artists, and aristocrats traveled frequently
between England
between England and the Continent.
and the Continent. Trav-Trav-
eling was fashionable.
eling was fashionable. It
It was
was the
the century
century of the
of the
“Grand Tour.”
"Grand Tour."
The popular
The popular itinerary
itinerary was France, Switzerland
was France, Switzerland
and Italy,
and Italy, with
with Rome Rome as the final
as the final destination.
destination.
Once there,
Once there, itit was was aa must must to to visit the Colos-
visit the Colos-
seum, the Arch of Titus, the public baths of
seum, the Arch of Titus, the public baths of
Caracalla. Ruins
Caracalla. Ruins were were also also in fashion. It
in fashion. It was
was
the century
the century of of thethe Grand
Grand Tour Tour and and the period
the period
of Neoclassical
of Neoclassical Art. Art.
Touring and the "discovery"
Touring and the “discovery” of of Rome
Rome had had aa black and sepia
black and which portrayed
sepia which portrayed landscapes,
landscapes, Fig. 28—John
Fig 28-John Robert Robert Cozens,
Cozens.

great influence on
great influence on English
English taste taste inin art.
art. The
The firstfirst cityscapes, monuments,
cityscapes, monuments, flowers,flowers, still lifes, hor-
still lifes, hor- Cetara,
Cetara. aa Fishermen's
Fishermen's Village
Village
inm the
the Gulf
Gulf ofof Salerno.
Salerno Mrs Mrs
stop in
stop in Paris
Paris led led the the English
English tourists
tourists to to thethe ses, and dogs, among other things.
ses, and dogs, among other things. These
These Cecil
Cecil Keith
Keith Collection, England
Collection, England
Louvre where
Louvre where they they couldcould admire
admire the the great
great drawings, made
drawings, made by by artists
artists called “topogra-
called "topogra- it was
It was J.J R.R Cozens
Cozens whowho broke
broke
with the English tradition of
paintings of
paintings of Poussin
Poussin and and Lorraine.
Lorraine. These These two two phers,” served
phers," served asas decoration
decoration for for the
the walls
walls of of
with the English tradition of

“iluminated
illuminated drawings”
drawings" and and
pioneers of
pioneers the Neoclassical
of the Neoclassical style painted clas-
style painted clas- private homes. It occurred to someone, in-
private homes. It occurred to someone, in- began
began to to paint and delineate
paint and delineate

sical figures
sical figures and and ruinsruins into their wonderful
into their wonderful spired by
spired by Italian
Italian vedutas,
vedutas, that
that the etchings
the etchings forms with
forms with color
color and
and tone,
tone,
instead of line.
romantic landscapes. During their stay in in Swit-
instead of line
romantic landscapes. During their stay Swit- would be
would be enhanced
enhanced if if they
they were
were colored
colored withwith
zerland,
zerland, the English were
the English were able able to to cross
cross the the transparent watercolors.
transparent watercolors. Shortly
Shortly thereafter
thereafter the the
Alps
Alps andand livelive in in close
close contact
contact with with “Nature,”
"Nature," color became more and more important until
color became more and more important until
the subject of
the subject of an an almost religious cult
almost religious cult atat thethe finally the
finally the drawings
drawings appeared
appeared to be painted
to be painted
time. Finally, they would reach Italy and admire
time. Finally, they would reach Italy and admire rather than
rather than etched.
etched.
the classic
the classic beauty
beauty of of ancient
ancient Rome. Rome. Every Every Paul Sandby,
Paul known as
Sandby, known as the “father of
the "father of English
English
experience and
experience and sensation
sensation made made the the tourists
tourists watercolor,” was
watercolor," was one
one ofofthe
the artists
artists involved
involved inin
want to
want to return
return to to London
London with with a a pictorial
pictorial sou- sou- the transformation
the transformation of
of drawings
drawings into paintings.
into paintings.
venir of their trip to the “Eternal City."
venir of their trip to the "Eternal City.” Although
Although Paul Paul Sandby
Sandby did did not
not travel to Italy,
travel to Italy,
These
These pictorial
pictorial souvenirs
souvenirs were were etchings
etchings print- print- he followed the
he followed the "Grand
“Grand Tour” Tour" phenomenon
phenomenon
ed in
ed in black
black or or sepia.
sepia. TheyThey could already be
could already be closely.
closely. He He sketched
sketched and and etched
etched many
many ruins
ruins
bought in Rome and Venice in the early 18th
bought in Rome and Venice in the early 18th which he
which he would
would thenthen illuminate
illuminate withwith water-
water-
century.
century. By By 17031703 LucasLucas Carlevari
Carlevari had already
had already color.
color. His desire to
His desire to make
make each
each watercolor
watercolor aa
published 103
published 103 of of his
his engraved
engraved views views of Venice.
ofVenice. unique
unique workwork of of art
art rather
rather than
than aa means
means to an
to an
Giovanni Antonio
Giovanni Antonio Canaletto,Canaletto, famous famous for for hishis end allowed him to study and experiment with
end allowed him to study and experiment with
vedutas (views) of Venice and Rome, signed aa
vedutas (views) ofVenice and Rome, signed different
different formulas.
formulas.
contract in
contract in 1730
1730 with with Joseph
Joseph Smith,Smith, laterlater the the Paul Sandby and
Paul Sandby his brother
and his brother Thomas
Thomas —— also also aa
British consul,
British consul, for the sale
for the sale andand distribution
distribution of of watercolor painter
watercolor painter and
and topographical
topographical draughts-
draughts-
over 140
over 140 etchings
etchings in in Britain.
Britain. In 1745 Piranesi
In 1745 Piranesi man
man for for the
the government
government —— were were founding
founding
published 135
published 135 vedutas
vedutas of ofancient
ancient Rome.Rome. Thou- Thou- members
members of of the
the Royal
Royal Academy
Academy of of London.
London. Fig 29-—Francis
Fig. Cotes, Portrait
29- Francis Cotes, Ponrait
of Paul Sandby,
of Paul Tate Gallery,
Sandby. Tate Gallery.
sands of
sands copies of
of copies of these
these werewere printed.
printed. Paul
Paul also painted pictures
also painted pictures in watercolor and
in watercolor and London.
London.
The production
The production of of vedutas
vedutas was was constantly
constantly being being gouache of
gouache of urban
urban and and rural
rural landscapes.
landscapes. Out-Out-
expanded upon by the many European artists
expanded upon by the many European artists standing among
standing among the the latter
latter were his renderings,
were his renderings,
who began
who began to to do do thisthis type
type of of work.
work. These These often directly
often directly from
from nature,
nature, of
of the
the Great
Great Royal
Royal
include the Italians
include the Italians Ricci,
Ricci, Panini, and Guardi,
Panini, and Guardi, Wood, Windsor
Wood, Windsor Park,
Park, ofof Windsor
Windsor Castle
Castle where
where
and the English
and the English Pars,
Pars, Grimm,
Grimm, Rooker,
Rooker, andand Thomas
Thomas was keeper. Sandby
was keeper. Sandby was twenty-seven
was twenty-seven
Cozens, among others. By this time, also, the
Cozens, among others. By this time, also, the in 1752
in 1752 when
when hehe started
started painting these forests.
painting these forests.
English were
English were printing
printing aa large
large number
number ofofillus-
illus- His technique
His technique and
and style
style was
was to greatly influ-
to greatly influ-
trations from
trations from copper
copper etchings
etchings or engravings inin
or engravings ence other
ence English watercolor
other English watercolor landscape
landscape paint-
paint-

22
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 HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

30
30

ers including
ers including William Pars,
William Pars, Francis
Francis Towne,
Towne, Fig.
Fig. 30—Paul
30-Paul Sandby, Road
Sandby. Road his figures.
his figures. Rowlandson was
Rowlandson was aa wellwell known
known
through Windsor Forest.
through Windsor Forest, Victo-
Thomas Rowlandson,
Rowlandson, FrancisFrancis Wheatley, and caricaturist, and hishis personality was apparent
apparent
Victo-
Thomas Wheatley, and ria and
ria and Albert
Albert Museum,
Museum, Lon-Lon-
caricaturist, and personality was
the especially
the especially noteworthy
noteworthy JohnJohn Robert
Robert Cozens.
Cozens. don. Called the
don. Called the “Father
"Father of
of Eng
Eng- in his portraits
in his and landscapes.
portraits and landscapes. Wheatley
Wheatley intro-intro-
William
William ParsPars traveled
traveled to Greece when
to Greece when he he was
was lish watercolor,"
lish watercolor,” Paul Sandby
Paul Sandby
duced a palette of bright colors with reds,
duced a palette of bright colors with reds,
started out as
started out as aa topographical
topographical
twenty-two as
twenty-two as the
the artist
artist for
for an archeological
an archeological draftsman of
draftsman of landscapes
landscapes with
with blues,
blues, andand yellows
yellows in in his rural landscapes
his rural landscapes with with
dig.
dig. He became well
He became well known
known for his drawings
for his drawings of of ruins
ruins and classical
and classical buildings.
buildings figures.
figures.
He developed techniques
techniques forfor
the dig. Some years later he went to Rome,
the dig. Some years later he went to Rome, He developed
watercolor
watercolor painting
painting which
which ma-
ma-
John Robert
John Robert Cozens learned his
Cozens learned his trade
trade fromfrom
where
where he lived until
he lived until his
his death
death inin 1872.
1872. His
His tured
tured while
while painting in the
painting in the for-
for- his father. He
his father. He waswas described
described by by Constable
Constable as as
companions
companions in in Rome included Cozens,
Rome included Cozens, Jones,
Jones, est of
est of Windsor.
Windsor. His concepts
His concepts
“a brilliant landscape
"a brilliant landscape artist,
artist, all poetry.” Co-
all poetry." Co-
were followed for
were followed for thirty
thirty or
or forty
forty
and
and his close friend
his close friend Towne. William Pars
Towne. William Pars years
years byby English
English artists
artists who
who zens
zens used
used aa limited palette of
limited palette of greens,
greens, blues,
blues,
quickly embraced the
quickly embraced idea of
the idea of painting without
painting without painted
painted watercolor
watercolor landscapes.
landscapes. siennas,
siennas, and grays but
and grays but the
the composition
composition of of each
each
the
the sharp outlines made
sharp outlines made with
with aa pen
pen oror pencil.
pencil. painting was
painting was studied
studied to to sucha degree that
such a degree that each
each
His
His watercolors of old
watercolors of old buildings
buildings are truly won-
are truly won- of his pictures
of his pictures waswas really like aa poem.
really like poem. He He
derful works
derful of art.
works of art. profoundly influenced
profoundly influenced the Romantic Period
the Romantic Period in in
Francis Towne,
Francis Towne, on the other
on the other hand,
hand, used
used sharp
sharp England
England and and the
the artists
artists ofof the
the next
next generation
generation
contours and
contours and more
more daring
daring colors to illuminate
colors to illuminate such as
such as Girtin
Girtin and
and Turner.
Turner.

