Читать книгу The Life and Works of Joseph Wright, A.R.A, commonly called "Wright of Derby" - William Bemrose - Страница 14

Wright so far forgave the injury he considered the Royal Academy had inflicted upon him, as to contribute to their exhibitions in the years 1788, 1789, 1790, and 1794; though from the correspondence printed in Chapter VI., it will be seen that his paintings were not treated with much consideration.

One characteristic worthy of notice in Wright’s portraiture, is the life-like and liquid look that pervades the eyes; he was also particularly happy in his treatment of the hands of his sitters, which are very different to the misshapen forms that often do duty for hands in paintings by popular artists.

An exhibition, in which his pictures were an important feature, appears to have been held in his native town some two years afterwards, for the Derby Mercury, of October 3, 1787, contains the following advertisement:—

EXHIBITION.

From the numerous and genteel company who have visited this Exhibition, the Inventor will continue the same

FOR ONE WEEK LONGER,

And to the effects already shown will add various others

FROM SOME OF THE

JUSTLY MUCH ADMIRED PAINTINGS OF

MR. WRIGHT, OF DERBY,

The effects of which beggar all description, and for which purpose Mr. Wright has politely sent the Inventor his Paintings.

It is hoped none will miss the present and only opportunity of gratifying their curiosity.

Admittance from Ten in the morning till One, and from Four till Eight in the evening, at Mr. Wood’s, Confectioner, in the Corn Market, at One Shilling ea.

While, however, Wright appears to have had a proper sense of his own merits as a painter, and not to have lost sight of the advantages of keeping them before the public, and though on certain occasions he held out for his price, he was neither conceited nor ungenerous. Of his liberality sufficient proof is afforded by his numerous gifts of valuable pictures to individuals among his private friends, and to persons to whom he thought himself under obligation. In various instances, these gifts were manifestly disinterested; and that they were often, and probably always, conferred in a very pleasing manner, which declined rather than sought the expression of gratitude, the following records will sufficiently vouch.

“Mr. Hayley to Mrs. Hayley.

... “As I love to make you a sharer in every pleasing occurrence of my life, I cannot let a post depart without dispatching to you an account of a circumstance which has given me no little delight. Beridge last night committed a box to my care, declaring it contained something for me, but requesting that I would not open it till he arrived here to-day. After spending an agreeable morning at Hampstead, I met the dear Physician in Cavendish Square; and while I was dressing, he displayed his skill as a carpenter in opening the packing-case. When I came from my dressing-room to the dining-room, he surprised me with an exquisite picture of Virgil’s Tomb, by Wright, putting into my hand a letter from that amiable artist, requesting my acceptance of this poetical scene, and added, that the splendid frame which contained it was the gift of Dr. Beridge.”

The following is part of a letter written on the margin of a pencil and wash sketch of St. Peter’s at Rome, with the Bridge and Tower of St. Angelo, to someone in Derby, in the year 1774, when Wright was at Rome—

“The collour’d drawing I will do for you must be upon a larger scale, and sent by a friend, as I don’t wish to do them as letters, but I presume the enclos’d sort as sketches of observation, or possibly to remove any doubt in regard to particular objects, as I take them as faithfully as I can, and shall do the others also. In the meantime I beg you will make no scruple in mentioning any particular objects that you wish, as I have justly every reason to have the greatest esteem for you, and having experienced your sincerity and friendship, I beg you will mention no more about the prices.”

In the Exhibition of Wright’s works, held in the Art Gallery, at Derby, in 1883, was the latest portrait[10] of the artist. This picture was also a gift, and was painted at Yoxall Lodge, the residence of his intimate friend, the Rev. T. Gisborne, when Wright was there on a visit. On the back of the picture, in Wright’s handwriting, is the following:—

“JOSEPHUS WRIGHT,

An. Dom. 1793

Ætat 59

Manu propria

Tabulam hanc

Amico suo T. G.

Dono dedit

Pictor.”

At Ogston Hall another inscription of the same class is to be seen, in Wright’s handwriting, on the back of a portrait of John Holland, who was a very intimate friend, viz.:

“John Holland, painted by his friend, Joseph Wright, A.D., 1787.

“‘However odd the phyz pourtrayed,

What artist has a better made.’”

Again, on the back of a landscape, now in the possession of Godfrey Wedgwood, Esq., is written the following:—

“The gift of Joseph Wright to his friend Jos. Wedgwood, Esq., the patron and encourager of living artists, 1787.”

In the Appendix, amongst the list of pictures, will be found many more instances of such gifts. Thus: “Given to my friend Tate.” “For Mr. Hayley. Mem. not paid.” etc.

As a Water-colour painter of the English school, Wright must be ranked as one of the earliest. Whilst he largely used chalk, pencil, and oils in his sketches, he also used Water-colours in not a few of his Italian sketches taken in 1774. He evidently little thought then, that Water-colour painting would advance and take the high position as an art that it occupies to-day, when he, as a pioneer, made those early Water-colour sketches; for he, in his correspondence, remarks, “1795. I am glad to hear my friend, Tate, succeeded so well in Water-colours. I daresay when the application of them is well understood it is pleasant work.” “1793. I am sorry I cannot fulfil my engagement with Mr. Moreland, Mr. Gisborne does not think himself at liberty to divulge Smith’s mode of washing with Water-colours.”

In 1795 he writes, “I am glad to hear my good friend (Tate) has laid hold of his brushes again. Paper and camel hair pencils are better adapted to the amusement of ladies than the pursuit of an artist.”

The Messrs. Redgrave, in their “Century of Painters,” say, “We have heard of, but not seen, works in this medium by Wright, of Derby.” It is gratifying to know that there are in existence some interesting landscape sketches and portraits in Water-colours by Wright, that tend to show that Wright could use the new medium with great effect and brilliancy.