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Alabaster Blue Sectory 20
Page 02
In landscape the English have had something to say peculiarly their own. It has not always been well said, the coloring is often hot, the brush-work brittle, the attention to detail inconsistent with the large view of nature, yet such as it is it shows the English point of view and is valuable on that account. Richard Wilson (1713-1782) was the first landscapist of importance, though he was not so English in view as some others to follow. In fact, Wilson was nurtured on Claude Lorrain and Joseph Vernet and instead of painting the realistic English landscape he painted the pseudo-Italian landscape. He began working in portraiture under the tutorship of Wright, and achieved some success in this department; but in 1749 he went to Italy and devoted himself wholly to landscapes. These were of the classic type and somewhat conventional. The composition was usually a dark foreground with trees or buildings to right and left, an opening in the middle distance leading into the background, and a broad expanse of sunset sky. In the foreground he usually introduced a few figures for romantic or classic association. Considerable elevation of theme and spirit marks most of his pictures. There was good workmanship about the skies and the light, and an attentive study of nature was shown throughout. His canvases did not meet with much success at the time they were painted. In more modern days Wilson has been ranked as the true founder of landscape in England, and one of the most sincere of English painters.
It may be that the barons believed they were demanding nothing in the Great Charter that had not been granted by former kings or that the king was not bound by the law to observe. It may be possible to prove that this belief was historically correct in principle if not in specific form; but the king could not be expected to take the same view of the case. He had been compelled to renounce many things that he had been doing through his whole reign, and some things, as he very well knew, that had been done by his father and brother before him. He may honestly have believed that he had been forced to surrender genuine royal rights. He certainly knew that if he faithfully kept its provisions, the task of raising the necessary money to carry on the government, already not easy, would become extremely difficult if not impossible. It is not likely that John promised to be bound by the charter with any intention of keeping his promise. He had no choice at the moment but to yield, and if he yielded, the forces of the barons would probably scatter, and the chances favour such a recovery of his strength that with the help of the pope he could set the charter aside. At first nothing could be done but to conform to its requirements, and orders were sent throughout the country for the taking of the oath in which all men were to swear to obey the twenty-five barons appointed guardians of the charter. Juries were to be chosen to inquire into grievances, and some of the foreign troops were sent home. Suspicions began to be felt, however, in regard to the intentions of the king during the negotiations concerning details which followed the signing of the charter. A council called to meet at Oxford about the middle of July, he refused to attend. Nor were provocations and violations of the spirit of the charter wanting on the part of the barons. Certain of the party, indeed, "Trans-Humbrians" they are called, probably the extreme enemies of the king, had withdrawn from the conference at Runnymede, and now refused to cease hostilities because they had had no part in making peace. The royal officers were maltreated and driven off, and the king's manors plundered.
BAKHUYZEN, JUFFROUW GERARDINA JACOBA VAN DE SANDE. Silver medal at The Hague, 1857; honorary medal at Amsterdam, 1861; another at The Hague, 1863; and a medal of distinction at Amsterdam Colonial Exhibition, 1885. Daughter of the well-known animal painter. From childhood she painted flowers, and for a time this made no especial impression on her family or friends, as it was not an uncommon occupation for girls. At length her father saw that this daughter, Gerardina--for he had numerous daughters, and they all desired to be artists--had talent, and when, in 1850, the Minerva Academy at Groningen gave out "Roses and Dahlias" as a subject, and offered a prize of a little more than ten dollars for the best example, he encouraged Gerardina to enter the contest. She received the contemptible reward, and found, to her astonishment, that the Minerva Academy considered the picture as belonging to them.
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