23
23
i
 HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

the english
the english national
national art
art
In the
In the spring
spring of
of 1804 the
1804 the first society
first of water-
society of water-
color
color artists,
artists, the Old Water-Colour Society,
the Old Water-Colour Society,
was founded. One
was founded. One year
year later,
later, also
also for
for the first
the first
time
time in
in the
the world,
world, an exposition of
an exposition watercolor
of watercolor
paintings was
paintings was held.
held.
In England, of
In England, of course.
course.
Until then,
Until then, thethe members
members of of the
the Royal
Royal Acad-
Acad-
emy
emy of London, which
of London, which was
was already thirty
already thirty
years old, had
years old, had very
very discriminatory
discriminatory policies
policies
toward
toward watercolor artists. Watercolors
watercolor artists. Watercolors were were
only allowed into
only allowed into aa show
show ifif the
the artist
artist also
also had
had
oil paintings.
oil paintings. Furthermore,
Furthermore, the the watercolors
watercolors
were
were always off to
always off the side,
to the side, with the most
with the most
visible and
visible best-lit areas
and best-lit areas of the salon
of the salon being
being
reserved
reserved forfor oil
oil paintings.
paintings. This
This lack
lack of
of impor-
impor-
tance given to
tance given to their
their work
work angered
angered the the artists
artists

into founding a separate society and organ-

into founding a separate society and organ-
izing
izing their own showing
their own showing at a different
at a salon ——
different salon
which
which succeeded
succeeded in attracting the
in attracting the public
public and
and
buying customers.
buying customers.
By the
By the late
late 18th century the
18th century the merit
merit and value of
and value of
watercolor
watercolor as as aa medium
medium in in itself
itself was
was recog-
recog-
nized, and
nized, and waswas used
used as as means
means of ofexpression
expression by by
such renowned artists as Hogarth, Reynolds,
such renowned artists as Hogarth, Reynolds,
and Gainsborough.
and Gainsborough.
Artists
Artists werewere no no longer
longer limited
limited to landscapes;
to landscapes;
they now went
they now went indoors
indoors to to paint
paint figures
figures and and still
still

life scenes. In this new area both William Blake

life scenes. In this new area both William Blake
and John
and John HenryHenry Fuseli
Fuseli showed extraordinary
showed extraordinary
talent and
talent and imaginative
imaginative power. Fuseli’s paint-
power. Fuseli's paint-
ings
ings are
are characterized
characterized by by the exaggerated draw-
the exaggerated draw-
ing of the movements and gestures of the
ing of the movements and gestures of the
figures. William
figures. William Blake
Blake wrotewrote poems
poems which which he he
would then
would illustrate with
then illustrate watercolors and
with watercolors and
publish.
publish. AmongAmong his best-known works
his best-known works are are the
the
watercolors illustrating the
watercolors illustrating the Book
Book of Job,
of Job,
Dante’s poems,
Dante's poems, and and his his critique
critique of of the
the AgeAge
of
of Reason.
Reason.
By this
By this time,
time, thousands
thousands of of amateurs
amateurs were were
painting watercolors
painting watercolors in England. It
in England. It was
was al- al-
ready the
ready the "English
“English National
National Art,"Art,” as as itit was
was to to
be named
be named years years later
later by by the
the journalist
journalist Ed- Ed-
mond About
mond About in in hishis reports
reports on on thethe Interna-
Interna-
tional Exhibition
tional Exhibition in Paris.
in Paris.

Fig. 31—William
Fig. Blake. The
31 -William Blake. S?
77?eS/'- Fig. 32—John
Fig. 32-John Henry Henry Fuseli,
Fuseli,
moniac
moniac Pope, Tate
Pope. Tate Gallery.
Gallery, Kriemhild
Knemhild in in aa Dream
Dream SeesSees
London. Blake was
London. Blake was an
an inspired
inspired Siegined Dead,
Siegfried Dead, Kunsthaus,
Kunsthaus. Zu-Zu-
and ingenious
and ingenious artist,
artist, poet,
poet, paint-
paint- rich. Fuseli
rich. Fuseli was
was anan intellectual
intellectual

€
er, *ngraver, who
and engraver, who once once of Swiss
of Swiss origin who settled
origin who settled inin
rote and
wrote and illustrated
illustrated his
his own
own England and
England and worked
worked as as aa free-
free-
poems on
poems on the
the Bible,Bible, Milton,
Milton, lance translator and
lance translator and illustrator.
illustrator
Shakespeare, and
Shakespeare, and Dante,
Dante, inter-
inter Reynolds encouraged
Reynolds encouraged him him to to
preting the
preting the texts
texts of these works
of these works paint, and
paint, and hehe won fame with
won fame with
and auth
and authors andind demonstra-
demonstra paintings and
paintings and watercolors
watercolors dis-dis-
ting extraordinary
ting ext inary ability
ability and
and tinguished by
tinguished by the
the originality
originality of of
imagination. their themes.
their themes

24
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

dr.
dr. monro and
monro and turner
turner

Dr. Monro’s
Dr. residence
Monro's residence on Adelphi
on Adelphi Terrace
Terrace and kept all
and kept all the
the paintings
paintings in in his
his possession.
possession.
overlooking the Thames played an important
overlooking the Thames played an important A
A few days after the school opened, Turner,
few days after the school opened, Turner,
role in the
role in the history of watercolor
history of watercolor in England.
in England. Girtin, Cotman, Cox
Girtin, Cotman, Cox and and de de Wint
Wint werewere busy
busy
Dr. Monro’s hobby
Dr. Monro's hobby was painting watercolors,
was painting watercolors, at work.
at work. These
These youngyoung men men later
later became
became the the
and when he was not busy with his career
and when he was not busy with his career inin greatest English watercolor artists of the 18th
greatest English watercolor artists of the 18th
medicine he
medicine he collected
collected paintings.
paintings. He
He was friend-
was friend- and 19th centuries.
and 19th centuries. The The mostmost able and famous
able and famous
ly
ly with
with many young watercolor
many young watercolor artists
artists and
and of all
of was Joseph
all was Mallord William
Joseph Mallord Turner,
William Turner,
would try to help them out by finding buyers
would try to help them out by finding buyers followed
followed by by Thomas
Thomas Girtin. Girtin. According
According to to Mur-
Mur-
for their
for their paintings or
paintings or buying them
buying them himself.
himself. His
His ray, their biographer,
ray, their biographer, when when they they were
were both
both
collection
collection included
included works
works byby Rembrandt,
Rembrandt, Ca- Ca- nineteen
nineteen they they wentwent to to Dr. Monro’s house,
Dr. Monro's house,
naletto,
naletto, andand Lorraine, watercolors by
Lorraine, watercolors by Sandby,
Sandby, where Girtin drew
where Girtin drew and and Turner
Turner painted.
painted.
and
and paintings
paintings and and sketches
sketches by by Cozens
Cozens and and Turner’s
Turner's skill skill as as a a watercolor
watercolor artist artist started
started
others. In
others. In 1794
1794 he decided to
he decided open aa school
to open school for
for early
early on. At nine
on. At nine he he was coloring prints
was coloring prints for
for aa
watercolor
watercolor artists in his
artists in his own
own home.
home. He He bought
bought beer merchant; when he was thirteen he ap-
beer merchant; when he was thirteen he ap-
chairs, tables,
chairs, tables, paints,
paints, brushes,
brushes, andand paper,
paper, and
and prenticed
prenticed with Thomas Malton,
with Thomas Malton, aa topographer
topographer
Fig.
Fig 33,
33, 34—Joseph Mallord
34- Joseph Mallord
as word
as word of of his
his intentions quickly spread,
intentions quickly several
spread, several William Turner,
William Turner, 7he Burning of
The Burning of who
who taught
taught himhim about perspective. The
about perspective. Royal
The Royal
young
young artists went to
artists went to him.
him. Dr.Dr. Monro
Monro toldtold the
the Houses of
Houses Parliament, on
of Parliament, on Academy accepted one of his watercolors when
Academy accepted one of his watercolors when
the Night
Night of
of October
October 16,
1 6. 1834,
them: “I'll pay you
you half
half aa crown
crown andand give
give you he
he was fifteen and six years
years later
later they exhibit-
the 1834,
them: "I'll pay you was fifteen and six they exhibit-
British
British Museum,
Museum, London.
London.
supper for
supper for coming
coming here every night
here every night toto paint.
paint. (Below) Se/f Portrait.
(Below) Seif- Portrait, Tate Gal-
Tate Gal- ed one of
ed one of his
his paintings.
paintings. At At the
the young
young age age ofof
You will
You will learn
learn by copying some
by copying some travel
travel notes
notes lery,
lery, London.
London. Turner
Turner 1s, is, with-
with
twenty-four he was accepted as a member of
twenty-four he was accepted as a member of
out aa doubt,
doubt, the
the best
best and
and rnost
drawn by Cozens.” Dr. Monro
Monro promoted
promoted the
mobt
the
the Royal
Royal Academy,
Academy, somethingsomething that that had never
out
drawn by Cozens." Dr. the had never
famous
famous watercolor artist of
watercolor artist of Eng
Eng-
study
study ofof Cozens's
Cozens’s creative
creative style
style and
and technique
technique land.
land happened
happened before before to to such
such aa young
young artist.
artist.

25
25
HISTORY OF
HISTORY WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

turner
turner and girtin
and girtin
Fig.
Fig. 35,35, 36—(Above)
36- (Above) Turner. Turner,
Venice:
Venice: The The Grand
Grand Canal with
Canal with
San Simeone
San Simeone PiccoloPiccolo at at Sun-
Sun-
set, (Below)
set, (Below) Turner,
Turner, Venice,
Venice, St St
George
George the the Elder
Elder from
from the Cus-
the Cus-
toms House, British
toms House. British Museum,
Museum,
London.
London. These These are are two
two ofof the
the
watercolors done
watercolors done by by Turner
Turner on on
his
his last trip to
last trip to Venice,
Venice, consid-
consid-
ered
ered thethe most
most creative paintings
creative paintings
of all
of all his work because
his work because of their
of their
effects
effects of light and
of light and color
color.

