Cotmania. Vol. VI. 1930-31

PICTURES AT THE CASTLE

 JOHN SELL COTMAN.
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It is often said that Cotman was born
one hundred years too soon, and it is
certain that his genius never received full
appreciation until the present century.
Writing in 1897 Mr. Laurence Binyon says :
"Cotman's time has not yet come ; he still
awaits his due of fame." But a post-war
generation has realised its kinship with his
broad and elemental treatment of his
subjects and Cotman is now a name
universally known. His pictures, which
fetched but a few shillings at the sale after
his death in 1842, are now eagerly sought
by collectors who are prepared to pay
hundreds of pounds for a water-colour
drawing and thousands for an oil painting.
Cot man's work in the oil medium is
scarce for his busy teaching carper left him
but scant leisure to paint for his own
pleasure, «and, as there was no demand for
his oil paintings, it was necessary to sacrifice,
to some extent, his inclination to his liveli-
­hood. Strangely enough, although it is well-
known that he sketched in pencil and water-
colour from his early childhood, it was not
until 1808, when he was 26 years, of age,
that he first essayed to try oil paints, and
after that he was always haunted by the
desire of painting in oils. And what
glorious poems in paint he has left us in
this medium. How the colours glow and
merge, how the sun shines, how the shadows
deepen and become pools of romance ?
Through the generosity of the Lord
Lieutenant of Norfolk (Mr. Kuesell J.
Colman) the Norwich public have been given
an opportunity of studying the work of
John Sell Cotman in oils, for the whole
of the Cotman oil paintings in the wonderful
Norwich School Collection of Pictures at
Crown Point is on view in one of the new
Art Galleries at the Castle. Practically the
entire output of Cotman's oil colour palette
may be found in the National Gallery,
London, the Norwich Art Gallery, and the
Crown Point collection, and it is therefore
a very exceptional circumstance which makes
it possible to see the major portion of these
paintings under one roof. The pictures
reflect in a remarkable manner the various
moods of the master, who was admittedly
temperamental to a degree and would pass
swiftly from depths of utter despondence to
heights of happy inspiration. In the latter
mood must surely have been painted that
glowing gem of imprisoned sunlight known
as "The Palace of Prince Beauharnois."
Here the «impie columns and stonework
of the palace are thrown into relief by a
dark mass of trees with a glorious view of
the sunlit river valley beyond.

Perhaps the most prized and the most
well-known of all Mr. Colman's treasures
is ' The Waterfall," exhibited in the centre
of the gallery. This picture is essentially
modern in its composition and treatment and
is considered to be a fairly early example of
Cotman's work of about 1815. It may
almost be said to rank as one of the world's
famous pictures, for it has been loaned to
numerous picture exhibitions during the
last twenty years, the last occasion being
the Exhibition of British Art at Brussels.
Another picture with a fine expanse of
sky and a general atmosphere of spacious-
­ness and low horizons is that entitled "The
Lincolnshire Draining Mill." This oil
painting follows very closely the general
style of the water colour of the same
subject in the British Museum, but the
latter is slightly more gloomy in treatment.
Then there is that delightful study of "Trees
in the Bishop's Garden," a sketch made,
one feels, in blithesome mood for the pure
joy of creation ; and again, the jolly scene
of " Boys Fishing," where colour run riot
in the mass of foliage which occupies the
centre of the picture. " Merton Hall," an
early picture, is one of the very few oil
paintings of purely architectural subjects.
Apart from the satisfaction inspired by
Cotman 's painting of the mellow old
patterned brickwork bathed in sunshine, it
is a very interesting picture from the local
historic point of view, for nothing remains
of this gracious old Tudor house at the
present day. The characteristic figures of
the artist make their appearance in this
picture. Cotman must have been well in the
depths of dissatisfaction when he painted
the exceedingly gloomy " Boat House and
Trees," and it is in consequence one of the
least pleasing of all the pictures shown.
Those are but a few of the score of oil
paintings on view, which taken together
form one of the richest exhibitions ever seen
at the Castle Museum.
In addition there are shown some 30
water colours and pencil sketches by the
same artist. Many of them are the typical
architectural studies generally associated
with Cotman. and of these may be
mentioned " Bruges." "Wiesbaden." "East
Barsham Hall," and " South Porch of
Church of Souviers." There are several
seascapes full of vigour and life, such as the
"Schuyt in full sail " and the " Galliott
in a Gale off Yarmouth," and quaint wash
drawings depicting " Sheringhain Hall" and
"Dereham.'' The tremendous versatility of
Cotman is shown when one looks at the
" Kirkham, Yorkshire," for it is almost
impossible to conceive that the same hand
could convey the sense of peace and calm
shown in the latter sketch and also be able
to portray the hurry and fret of the vessels
at sea.