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The Origins of Greek Thought. The Origins of Health and Disease by Hyland. His artwork incorporated the classicism of the greats such as Claude, Gaspar Dughet and Nicolas Poussin. He remained in Rome until April at which time he returned to England and Bath where he remained for three years.

During this sojourn he set about converting the numerous sketches and drawings he had made on his Italian trip into watercolours, as by this time he had numerous wealthy patrons, who could not get enough of his work as they realised that not only were they things of beauty but also a solid investment for the future.

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In May Cozens, along with a party of companion travelers made up of doctors, teachers, musicians along with a number of servants set off for another journey of discovery to Italy. The following year Cozens returned to England and set up home in London where he set about producing more watercolours for his various patrons based on what he had seen and recorded during his recent visit. Whilst living in the capital he took the opportunity to go on sketching trips around the local area and sketched and painted many scenes of the likes of Richmond Hill, and Greenwich and Windsor Parks as well as Thames river scenes.

He was so inundated with commissions from patrons that he never had time to put forward paintings to the Royal Academy exhibitions. Sadly, like many gifted people, Cozens suffered from bouts of depression, probably caused by his unending and burdening search for artistic perfection. His health was further affected by a bout of malaria which he had contracted during his Italian visit in In , aged just forty-two, his mental health had deteriorated and he had a mental breakdown and was placed under the care of a Doctor Thomas Monro, a physician at the Bethlehem Hospital, better known as Bedlam.

Unable to paint, Cozens and his family faced financial ruin and had to be rescued with the help of patrons and friends. Cozens was an expert when it came to the painting of trees and in he published a set of works entitled Delineations of the General Character of Forest Trees. This little gem measures just 43cms x 62cms. It depicts a large panorama of a menacing sky over the darkening hills surrounding Lake Albano, a small volcanic crater lake in the Alban hills of Lazio and the small hill-top town of Castel Gandolfo.

There is a solemn grandeur about this work, a sense of vastness as well as an underlying tranquility.

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I think there is also an air of mystery to the setting and maybe we are meant to look at it and use our imagination as to what it would be like to stand high above the lake at sunset. That price represented not just a significant return on investment for the vendor but also a dramatic new high for a work by Cozens. It was also a record, not just for the artist, but for any 18th-century British watercolour.


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A huge amount for David Thomson to spend on a work of art? I am returning today to an English Victorian artist whom I showcased back on June 25 th. The featured artist in My Daily Art Display today is one of the greatest watercolour painters of his time, Thomas Girtin, and the painting I am featuring today is a work he completed in entitled Morpeth Bridge. Thomas Girtin was born in Southwark, London in His father was a prosperous brush-maker but died when Thomas was still very young. His mother remarried and her husband, a Mr Vaughn, was a pattern-draughtsman.

He took drawing lessons from Thomas Malton, a painter of topographical and architectural views. It was around this time that he signed up to a seven year apprenticeship with Edward Daves, a watercolourist and mezzotint engraver. When Girtin was nineteen years of age he exhibited his first work at the Royal Academy and soon his reputation as a watercolourist grew.

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His style of watercolour painting was such that he has been recognised as being the originator of Romantic watercolour painting. His work was in such demand that he could charge 20 guineas for a painting. In late to early , he went to live in Paris. It was during his sojourn in Paris that he painted watercolours and made a series the pencil sketches which he engraved on his return to London.

They were published as Twenty Views in Paris and its Environs after his death. It was 18 feet high and feet in circumference. It was hailed as his greatest masterpiece. He had travelled around Northumberland two years earlier and made a number of sketches of the countryside and towns. In the painting, we see the bridge silhouetted against a starkly lit building. Despite the gold and light brown hues of the buildings, there are dramatic contrasts of light and shade and the sky above is dark and threatening and there is an ominous, almost sinister, mood about the setting.

The great clouds which pass overhead dramatically darken some of the buildings and water. There is just a hint of a break in the clouds where we catch a glimpse of blue sky which is reflected in the mirror-like surface of the still water and the arc of the bridge. Girtin was able to convey drama and tension in his paintings by his clever depiction of light. From Tudor-period portraiture by a Flemish artist yesterday, I am switching today to a landscape painting by an English Artist.

Girtin was to become recognised as one of the greatest watercolour landscape artists of his time and a rival to his contemporary, Turner. Initially Thomas received his art tuition from the painter and engraver, Thomas Malton and this was followed by an apprenticeship with the watercolourist Edward Dayes. His seven-year apprenticeship did not run smoothly as Thomas had a turbulent existence with his master, Dayes. Girtin had become friendly with a fellow pupil of Thomas Malton and they were both employed to fill in the outlines of pencil sketches by the antiquarian James Moore with watercolours.

Sometimes they would be set the task of copying drawings by John Cozens. His name was Joseph Mallord William Turner. For Girtin, these tasks were of great importance for unlike Turner he never attended the Royal Academy schools and these tasks honed his talent as a watercolourist. Girtin first exhibited a painting at the Royal Academy in at the age of nineteen. He produced many landscape sketches and his use of watercolours was to establish his reputation as a great artist. In Girtin, who had attained financial security through the sale of his paintings, married sixteen year old Mary Ann Borrett, the daughter of a London goldsmith and the couple set up house in the fashionable Hyde Park area.

In , Girtin exhibited Eidometropolis , a monumental panorama of London that dazzled his contemporaries.

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It was 18ft high and feet in circumference. In November , whilst in his painting studio he collapsed and died at the young age of twenty seven. The reported cause of death was thought to be asthma or tuberculosis. The scene is set on the River Thames and we see the great waterway as it flows peacefully under a twilight summer sky. It is believed that the actual view can be narrowed down to an upstream view of the Thames as seen from a location very close to where Chelsea Bridge now stands. If we look to the right of this we can see the sunlit white house, which gives its name to the painting.

The little house glistens. Move further round to the right and you can see Battersea Bridge and on the other side of the river is the Chelsea Old Church, which was almost completely destroyed in the Second World War in Look how Girtin has painted the tranquil surface of the river.

It is awash with colour under the grey and pink clouds of the summer sky. We see two working boats on the water. The one on the left has its sails down as it lays peacefully at anchor whilst the other wends its way slowly upstream, its wake breaking the smooth glass-like appearance of the water. It is just an ordinary house on a nondescript stretch of the Thames. If Tom Girtin had lived, I should have starved. A dealer went one day to Turner, and after looking round at all his drawings in the room, had the audacity to say, I have a drawing out there in my hackney coach, finer than any of yours.

Turner bit his lip, looked first angry, then meditative. He is the third of five children born to Albert Williams Sr. Williams graduated from A. Parker High School in His literary career began in with the writing of his first poem, The Old Oak Tree. In August , The True Experience was published; featuring over poems filled with spiritual and inspiration messages of hope, encouragement, and patience. In October , Williams started a church and became pastor, where he possesses the gifts of healing, deliverance, and prophecy given by God.

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They were married in and have no children. The World of Christian Doctrine, Vol. Words: 94,