36
36
35 fc

M-#. mj "fei

Thomas Girtin died

Thomas Girtin died when
when he was twenty-
he was twenty- said: “If Tom
said: "If Tom had
had lived
lived I would
would have
I have died of
died of
seven
seven years old. Together
years old. with Turner
Together with Turner he was
he was hunger.”
hunger."
one
one ofof the
the best
best watercolor
watercolor artists of the
artists of the late
late After
After his
his experience
experience atat Monro’s
Monro's school in 1797,
school in 1 797,
18th century.
18th century. Girtin
Girtin exercised
exercised considerable
considerable Turner began
Turner began to
to paint
paint in
in oils, alternating this
oils, alternating this
influence over
influence over Turner
Turner who
who imitated
imitated his
his style
style medium with watercolor, which he never
medium with watercolor, which he never
and use of
and use of color.
color. When
When Girtin
Girtin died.
died, Turner
Turner abandoned.
abandoned. He He traveled
traveled to to Italv
Italy four times
four times

26
26

A
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

Fig. 37—Turner,
Fig. 37— Turner, Scene
Scene onon the
the
Thames
Thames with with Barges
Barges andand aa
Canoe, British
Canoe, British Museum,
Museum, Lon- Lon-
don. Turner
don Turner was was thirty-three
thirty-three
years old
years old when
when hehe painted
painted this
this
watercolor
watercolor on on the
the banks
banks of the
of the
Thames.
Thames InIn it, he shows us
he shows
it, his
us his
ability
ability asas aa draughtsman
draughtsman and and
painter, as
painter, as well
well as his mastery
as his mastery
over watercolor,
over watercolor, either
either wet
wet oror
dry. The
dry. The watercolors
watercolors of of Venice
Venice
on the
on the previous
previous page were
page were
painted thirteen
painted years later
thirteen years later.

tll sid 7% ;
fin side. aul I Pl,
Fig. 38—Thomas
Fig. 38— Thomas Girtin, Kirks
Girtin, Kirks-

tall Abbeyinin Yorkshire,

tall Abbey British
Yorkshire. British
Museum, London.
Museum, London. Born Born thethe
same
same year
year asas Turner
Turner (1775),
(1775),
and
and aa classmate
classmate of his at
of his at the
the
Monro Academy, Girtin
Monro Academy. Girtin was
was aa
reference and indispensable
reference and indispensable
model for Turner
model for and many
Turner and many
other artists of
other artists of the
the 18th
18th cen-
cen
tury,
tury, consulted
consulted and and imitated
imitated
because
because of his technical
of his technical and
and
artistical merit. Thomas
artistical merit. Thomas Girtin
Girtin
was one of
was one of the most important
the most important
links in the
links in the development
development ofof wa-
wa-
tercolor in
tercolor in England
England

and painted
and painted watercolors
watercolors in Venice where
in Venice where hehe
achieved the
achieved most creative
the most creative play
play of light and
of light and
color of
color his career.
of his The French
career. The Impressionists
French Impressionists
said:
said: “We
"We areare followers
followers of
of aa great
great master
master ofof
the British
the British school, the illustrious
school, the illustrious Turner.”
Turner."

27
27
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

bonington and
bonington and cotman
cotman
Richard Parkes Bonington
Richard Parkes Bonington was
was anan important
important Figs. 39,
Figs. 39. 40—(Right) Richard
40- (Right) Richard
artist in the
artist in the history
history of
of English watercolor.
English watercolor. Parkes
Parkes Bonington,
Bonington, St
St
Armand’s
Armand's Abbey
Abbey in in Rouen,
Rouen.
When he
When was fifteen,
he was fifteen, he emigrated with
he emigrated his
with his private
private collection,
collection, England
England
family from Nottingham
family from Nottingham to to Calais,
Calais, where
where he
he (Below)
(Below) Bonington,
Bonington, Venice, Venice.
The Doges'
Doges’ Palace,
Palace. Wallace
studied
studied with Louis
Louis Francia,
Francia, aa French
French watercol-
The Wallace
with watercol-
Collection, London. ItIt isis enough
Collection. London enough
or
or artist who had
artist who had started out at
started out at Dr.
Dr. Monro’s
Monro's just to see
just to see these
these two watercol-
two watercol-
school
school withwith Turner and Girtin.
Turner and Girtin. Bonington
Bonington ors
ors to to confirm
confirm thethe idea
idea thatthat
Bonington
Bonington was an exceptional
was an exceptional
then traveled
then traveled toto Paris,
Paris, where
where hehe learned oil
learned oil artist. Observe, first
artist. Observe, first of
of all.
all, the
the
painting from one
painting from of the
one of great painters
the great painters of
of composition,
composition, following
following Rem- Rem-
brandt’s scheme,
scheme, on a diago-
French
French Romanticism,
Romanticism, Antoine-Jean
Antoine-Jean Gros.
brandt's on a diago-
Gros.
nal;
nal; note
note how
how depth
depth is
is

Another artist
Another artist who frequented Gros's
who frequented Gros’s work-
work- achieved
achieved by by the
the effect
effect of of

shop
shop and
and greatly admired him
greatly admired him was Delacroix.
was Delacroix. perspective; observe
perspective; observe the the idea
idea
of atmosphere or
of atmosphere interposed
Bonington
Bonington and Delacroix, three
three years
years his
his sen-
or interposed
and Delacroix, sen-
space
space inin the painting of
the painting Venice
of Venice
ior, became friends;
ior, became friends; thus the Englishman
thus the Englishman below, companng the
below, comparing fore-
the fore-

became known
became known toto Paris
Paris Society
Society of
of the
the time.
time. ground with
ground with the
the diffuse
diffuse andand
imprecise background: note
imprecise background; note
Jean Baptiste
Jean Baptiste Camille
Camille Corot,
Corot, one
one of
of the
the first
first the change
the change in in the
the color
color spec-
spec-
landscape artists to
landscape artists paint outdoors,
to paint outdoors, was
was struck
struck trum (cold
trum (cold spectrum
spectrum above,
above,
warm below) and the
the inclusion
with surprise
with surprise and
and admiration when he
admiration when he saw
saw one
one warm
of
below) and
of figures
figures that,
that, besides
inclusion
giving
besides giving
of Bonington’s
of watercolor landscapes.
Bonington's watercolor landscapes. The
The life to
life the paintings,
to the paintings, serve as aa
serve as
total range
total range of
of possibilities that watercolor
possibilities that watercolor gave
gave reference to
reference to give a better
give a better idea
idea
of sizes and
and distances.
the artist had
had been
been unknown to Corot.
Corot. It is
of sizes distances
the artist unknown to It is

therefore not
therefore not exaggerating
exaggerating to to say
say that
that Boning-
Boning-
ton
ton spread the virtues
spread the virtues of
of the watercolor me-
the watercolor me-
dium
dium throughout
throughout France France by by way
way of of his
his fellow
fellow
artists
artists and and their
their social
social connections.
connections. In In 1825
1825
Bonington returned to England at the same
Bonington returned to England at the same
time
time as Delacroix. Meanwhile
as Delacroix. Meanwhile back back in France,
in France,
artists like Roqueplan and Isabey hadhad begun
begun to to
39
artists like Roqueplan and Isabey
40
paint with watercolors
watercolors following
following his his style. The
40
paint with style. The

“Bonington Style"
"Bonington Style” outlasted
outlasted the the artist,
artist, who
who
died of
died of tuberculosis
tuberculosis at at age
age twenty-seven
twenty-seven in in hi,
1828.
1828.
John Sell
John Sell Cotman deserves aa special
Cotman deserves mention
special mention
as “one
as "one of of the best landscape
the best landscape artists
artists ofof the 19th
the 19th
century in
century England.” Cotman
in England." Cotman was was also
also aa mem-
mem-
ber of
ber ofthe privileged few
the privileged few at Dr. Monro's
at Dr. Monro’s schoolschool
during the time Turner and Girtin were there.
during the time Turner and Girtin were there.
He began
He began by by imitating Girtin’s style
imitating Girtin's style until he
until he *

developed and
developed and achieved
achieved fame fame withwith hishis own
own V I
style. It
style. It isis said that Cotman
said that advised his
Cotman advised his son
son
,iit
who also wanted to be a painter to “draw
who also wanted to be a painter to "draw
strictly the
strictly the truth;
truth; ifif you wish, take
you wish, take away
away or or
eliminate certain
eliminate things, but
certain things, do not
but do not add any-
add any-
thing.”
thing." Cotman was
Cotman was an
an expert
expert in drawing and
in drawing and rF*^
synthesis;
synthesis; he favored
he summarizing, harmoni-
favored summarizing, harmoni-
zing forms,
zing and enriching
forms, and enriching colors,
colors, paying
paying care-
care-
ful attention
ful attention to
to the
the composition
composition ofofthe
the picture.
picture.
He dominated
He dominated thethe wet watercolor technique.
wet watercolor technique.

28
28
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

Fig. 41—Richard Parkes

Fig. 41-Richard Parkes Bo-
Bo
nington, Venetian
nington, Venetian Scene.
Scene, Wal-
Wal-
lace Collection,
lace Collection, London. The
London. The
quality of
quality the watercolors
of the of
watercolors of
Bonington,
Bonington, who who painted
painted land-
land-
scapes
scapes justjust as
as perfectly
perfectly as
as fig
fig-

ures, was
ures, was aa decisive
decisive influence
influence
on the
on the diffusion
diffusion of of watercolor
watercolor
painting
painting in France, where
in France, where Bon-
Bon
ington lived
ington lived for
for several
several years,
years,
associating with
associating with the
the major art
major art-
ists of
ists the time,
of the time, including
including Dela
Dela
croix, Corot,
croix, Corot, Gros,
Gros, andand others
others

Fig. 42—John
Fig 42- John Sell Cotman, St
Sell Cotman, St
Paul's Cathedral, British
Paul's Cathedral. British MuMu-
seum, London.
seum. Cotman had
London. Cotman had anan
instinctive sense
instinctive sense for
for the
the art
art of
of
composition and
composition and anan extraordi-
extraordi
nary capacity
nary capacity for
for creating
creating concon-
trasts
trasts and harmonizing
and harmonizing the
the col
col-
ors of
ors of aa painting.
painting This,
This, com
com-
bined
bined with his fortunate
with his fortunate choice
choice
of subjects
of made hihn
subjects made him one
one of
of
the
the best English
best watercolor
English watercolor
Jandscape painters
landscape of the
painters of the 119th
9th
century.
century. Cotman attended Dr
Cotman attended Dr
Monro’s academy for
Monro's academy for aa time
time
and was
and was thethe most important
most important
"
értistof
42 Srtist
42 of the
the “Norwich School.”
"Norwich School

