Cotmania. Vol. XII. 1937

{Leaflet advertising lectures on Masters of English Water Colour by Martin Hardie, C.B.E., R.E., R.S.W. Late Keeper of drawings in the Victoria and Albert Museum.}
"the greatest genius that ever touched landscape." His subjective treatment of mountain scenery. The value, as in Girtin's case, of a limited range of colour.
Pattern and Design; formal and abstract, as opposed to instinctive, composition. The new use of design in the work of FRANCIS TOWNE (1740-1816) and his pupil, White Abbott; their anticipation of modern art. JOHN SELL COTMAN (1782-1842), the supreme master of design. His poverty and lack of recognition. Comparison of this work with the Japanese colour-print; his technique in drawing and painting. His first period of what Mr. L. Binyon has called "the most perfect examples of pure water-colour ever made in Europe." The failure of his later work done in rivalry with Turner; his experimental methods.

On Saturday, January 30th, at 3 p.m.
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PETER DE WINT (1784-1849) follows Girtin in appreciation of breadth and mass. His technical methods; his panoramic sense, and beauty of colour; his fine interpretation of the English pastoral scene. His serenity contrasted with the art of JOHN CONSTABLE, R.A. (1776-1837) and DAVID COX (1783-1859). The beginnings of Impressionism. Constable and Cox as painters of atmosphere and movement, wind and weather. Constable's technique; his new grasp of Nature and her moods. The out-door sketch and studio work. Cox and his brilliant outdoor sketches; his use of "broken colour," to express the vibratory quality of air and earth. His follower, Thomas Collier, as a painter of "the wind on the heath." A final word on Water-Colour Art.