29
29
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

great english
great masters of
english masters of the 19th century
the 19th century
John Varley
John Varley and
and Joshua Cristall were
Joshua Cristall were mem-
mem- Fig 43-Samuel
Fig. 43—Samuel Palmer.
Palmer, /nIn aa

Shoreham
Shoreham Garden,
Garden. Victoria
bers of
ofthe first society
society of
of watercolor painters
Victoria
bers the first watercolor painters
and Albert
and Museum, London.
Albert Museum, London.
founded in
founded in 1804.
1804. Varley
Varley was aided by
was aided by Dr.
Dr. AA few
few touches
touches ofof gold
gold and
and
Monro and
Monro and became
became an an expert
expert in
in composition
composition those white
those white circular
circular marks,
marks,
painted with
painted with white gouache,
white gouache.
and color
and color harmony.
harmony. Cristall
Cristall may have been
may have been are characteristic
are of the
characteristic of the paint-
paint-

somewhat more
somewhat more original
original and
and definitely
definitely more
more ings that
ings that Palmer produced dur-
Palmer produced dur-
ing his
his “Shoreham” period. He
He
spontaneous.
ing "Shoreham" period.
spontaneous.
lived
lived in Shoreham
Shoreham for
in for nine
nine
A few
A few years
years later three important
later three important artists joined
artists joined years, during
years, during which
which he
he had
had the
the

the
the society.
society. They
They were
were Peter
Peter de Wint, A.
de Wint, V.
A. V. “dreams and
"dreams and visions"
visions” that
that un-
un-
leashed
leashed his imagination
Copley Fielding,
Fielding, and
and David
David Cox. De Wint had
his imagination.
Copley Cox. De Wint had
been to
been Monro’s school,
to Monro's school, where he met
where he met Girtin
Girtin
and studied
and studied with
with Varley.
Varley. He was very
He was success-
very success-
ful painting
ful painting landscapes that pictured
landscapes that pictured his
his home
home
region, the
region, Lincoln plains.
the Lincoln plains. Copley
Copley Fielding
Fielding
was aa master
was master atat capturing
capturing thethe interposed
interposed at-at-
mosphere of
mosphere of landscapes
landscapes with
with lakes
lakes and moun-
and moun-
tains.
tains. His watercolors showed
His watercolors showed some resem-
some resem-
blance to
blance those Turner
to those Turner hadhad painted earlier.
painted earlier.

David Cox
David Cox was
was aa disciple of Varley,
disciple of and aa very
Varley, and very
studious one
studious one atat that.
that. He
He wrote
wrote some books
some books
and was
and always trying
was always trying to
to improve his watercol-
improve his watercol-
ors.
ors. He tried
He tried using a new
using a coarse grain
new coarse grain paper
paper
and was
and was inspired
inspired by by Turner,
Turner, on on the latter’s
the latter's
return from
return Italy, to
from Italy, use aa richer
to use palette.
richer palette.
Constable’s story
Constable's story isis different,
different, as as he
he usually
usually
painted with
painted with oils. He was
oils. He was oneone of of Europe’s best
Europe's best
landscape artists
landscape artists andand he experimented with
he experimented with
gouache
gouache and and watercolor.
watercolor.
The list of
The list of watercolor
watercolor artists
artists could
could be be further
further
increased by
increased adding aa group
by adding group of of Bonington’s
Bonington's
followers, among
followers, among them them Thomas
Thomas ShotterShotter Boys,
Boys,
William Callon, and James Holland. Other
William Callon, and James Holland. Other
artists formed different
artists formed different groups throughout the
groups throughout the
19th century. One
19th century. One of of these groups was
these groups was thethe
Sketching Society, and
Sketching Society, and its members, John
its members, John Li- Li-
nell, Edward Calvert, George Richmond, and
nell, Edward Calvert, George Richmond, and
Samuel Palmer,
Samuel Palmer, were were all followers of
all followers of William
William
Blake. Of
Blake. Of this
this group,
group, Samuel
Samuel Palmer Palmer waswas thethe
most famous. He was greatly in awe of some of
most famous. He was greatly in awe of some of
Blake’s work.
Blake's work. According
According to to Cotman's
Cotman’s son. son,
Palmer went
Palmer went through
through a a visionary
visionary period
period dur-
dur-
ing which
ing which he he painted
painted in in a a truly original and
truly original and
“= = 7
fantastic style. Another group, the Pre-Ra-
fantastic style. Another group, the Pre-Ra- oH
ll ll

phaelite Brotherhood,
phaelite Brotherhood, had had Millais, Hunt, and
Millais, Hunt, and Fig 44-
Fig. 44—John
John Constable,
Constable. 7he
The
the well-known
the well-known Dante Dante Gabriel
Gabriel Rossetti
Rossetti as as Church at
Church at Stoke Poges, Victo-
Stoke Poges. Victo-
members. They
members. They usedused oil oil paints mainly but
paints mainly but ria and
ria and Albert Museum, Lon-
Albert Museum, Lon-
don. Constable
don Constable waswas basically
basically aa
also dabbled
also dabbled somewhatsomewhat in in watercolor.
watercolor. The The painter
painter of oils, recognized
of oils, recognized as as
members of
members of thethe Brotherhood
Brotherhood were were grouped
grouped one of
one the greatest
of the masters of
greatest masters of
English landscape
landscape painting
painting of
according to
according to aa series
series ofof precepts: painting
precepts: painting
English of

the 19th century

the 19th century Nevertheless,
Nevertheless,
sincerely, symbolizing
sincerely, symbolizing ideas
ideas and subject mat-
and subject mat- he occasionally
he occasionally painted
painted with
with

ter, and studying iconography in depth; using

ter, and studying iconography in depth; using watercolor,
watercolor, in
in the
the peculiar style
peculiar style
that can
can be
be observed
observed inin this
bright colors,
colors, paying
paying attention
attention toto small
small details;
details;
that this
bright
work
work
incorporating painting
incorporating painting out
out of
of doors;
doors; andand incor-
incor-
porating watercolor
porating techniques. They
watercolor techniques. painted
They painted
medieval and
medieval and biblical
biblical themes
themes likelike Rossetti's
Rossetti’s
famous Ecce
famous Ecce Anal
Ancillala Domini.
Domini.
30
30
HISTORY OF
HISTORY WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

Fig. 45—
Fig. 45—David Cox (son).
David Cox (son), The
The
Old Church
Old Church and Community
and Community
of Clapham,
of Clapham, British Museum,
British Museum,

London.
London. David
David Cox’s son, also
Cox's son, also
named David,
named David, painted
painted watercol-
watercol-
ors like
ors like his father, imitating
his father, imitating his
his
expert professional
expert professional style,
style, with
with
apparent ease of
apparent ease technique and
of technique and
pleasant colors.
pleasant colors. Father
Father and
and son
son
both exhibited
both their works
exhibited their works atat
the
the annual expositions held
annual expositions held by
by
the Royal Academy
the Royal Academy of of Water-
Water-
color Artists of
color Artists of England
England

45

Fig. 46-
Fig. 46—Peter de Wmt.
Peter de Wint. Bridge
Bridge
Over a
Over a Tributary
Tributary of
of the
the Wit-
Wit-
ham
ham River
River in Lincolnshire,
in Lincolnshire.

Tate Gallery,
Tate London. De
Gallery, London De Wmt
Wint
attended
attended Dr.
Dr Monro’s
Monro's ac-
ac-
ademy. where
ademy, where he mei Girtin,
he met Girtin,
whose influence was
whose influence apparent
was apparent
in all
in all his
his work. The plains
work The plains and
and
landscapes
landscapes of
of Lincolnshire
Lincolnshire
were his
were his favorite subject. In
favorite subject In the
the
fine horizontal
fine horizontal lines
lines of the water
of the water
and
and the thin blades
the thin blades of grass in
of grass in
the foreground
the foreground of this water
of this water-
color,
color, one can
one see lines
can see lines that
that de
de
Wint probably made
Wmt probably made with
with the
the
end
end ofof the
the brush
brush handle,
handle. using
using
It to
it scratch the
to scratch the paint
paint while
while itit

was
was still wet
still wet.

31
31
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

the
the success
success of watercolor painting
of watercolor painting inin england
england

*^ *^pm
n *T»»
—— re As
tt

‘e “hase 5 eee anRRRENES ean

Secale= ee he)
47

The success of
The success of watercolor
watercolor painting can be
painting can be fol-
fol- ciety. This new
ciety. This new society held its
society held its first
first exhibit
exhibit inin Figs.
Figs. 47, 48—(Above) Peter
47, 48-(Above) Peter de
de

lowed chronologically.
lowed chronologically. 1805. Although
1805. Although they they achieved
achieved greatgreat success,
success, Wint. Gloucester, (below)
Wint, Gloucester, (below) John
John
Varley. York,
Varley, both
York, both in the British
the British
The year 1768 marked the the founding
founding of the there was
was too much competition
competition among among mem-
in
The year 1768 marked of the there too much mem- Museum,
Museum. London.
London Two
Two won-
won-
Royal Academy of Arts in England with Josh-
Royal Academy of Arts in England with Josh- bers and in 1807 a rival society was founded.
bers and in 1807 a rival society was founded. derful
derful watercolors
watercolors of the 19th
of the 19th
century that
that would
would be
be difficult
ua Reynolds
Reynolds as as the first president.
president. The
The found- This sroup was called the Society
Society of of Painters
Painters
century difficult
ua the first found- This ^roup was called the
to surpass
to surpass even today
even today. Peter
Peter
ing members
ing members included
included watercolor
watercolor artists and
artists and in
in Miniature
Miniature and Water-colours. In
and Water-colours. In 1824
1824 the
the de Wint
de Wint showed
showed aa special pref-
special pref-

brothers Paul
brothers Paul andand Thomas Sandby.
Thomas Sandby. Society
Society of of British Artists had
British Artists had as as its
its members
members erence for
erence for this
this elongated
elongated for-for-
mat,
mat, which
which waswas inin fashion dur-
From thethe first
first annual
annual exhibit
exhibit held
held by
by the
the Aca-
fashion dur-
From Aca- both
both oil and watercolor
oil and watercolor painters.
painters. In In 1855
1855 Eng-
Eng- ing the
ing the first
first half of the
half of the 1800s
1800s.
demy, watercolors
demy, watercolors were were exhibited.
exhibited. In 1804 wa-
In 1804 wa- land sent
land sent 114
1 14 watercolors
watercolors to to the
the exhibit
exhibit at the
at the De Wint's
De Wint's watercolor (top) is
watercolor (top) is
tercolor artists, who
tercolor artists, who feltfelt discriminated
discriminated against
against World’s Fair
World's Fair inin Paris.
Paris. Both
Both French
French critics and
critics and truly
truly tiny,
tiny, measuring
measuring only
only
147 X 384 mm
147X384 mm (5.8"
(5.8" XX 15")
15”)
by the
by Academy, which
the Academy, which deferred
deferred to
to works
works in in public were amazed
public were amazed at at how
how well this medium
well this medium John Varley's.
John Varley’s. aa bit
bit larger,
larger, isis
oil paints,
oil paints, founded
founded the the Old
Old Water-Colour
Water-Colour So- So- had developed in England. In 1881 Queen
had developed in England. In 1881 Queen 219X472
219X472 mm
mm (8.8"
(8 8" X 18.6")
X 186").

32
32
 HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

CRT — aera
= 2 =e Se:

49

Victoria decreed that

Victoria decreed that the
the original
original (called
(called thethe Fig.
Fig. 49—George
49— George Scharf,Scharf, TheThe duction
duction of of the
the building
building and am-
and am-
Interior
Interior ofof the Exposition HallHall bience
bience of of this
this watercolor
watercolor expo
“Old” because it was the first)
"Old" because it was the first) Water-Colour
Water-Colour of the
of the New
the Exposition
New Society
Society of Painters
of Painters sition mounted by
sition mounted by the
the New
expo-
New So-So
Society
Society could
could add the word
add the word “Royal”
"Royal" to to its
its title.
title. of Waterco/ours, Victoria
of Watercolours, Victoria and
and ciety
ciety ofof Painters
Painters of Watercol-
of Watercol-

When
When that
that Society
Society hadhad its
its first
first exhibit
exhibit inin 1805,
1805, Albert Museum, London.
Albert Museum, London. TheThe ours. To
ours. To understand
understand the the signifi
signifi-

preciousness,
preciousness, fidelity of design,
design, cance and excellence of
over 12,000 paying visitors
visitors went
went toto see
see it.
fidelity of cance and excellence of
over 12,000 paying
effects of light and
and shadow, Scharf’s work,
work, it is is enough to
it.
effects of light shadow, Scharf's it enough to
Watercolors
Watercolors hadhad achieved
achieved a a clamorous success
clamorous success and the
and feeling of
the feeling of atmos-
atmos- recall that this
recall that this took
took place
place in in
in England, aa success
in England, success which
which spread
spread to Europe
to Europe phere— interposed space—
phere—interposed space~that
that 1808—it
1 808— wasitwas the the second
second expo-
expo-
Scharf
Scharf achieved in this
achieved in this magnifi-
magnifi- sition held
held in in London—
London—and that
and that
and the rest of
of the
the world.
sition
and the rest world. cent watercolor
cent are admirable.
watercolor are admirable. photography did
photography did not
not yet exist
yet exist
Itisis aa remarkably
It remarkably faithful
faithful repro-
repro- at
at the time
the time

33
33

i
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

europe: 18th
europe: 18th century
century
Watercolors were
Watercolors were not well
not well known
known in in France
France
until the
until the late
late 18th century. It
18th century. It was only
was only in 1775
in 1775
that the French word aquarelle first became
that the French word aquarelle first became
used as
used a translation,
as a translation, of
of the
the English “‘watercol-
English "watercol-
or.” There
or." There was,
was, however,
however, aa French
French artist,
artist,
Hubert Robert,
Hubert Robert, whose
whose watercolors
watercolors hadhad been
been
well received
well by the
received by the critics
critics and the public.
and the In
public. In
1754, Robert
1754, Robert went
went toto Rome
Rome andand spent
spent eleven
eleven
years in
years Italy. He
in Italy. He studied with Piranesi
studied with Piranesi and
and
Panini, painting landscapes with ruins. He was
Panini, painting landscapes with ruins. He was
accompanied briefly by
accompanied briefly by another French artist,
another French artist,
Fragonard,
Fragonard, in 1761. Two
in 1761. other Frenchmen,
Two other Frenchmen,
Desprez
Desprez and Challe, also
and Challe, also went
went toto Rome
Rome to to
paint
paint vedutas.
vedutas. TheThe activities
activities of these artists
of these artists

helped
helped to promote watercolor
to promote watercolor painting
painting in in
France.
France.
Switzerland, land
Switzerland, land of of fascinating
fascinating landscapes,
landscapes,
gave us outstanding
gave us outstanding artists such as
artists such as Johan
Johan Lud-Lud-
wig Aberli and
wig Aberli and Abraham
Abraham LouisLouis Rodolphe
Rodolphe Du- Du-
cros. Aberli was a bucolic artist and a nature
cros. Aberli was a bucolic artist and a nature
lover. Ducros
lover. Ducros used used such powerful contrast
such powerful contrast
and intensity in
and intensity in his
his watercolors
watercolors that that atat first
first
sight they
sight they seemed
seemed to to bebe painted
painted in in oils.
oils. HeHe
worked with a reduced range of colors, made
worked with a reduced range of colors, made
up mainly
up mainly ofof ochres,
ochres, siennas,
siennas, andand blues.
blues. ItIt is
is
possible that
possible that during
during his
his stay in
stay in Rome his
Rome his style
style
influenced the
influenced English watercolor
the English painters.
watercolor painters.
An interesting
An interesting theme
theme of
of 18th-century
18th-century art
art is
is
that of
that botanical paintings.
of botanical paintings. One of
One of the
the best-
best-
known artists
known artists was
was Pierre
Pierre Joseph
Joseph Redoute,
Redoute, who
who
was born in Ardennes. In Holland we can
was born in Ardennes. In Holland we can
admire
admire Jan
Jan Van Huysum and
Van Huysum and his follower
his follower
Gerard Van
Gerard Van Spaendock.
Spaendock.
50

Fig
Fig. 50—Abraham
50— Abraham Louts
Louis Ro
Ro
doiphe Ducros.
dolphe Ducros, Night
Might Storm
Storm inin
Cefalou, Calabra,
Cefalou, Cantonal
Calabria, Cantonal
Museum
Museum ofof Fine
Fine Arts,
Arts. Lausanne
Lausanne
With aa limited
With limited spectrum
spectrum of of
colors—ochre,
colors— ochre, sienna,
sienna, and
and
blue—Ducros achieved
blue— Ducros achieved this
this

spectacular richness
spectacular richness of color
of color

that
that even fooled
even fooled the
the experts
experts
into.
into thinking
thinking that
that this
this was
was
an oil
an oil painting
painting Ducros also
Ducros als
demonstrated
demonstrated aa magnificent
magnificent
talent
talent for
for construction
construction and
and
drawing,
drawing, enabling
enabling the artist
the artist

to sell
to sell his etchings easily
his etchings easily while
while
he was
he was in
in Italy
Italy.

Figs. 51,
Figs 51. 52 (Left) Gerard
52- (Left) Gerard Van
Var
Spaendonck,
Spaendonck. Campsis Radi-
Campsis Radi
caus, (right)
caus. (nght) Jan Van Huysum
Jan Van Huysum
Study of
Study of Flowers
Flowers in in aa Vase.
Vase
Fitzwilliam
Fitzwilliam Museum,
Museum, Cam- Cam
bridge. England
bridge. England

51
51
52
52

34
34
 HISTORY OF
HISTORY OF WATERCOLOR PAINTING
WATERCOLOR PAINTING

Fig. 53—Johann
Fig. 53— Johann Ludwig Aber-
Ludwig Aber-
li, The
li, Waterfall, Victoria
The Waterfall. Victoria and
and
Albert Museum, London.
Albert Museum. London. InIn this
this
watercolor,
watercolor, painted
painted around
around
1750,
1750. one
one can still note
can still note the
the
style associated
style with vedutas
associated with vedutas
or etchings
or etchings in in the
the definition
definition of of
forms
forms by by fine
fine penstrokes
penstrokes or or
intense color.
intense color. ThisThis formula
formula
which made it possible
which made itpossible to to “fill
"fill

in’
n" etchings
etchings done done inin aa series
series byby
painting in,
painting in, is
is less obvious here
less obvious here
thanks to
thanks to Aberli’s skill. He
Aberli's skill. He con-
con-
trolled the
trolled the contrasts
contrasts betweenbetween
foreground
foreground and and background
background inin
order
order toto create
create the the so-called
so-called
aerial perspective or
aerial perspective or illusion
illusion ofof
interposed atmosphere. These
interposed atmosphere These
same effects
same effects can can be be seen
seen in in
the reproduction of
the reproduction the water-
of the water-
color by
color by Paul
Paul Sandby
Sandby inin fig
fig. 29
29.

35
35
_—___
HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

europe: 19th
europe: 19th century
century
During
During the the early
early partpart of of thethe 19th century,
19th century,
Ingres was against
Ingres was against Delacroix
Delacroix and vice versa.
and vice versa.
Jean Auguste
Jean Auguste DominiqueDominique Ingres Ingres was was aa staunch
staunch
believer in
believer in Classicism,
Classicism, Raphael, academic paint-
Raphael, academic paint-
ing, and maintaining the status quo in art. On
ing, and maintaining the status quo in art. On
the other
the other hand, hand, Eugéne
Eugene Delacroix
Delacroix was was the the
leader of
leader of Romanticism
Romanticism and and opened
opened the the doors
doors
for Realism,
for Realism, Impressionism,
Impressionism, and and Modern
Modern Art. Art.
Delacroix emerged victorious and his success
Delacroix emerged victorious and his success
became
became that that of watercolor as
of watercolor as well.
well. Nineteenth-
Nineteenth-
century art
century art grew
grew in the direction
in the direction of of greater
greater
color, synthesis,
color, synthesis, and and light,
light, and
and aa brighter
brighter palette.
palette.
In essence,
In essence, watercolor
watercolor art art is is color,
color, synthe-
synthe-
sis, and
sis, and light.
light.
Because of
Because of hishis ideas Ingres painted
ideas Ingres painted few few water-
water-
colors, while Delacroix was an ardent watercol-
colors, while Delacroix was an ardent watercol-
or artist.
or artist. He He waswas Bonington's
Bonington’s friend friend and and visit-
visit-
ed London,
ed London, Rome, Rome, and and North
North Africa.Africa. In the
In the
latter
latter hehe painted
painted numerous
numerous watercolors
watercolors depict- depict-
ing typical
ing typical scenesscenes and and people.
people.
Outstanding
Outstanding in France were
in France were Paul Gavarni and
Paul Gavarni and
Eugene Lami.
Eugene Lami. The The latter founded the
latter founded Société
the Societe
d’Aquarellistes
d'Aquarellistes in in 1879.
1879. Founding
Founding members members
included Gustave
included Gustave Dore, Doré, Isabey,
Isabey, and and Harpig-
Harpig-
nies. It
nies. It isis well
well known
known that that Honoré
Honore Daumier Daumier
used watercolor
used watercolor to to illuminate
illuminate his political car-
his political car-
toons. It is surprising to learn that, except for
toons. It is surprising to learn that, except for
Berthe Morisot
Berthe Morisot and and Eugene
Eugene Boudin, Boudin, the the Im-Im-
pressionists
pressionists did did not use watercolors.
not use watercolors. (Cézan- (Cezan-
ne is aa separate
ne is separate case.) case.) Lastly
Lastly there
there isis the painter
the painter
and teacher Gustave Moreau, whose pupils
and teacher Gustave Moreau, whose pupils
included Roualt,
included Matisse, and
Roualt, Matisse, Marquet.
and Marquet.
The
The Dutchman
Dutchman Johan Johan Bar Bar Thold Jongkind
Thold Jongkind
painted marvelous watercolors as well as
painted marvelous watercolors as well as oil
oil

paintings.
paintings. He He spent
spent a a great
great partpart of his life
of his life inin
Paris and, with
Paris and, with Boudin,
Boudin, becamebecame aa prime prime sup- sup-
porter
porter of of thethe Impressionist
Impressionist movement. movement.
55
Watercolors became became appreciated
appreciated in Germany
55
Watercolors in Germany
Fig 54—Eugéne
54- Eugene Delacroix, Fig 55-Johan
55—Johan Barthold
Barthold Jong-
during the the second
second half half of of the
the 19th 19th century.
century.
Fig Delacroix. Fig. Jong-
during
Horse
Horse Attacked
Attacked byby aa Panther,
Panther. kind,
kind, Dutch
Dutch Harbor,
Harbor. Fine Arts
Fine Arts
Among the
Among the well-known
well-known artists artists are are Johann
Johann Louvre, Paris. Quick
Louvre. Pans notes. like
Quick notes, like Museum, Budapest.
Museum, Pupil of
Budapest Pupil of
Lucas Von Hildebrandt and Adolf von Menzel.
Lucas Von Hildebrandt and Adolf von Menzel. sketches. on
sketches, subjects inin his
on subjects his Isabey and born
Isabey and born inin Holland,
Holland, hehe
imagination
imagination or painted from
or painted from na-
na- spent most
spent most of
of his
his time in Paris,
time in
Scotsman David Robert took took watercolor art to
Paris,
Scotsman David Robert watercolor art to ture, were
ture, were aa constant occupa-
constant occupa- where
where he
he studied
studied under Isabey
under Isabey
Spain where
Spain where it it caught
caught on on thanks
thanks to the enthu-
to the enthu- tion and
tion and exercise
exercise for
for Delacroix
Delacroix and
and mixed with'the
mixed with the Impression-
Impression-
The tens of hundreds of notes ists. Jongkind worked
worked with
with oll
siasm of Perez
Perez Villaamil.
Villaamil. The The pair pair traveled The tens of hundreds of notes ists. Jongkind oil
siasm of traveled
that he
that did during
he did his trips-
during his trips— paint as well
paint as well as with watercol-
as with watercol-
with the new art throughout the Iberian penin-
with the new art throughout the Iberian penin- drawings
drawings of animals
of animals or
or subjects
subjects ors,
ors. specializing in maritime
specializing in maritime
sula.
sula. TwoTwo excellent watercolor artists,
excellent watercolor artists, LucasLucas inin the
the countries
countries he
he visited—
visited- subjects characterized by
subjects characterized their
by their
were almost
almost always
always done in
done in precise drawing.
precise drawing
and Algarra, collaborated
collaborated with with Villaamil.
Villaamil. It
were
and Algarra, It
watercolors
watercolors
was Mariano Fortuny,
was Mariano Fortuny, however,
however, who who made made
watercolor
watercolor better better knownknown throughout
throughout Spain. Spain. watercolor painters, which
watercolor painters, which was founded in
was founded in
He
He waswas one one of of the
the best
best artists
artists of of the
the 18th 18th 1864, in Barcelona,
1864, in Barcelona, under
under the name of
the name of Centre
Centre
century and
century and had
had aa great knowledge of
great knowledge of the
the d’Aquarel-listes.
d'Aquarellistes. From this emerged,
From this emerged, first
first in
in
procedures
procedures that watercolor involved.
that watercolor involved. 1881
1881 the Cercle Artistic
the Cercle and later
Artistic and later in
in 1920,
1920,
Mariano Fortuny, born
Mariano Fortuny, born in
in Reus,
Reus, inin the
the pro-
pro- the present Agrupacié
the present d’Aquarel-listes de
Agrupacio d'Aquarel-listes de
vince of
vince of Tarragona,
Tarragona, but
but who
who had his own
had his own Catalunya.
Catalunya. At the national
At the level, the
national level, the first
first

studio in
studio in Barcelona,
Barcelona, was,
was, furthermore,
furthermore, the
the association called
association called Sociedad
Sociedad de de Acuarelistas
Acuarelistas
instigator of
instigator of the
the first
first Spanish association
Spanish association of
of was founded
was founded inin Madrid
Madrid inin 1878.
1878.

36
36
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

Fig. 5G—Eugéne-Louis
Fig. 5G— Eugene-Louis Lami, Lami,
Louis XIV
Louis in the
XIV in the Gardens
Gardens of of
Versailles, Louvre, Paris.
Versailles. Louvre. Lami
Paris. Lami

was an
was an expert
expert in
in watercolor.
watercolor
His
His good relations
good relations with
with the up-
the up-
per class
per class of
of the
the French
French Second
Second
Empire allowed
Empire allowed him to join
him to join the
the
court
court and
and specialize
specialize in subjects
in subjects

like this
like this one,
one. inspired
inspired by French
by French
history
history

Fig.
Fig. 5/—Henn
57— Henri Harpignies,
Harpignies.
View of
View the Seine
of the with the
Seine with Tui-
the Tui~
lerres, Louvre, Pans.
lenes. Louvre. Paris. Contem-
Contem-
porary of
porary of such
such illustration and
illustration and

watercolor
watercolor experts
experts as as Cicer,
Cicen.
Lami,
Lami. Gavarni,
Gavarni, Daumier
Daumier and and
Doré, Harpignies
Dore, Harpignies isis one
one of
of the
the
most
most renowned French water-
renowned French water-
color painters
color painters of
of the
the last cen-
last cen-

tury,
tury, remarkable for
remarkable for the sober-
the sober-
ness of
ness of his colors and
his colors and the per
the per-
fection of
fection his drawing.
of his drawing

57

Sr
37
HISTORY
HISTORY OF
OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

mariano
mariano fortuny
fortuny
Fig 58-
Fig.58—Mariano Fortuny
Mariano Fortuny yy Car-
Car
bo, Half-naked
bo. Half-naked Man.
Man, Goya
Goya MuMu
seum. Castres.
seum. Castres. Fortuny
Fortuny was
was anan
all-round artist.
all-round artist. He
He drew
drew with
with
great ease;
great ease; hehe left
left oil
oil paintings
paintings
which exhibit
which exhibit aa control
control over
over the
the
figure that
figure that won him
won the sur-
him the sur-
name of
name of "master;"
“master.” and
and he
he used
used
watercolors with truly
watercolors with truly remark
remark-
able craftsmanship.
able craftsmanship He went
He went
to Rome
to when he
Rome when he was twenty
was twenty
After
After two years
two of study
years of study he
he trav-
trav-
eled to
eled to Morocco
Morocco wherewhere he
he
produced the official
produced the official commis-
commis-
sion of
sion of ten
ten big paintings about
big paintings about
the Spanish-Moroccan
the Spanish-Moroccan war.
war. InIn
Morocco
Morocco he he made
made several
several wa-
wa-
tercolors, including
tercolors, the one
including the one re-
re-
produced
produced here.here. Then came
Then came
trips to
trips to Paris,
Paris. London, Rome
London. Rome
again, Granada, Rome...
again, Granada. Unfor-
Rome... Unfor-
tunately,
tunately, Fortuny died at
Fortuny died the
at the

age
age ofof thirty-six. considered
thirty-six, considered

among
among the the greatest watercolor
greatest watercolor
artists of the
artists of the 19th century
19th century.

58
58

38
38
HISTORY OF
HISTORY OF WATERCOLOR
WATERCOLOR PAINTING
PAINTING

cezanne
cezanne
Fig. 59-—-Paul
Fig. 59- Cézanne, Boy
Paul Cezanne. Boy
with
with Red
Red Coat. Walter File-
Coat. Walter File-

chenfeldt
chenfeldt Collection,
Collection, Zurich.
Zurich.
Without doubt,
Without doubt, Cézanne
Cezanne isis mod-
mod-
ern,
ern, contemporary. Between
contemporary. Between
Mariano Fortuny’s painting
Mariano Fortuny's painting on on
the previous
the previous page,
page, mademade
around 1862.
around 1862, and
and Cézanne’s
Cezanne's
work
work of 1902, some
of 1 902. forty years
some forty years
have
have passed.
passed. What
What aa jump,
jump,
what
what aa radical
radical change! During
changel During
those forty
those forty years, Impression-
years. Impression-
ism was born,
ism was born, the
the palette
palette was
was
purged,
purged, shape and color
shape and color were
were
resumed. details lost
resumed, details lost their
their im-
im-
portance. Cézanne went
portance. Cezanne went be-be-
yond Impressionism:
yond Impressionism: he he em-
em-
bodied
bodied Post-lmpressionism,
Post-Impressionism,
and laid
and the foundations
laid the foundations of
of Cu-
Cu-
bism.
bism. HeHe tsis credited
credited today
today as
as
one
one of the great
of the great promoters
promoters ofof
modern painting. This
modern painting. This waterco-
waterco-
lor confirms this:
lor confirms it could
this: it could have
have
been
been painted today, in
painted today, in the
the late
late

20th century.
20th century.

BE)

39
39
HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

europe in
europe in the
the first half of
first half of the
the 20th
20th century
century
The first abstract
The first painting in
abstract painting in the
the history
history ofof art
art
was
was aa watercolor
watercolor painted
painted in in 1910
1910 by Wassily
by Wassily
Kandinsky.
Kandinsky.
However, watercolor
However, watercolor artists,
artists, with
with aa fewfew excep-
excep-
tions, did not
tions, did participate in
not participate this art
in this art form.
form. As As aa
matter
matter of of fact
fact they
they kept
kept their distance from
their distance from the the
styles and
styles and movements
movements that that came
came in in rapid
rapid suc-
suc-
cession during
cession during the the first
first half
half ofof the 20th cen-
the 20th cen-
tury.
tury. They
They did,did, however,
however, incorporate
incorporate into their
into their
works
works the the light
light and
and spontaneity
spontaneity of of the Impres-
the Impres-
sionists and use the colors and contrasts and
sionists and use the colors and contrasts and
some new
some schemes of
new schemes composition from
of composition Mod-
from Mod-
ern Art
ern Art in general.
in general.
On the
On the other
other hand,
hand, thethe great masters of
great masters of Mod-
Mod-
ern Art,
ern Picasso, Dali,
Art, Picasso, Dali, Miro,
Miré, Matisse,
Matisse, and and
Braque,
Braque, hardlyhardly ever
ever used
used watercolor.
watercolor. In In spite
spite
of this
of this the
the quantity
quantity and and quality
quality of of watercolor
watercolor
artists throughout
artists throughout Europe Europe grew grew to to such propor-
such propor-
tion that it becomes difficult for us to single
tion that it becomes difficult for us to single
out any
out any oneone here.
here. There
There are, are, however,
however, certaincertain
important innovations
important innovations that that bear
bear mentioning.
mentioning.
There was
There was aa tendency
tendency to to useuse watercolor
watercolor to to
imitate oil paint, using greater body
imitate oil paint, using greater body and color
and color
and sacrificing
and sacrificing transparency.
transparency. Anther Anther innova-
innova-
tion
tion was
was thethe use
use of
of "tricks"
“tricks” such such as using wax
as using wax
or masking fluid to set off open spaces or using
or masking fluid to set off open spaces or using

turpentine, salt, stains,

turpentine, salt, stains, oror sprayguns
sprayguns to a-
to a- Fig.
Fig. 60—-Wassily
60— Kandinsky.
Wassily Kandinsky. Fig.
Fig 61—Emil Nolde,
61-Emil Nolde, Irises
/nses and
and Fig 62—August
Fig 62-August Macke,Macke, Yellow
Yellow
The Cossacks, Tate Gallery. Poppies, Ada
Ada and
and Emil
Emil Nolde
Nolde Jake,
Jake. Ulmer Museum, Ulm,
Ulmer Museum, Ulm. InIn
chieve special effects.
The Cossacks. Tate Gallery. Poppies,
chieve special effects.
Foundation.
Foundation. Nolde
Nolde was
was aa Ger- this
this watercolor,
watercolor. MackeMacke offers
London. A
London. A watercolor
watercolor similar
similar Ger- offers

On this
On this page
page you
you can see some
can see some watercolors
watercolors to this
to this was the first
was the first abstract
abstract man Expressionist painter
man Expressionist painter who
who us
us aa sample
sample of of his Futuristic
his Futuristic

style
style and
and his
his Post-Impressionist
from the early
early 20th century. They include painting, painted in
in watercol-
watercol- felt
felt aa great
great passion
passion forfor primi-
painting, painted primi- Post-Impressionist
from the 20th century. They include
ors by
ors by Kandinsky
Kandinsky inin the
the year
year tive art
art and nature.
and nature. coloring. both factors
coloring, both factors directly
directly
works by Wassily Kandinsky,
Kandinsky, thethe artist
artist of the
tive
works by Wassily of the 1910.
1910 influenced
influenced by Delaunay, who
by Delaunay, who
first
first abstract
abstract mentioned
mentioned earlier, Emil Nolde,
earlier, Emil Nolde, with Kandinsky and
with Kandinsky and Macke
Macke
formed
formed part of the
the Blaue
Blaue Reiter
Reiter
and August
August Macke.
Macke. On On the
the next
next page
page we
we see
part of
and see
(Blue Rider)
(Blue Rider) group.
group.
works
works by by Maurice
Maurice de de Vlaminck,
Vlaminck, Maurice
Maurice Utri-
Utri-
llo, Juan
llo, Juan Gris,
Gris, and
and Pablo
Pablo Picasso.
Picasso. These
These are all
are all
well-known artists who, except for Nolde, did
well-known artists who, except for Nolde, did
not usually
not usually work
work in
in watercolors.
watercolors.

40
40
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

63

65

fee at

64
64

Fig. 63—Maurice
Fig. 63- Maurice de de Viaminck,
Vlaminck. Fig.
Fig. 64—Maunice
64- Maurice Utrillo, The
Utnllo, The Fig.
Fig. 65—Juan
65— Juan Gris,
Gris, 7hree
Three
Landscape,
Landscape. Staatsgalerie,
Staatsgalerie. Rue Sainte-Rustique
Rue Sainte-Rustique CoveredCovered Lamps,
Lamps. Museum
Museum of of Fine
Fine Arts,
Arts,
Stuttgart. Matisse, together
Stuttgart. Matisse, together in
in Snow,
Snow, Paul Petrides Collec-
Paul Petndes Collec- Berne.
Berne. Between
Between 19091909 andand
with
with Derain,
Derain, Viaminck,
Vlaminck, and and tion,
tion, Paris.
Paris. This
This watercolor
watercolor withwith 1910
1 91 thethe Spanish
Spanish painter Juan
painter Juan
other artists, were
other artists, were the
the initiators,
initiators, aa mixture
mixture of of white
white gouache,
gouache, isis Gris did some
Gris did some watercolor
watercolor paint-
paint-
along
along with
with an exposition held
an exposition held typical
typical ofof Utrillo’s
Utrillo's style:
style: an
an inno-
inno- ings to practice
ings to practice drawing
drawing forms
forms
inin Paris
Paris inin 1905,
1905, of the ten-
of the ten- cent,
cent, childlike
childlike way
way of of drawing
drawing and
and color.
color. Apparently,
Apparently, what
what
dency or
dency or style
style called
called Fauvism
Fauvism and painting, appropriately
and painting, appropriately call-
call- Gris
Gris was trying to
was trying to determine
determine
(wild
(wild beasts).
beasts). This
This title, first ap- Fig. 66—PaPablo
Fig 66- blo Picasso,
Picasso, Young
Young
title, first ap- ed ‘the difficult
ed "the difficult innocence.”
innocence." with
with these
these oversized
oversized studies
studies blue and pink
blue and pink periods. This isis
periods. This
plied
plied by
by an
an art
art critic, described Acrob
° at and
and Child, Gugge n-
critic, described —478X61.8.cm (19° 24")—
-47.8X61.8 cm (19"X24")~ u ?! Chlld Gu
- 99en- aa watercolor
watercolor with a mixture
with a mixture of
of
aa way
way of of painting
painting withwith violent heim Museum,
heim Museum, New New York.
York. This
This
violent was
was what direction to
what direction to follow
follow gouache.
gouache
colors and contrasts.
contrasts. How- Is oneone of the many
many sketc hes
in the
the future.
future. InIn fact,
fact, aa year
colors and
is of the sketches
How- in year
ever, after two
two or three years, that
that Picass
Picassoo did
did for the paint-
paint-
ever, after or three years, later, together
later, together with
with hishis friends
friends for the

Viaminck stopped
stopped painting like ing
ing 7rape
Tnpezeze Artist s (Family
(Family of
Vlaminck painting like Picasso and
Picasso and Braque.
Braque. he he started
started Artists of
a Fauve
Fauve andand drew
drew closer
closer to to the
Saltimbanques), just
Saltimbanques). as he he
a the on the
on the adventure
adventure of of Cubism.
Cubism. just as

theories and
theories style of
and style of Cézanne.
Cezanne. Was inin transition
was transition betwe
betweenen hishis

41
41
 HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

watercolor
watercolor painting today
painting today

On this
On this page
page and
and the
the ones that follow
ones that follow you will
you will
see
see some
some contemporary watercolors whose
contemporary watercolors whose
form and
form and color
color reveal
reveal aa language
language in harmony
in harmony
with today's
with today’s art.
art. While
While some
some are impressionist
are impressionist
and others
and others expressionist,
expressionist, they are linked
they are linked byby
the constructive
the constructive basebase watercolor
watercolor painters have
painters have
never abandoned.
never abandoned.
Watercolors still
Watercolors still depict
depict traditional topics: coun-
traditional topics: coun-
try landscapes,
try landscapes, seascapes,
seascapes, ports,
ports, railroads,
railroads, still
still

lifes, portraits
lifes, portraits and figures, and
and figures, and nature in general.
nature in general.
Present-day
Present-day scenes,
scenes, such
such as urban areas
as urban areas and
and
suburban houses
suburban houses and
and streets, are also
streets, are also repre-
repre-
sented.
sented.

- : oe
f
Ser Pep wenn oe
<W&%' a.
A. Dann J^pi^Xf
$*n^ fe ied ow) se a
a

68
68
Fig. 67—André
Fig. 67- Andre Dunoyer
Dunoyer dede Se-
Se-
gonzac,
gonzac, Feucherolles
Feucherolles in in Au-
Au-
tumn, private
tumn, private collection.
collection. Se-
Se-
gonzac was primarily
gonzac was primarily an
an Im
Im-
pressionist,
pressionist, influenced
influenced by
by
Cézanne,
Cezanne, who
who alsoalso did
did many
many
etchings— 11,500
etchings— ,500 of them from
of them from
1919 onward-
1919 onward—which are today
which are today
considered his
considered his best
best works.
works

Fig. 68—
Fig. 68— Roland
Roland Oudot,
Oudot, LaLa Giu-
Giu-
decca, Venice, Albert
decca. Venice. Balser
Albert Balser
Collection, Geneva. Roland
Collection, Geneva. Roland Ou-Ou-
dot’s style draws
dot's style draws our our attention
attention
by its
by its emphasis
emphasis on on the
the draw-
draw
ing, with
ing, with the the forms
forms outlined
outlined
with
with aa fine
fine line
line of
of India ink. The
India ink. The
coloring
coloring is ts also characteristic
also characteristic
of his
of his style,
style, with
with the
the shadowed
shadowed
areas where
areas where blues,
blues, siennas,
siennas,
jrays, and
grays, and reds
reds interact
interact witha
with a — B # i
vibration
vibration that
that undoubtedly
undoubtedly Par: - ——
gives quality
gives to the
quality to the work.
work Tap. 7, NT
»/»..UA “ me f

42
 HISTORY OF
HISTORY WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

Fig.
Fig. 69—Emilio
69— Grausala,
Emiho Grausala,
a’ Venice,
Venice, private collection.
private collection
Grausala,
Grausala, a a Catalan
Catalan painter,
painter,
SEQ moved to
moved to Pans
Paris inin 1932
1932 and
and
ET ae became aa part
became part ofof the
the Second
Second
Spanish School
Spanish of Paris,
School of as Itit
Pans, as
| was Called. He
was called. He generally
generally paint-
paint-
ed with
ed with oils,
oils, but
but on
on some trips
some trips
i and in
and in private
private he did small
he did small
ll , watercolor works
watercolor works painted
painted with
with
his
his proverbial
proverbial gaiety
gaiety and
and
richness
richness of color.
of color.

69
69

Fig.
Fig. 70—Ives
70- Ives Brayer, Flower
Brayer, Flower
Market, Mexico,
Market. Mexico, This
This work re-
work re-
presents aa modern
presents modern concept
concept of
of
watercolor painting: aa synthe-
watercolor painting: synthe-
sis of form
sis of form and color, explain-
and color, explain-
ing the subject
ing the subject in in an
an abbrevi-
abbrevi-
ated manner without
ated manner entering
without entering
into details; aa premeditated
into details; premeditated lu- lu
minosity
minosity withwith aa predominance
predominance
i of light colors
of light over dark;
colors over dark; and
and aa
z Lt richness
richness of of colors,
colors, also
also calcula-
calcula:
ted to
ted to add
add to the transparency
to the transparency

il wits? 1
typical
typical of
of watercolor. Brayer al-
watercolor Brayer al
ways paints
ways paints with
with watercolor
watercolor.
He draws with
He draws with great mastery,
great mastery,

¥; eG aT Ae usually with
usually with lead
lead pencil,
pencil, and
and
he always
he always works with the
works with the
eee = model inin front
model of him.
front of him.

¥vts Baayen
r"i».B «»/•«..
Fos paw “1964 70
70

43
43
 HISTORY
HISTORY OF WATERCOLOR PAINTING
OF WATERCOLOR PAINTING

watercolor painting
watercolor painting today
today
Fig. 71
Fig 71.—Ives Brayer. Half-light
-Ives Brayer. Half-light Fig. 72—John
Fig Piper, Bethesda,
72- John Piper. Bethesda.
at Baux-de-Provence, private
at Baux-de-Provence. private North Wales, private
North Wales, private collection.
collection
collection. As
collection As can
can be
be seen
seen inin Piper is
Piper is known
known as as an
an excellent
excellent
this
this landscape, Brayer
landscape. painted
Brayer painted modern interpreter of
modern interpreter of the
the Brit-
Brit-

with
with conventional
conventional colors,
colors, ish landscape, which
ish landscape, which he he rend-
rend-
attentive to
attentive to the
the realism
realism offered
offered ered with
ered with an
an obvious
obvious mastery
mastery
by the
by the scene,
scene, attempting
attempting to
to of technique
of technique and medium. InIn
and medium.
capture the
capture the first
first impression
impression this landscape
this landscape for
for instance,
instance, hehe
suggested by
suggested by the
the subject,
subject. mixed watercolors
mixed watercolors withwith India
India
applying pure
applying pure watercolor
watercolor tech-
tech- ink, layering
ink, wet over
layering wet over wet,
wet, and
and
niques, enjoying “the
niques, enjoying pleasure
"the pleasure using frotts, the
using frottis. the dry
dry brush
brush
of playing
of playing with the
with the white
white of the
of the technique.
technique. AA book
book of
of his work
his work

paper’—as he puts
paper"— as he puts itit himself-
himself- done inin England
done England and and Wales
Wales
-~“en utilisant juste
"en utilisant juste une
une Cou-
cou- was
was recently published.
recently published.
/ée de couleur,
lee de couleur. du bout du
du bout pin-
du pin-
ceau
ceau" ™ (sic)
(sic).

71
72
72

eesre oe po aee
oo gee ae
psCy ot Yl ed

bs Ste

44
 HISTORY OF
HISTORY OF WATERCOLOR PAINTING
WATERCOLOR PAINTING

Fig. 73.—Julio
Fig. 73— Julio Quesada,
Quesada, Lands-
Lands- Fig.
Fig 74—Michel
74- Michel Ciry.
Ciry, Segovia,
Segovia.
cape, Tamajon
cape; (Guadalajara),
Tamajdn (Guadalajara). private collection,
private collection, Lausanne.
Lausanne
private collection. This
private collection. is an
This is ex-
an ex- Michel Ciry
Michel decided to
Ciry decided to paint
paint
cellent
cellent example of
example of contempo-
contempo- watercolors around 1960.
watercolors around 1960. Six
Six
rary watercolors.
rary watercolors, as
as the
the Span-
Span- years later, he
years later, he obtained these
obtained these
ish artist,
ish artist, Julio
Julio Quesada, is so
Quesada, is so results while
results while painting
painting in
in central
central
capable of
capable exemplifying. He
of exemplifying. He Spain.
Spain. In In harmony
harmony with
with the
the Cas-
Cas-
paints in
paints his own
in his own way, with aa
way, with tilian landscape,
tilian landscape, Ciry paints
Ciry paints
very personal
very personal vision
vision and inter-
and inter- with
with a a subdued, warm palette,
subdued, warm palette,
pretation;
pretation; with
with aa sober
sober butbut formed
formed of of ochres,
ochres, siennas,
siennas, and
and
perfectly
perfectly harmonized
harmonized color
color grays,
grays, interrupting the land-
interrupting the land
scheme; synthesizing, summa-
scheme; synthesizing, summa- scape
scape with with houses
houses and roads
and roads
nizing
rizing in
in aa few
few exact, precise
exact, precise that contrast with
that contrast the black
with the black
brushstrokes,
brushstrokes, which neverthe-
which neverthe- trees
trees andand thethe earth
earth scorched
scorched
less capture the
less capture forms, the
the forms, the by the
by the sun.
sun This painting is
This painting ts aa
site,
site, the
the fields, and the
fields, and the trees.
trees. But
But good example
good example of the synthesis
of the synthesis
above
above all,all, he
he executes
executes all
all this
this of form
of form and color.
and color.
with
with an exceptional mastery
an exceptional mastery ofof
pure
pure watercolor
watercolor technique.
technique.

45
45
 "

HISTORY OF WATERCOLOR
HISTORY OF WATERCOLOR PAINTING
PAINTING

the 19th
the 19th and 20th centuries
and 20th centuries in the
in united states
the united states
The American
The American Watercolor
Watercolor Society
Society was form-
was form-
ed in
ed 1866 with
in 1866 with Samuel Colman as
Samuel Colman as its presi-
its presi-

dent.
dent.
At that
that time watercolor was was already
already popular
popular in
At
*«4-f -"Mp~-- rz
time watercolor in :

the United States.

the United States. This
This was mainly because
was mainly because oil oil
painters Thomas
painters Thomas EakinsEakins and
and Winslow
Winslow HomerHomer
also used
also watercolor. Homer
used watercolor. Homer was was aa bohemian
bohemian
loner who worked
loner who worked as as aa magazine
magazine illustrator,
illustrator,
correspondent, and
correspondent, and sketcher.
sketcher. During
During his his trav-
trav-
els he visited France, England, Canada, Ber-
els he visited France, England, Canada, Ber-
muda, and
muda, and Nassau.
Nassau. AfterAfter the
the age of forty,
age of he
forty, he
devoted himself
devoted himself entirely
entirely toto painting.
painting. He hada a
He had
special
special gift for choosing
gift for choosing marine
marine landscapes
landscapes
and then
and then painting them with
painting them with oils
oils or watercol-
or watercol-
ors and
ors and giving
giving themthem extraordinary
extraordinary color.
color.
The end
The end of of the
the 19th
19th century was aa marvelous
century was marvelous
time for American watercolor. Maurice Pren-
time for American watercolor. Maurice Pren-
dergast depicted
dergast depicted groups of people.
groups of people. Mary Cas-
Mary Cas-
satt lived
satt lived the adventure
the adventure of
of Impressionism
Impressionism inin
France. James
France. James Abott
Abott McNeill
McNeill Whistler
Whistler was
was
also an
also an Impressionist.
Impressionist. John Singer
John Singer Sargent,
Sargent,
the famous portrait
the famous and watercolor
portrait and watercolor artist,
artist,
though American, was
though American, was born
born in
in Italy
Italy and educat-
and educat-

Fig.
Fig 75—Maurice Prendergast,
75- Maurice Prendergast.
Low
Low Tide, Beachmont, Wor-
Tide. Beachmont, Wor-
chester Art
chester Art Museum.
Museum. BornBorn in in
Boston, Prendergast
Boston, Prendergast wentwent to to
Paris at
Paris at the
the age
age of twenty-one
of twenty-one
when
when Impressionism
Impressionism was was inin full
full
swing,
swing, so So it is
it Is not
not strange
strange that
that
his paintings
his paintings should be influ-
should be influ-
enced
enced by Manet,
by Manet, Monet,
Monet,
Renoir, Pissarro,
Renoir, etc. Curiously,
Pissarro, etc. Curiously,
Prendergast specialized
Prendergast specialized inin the
the
subject of
subiect of crowds, or groups
crowds, or groups
of
of people
people in a particular
in a particular situa-
situa
tion, as
tion, as inhis
in his painting 7he Walk,
painting The Walk.
or in
or in this
this one,
one, Low
Low Tide
Jide. In In
1914,
1 9 4, he
1 he returned from Europe
returned from Europe
to New
to York, where
New York, where hehe exhi-
exhi-
bited with
bited with Los
Los Pocho,
Pocho, aa radical
radical
group that
group that indirectly infused
indirectly infused
American
American art art with
with new life
new life.

Fig 76—
Fig. 76—John Singer Sargent.
John Singer Sargent. who inculcated
who inculcated him with aa
him with
Mountain Stream,
Mountain Stream, Metropoli
Metropoli- basic
basic rule
rule on synthesis that
on synthesis be
that be-

tan Museum
tan Museum ofof Art, New York
Art, New York came Sargent’s
came credo during
Sargent's credo during
Painting
Painting his magnificent por-
his magnificent por his career as
his career an artist:
as an artist’ “In
"In art,
art.

traits in
traits in oils.
oils,
Sargent was fabu-
Sargent was fabu anything that
anything that is
is not indispensa-
not indispensa-
lous: painting
lous: painting with
with watercolors
watercolors ble
ble 1s prejudicta
is prejudicial

he was
he was also
also extraordinary
extraordinary At At
sighteen he
eighteen he was
was intn Paris stud
Paris stud-
ying under
ying under the
the painter
painter Carolus
Carolus,

46