Art criticism; Dramatic criticism; Literature -- History and criticism
It was in 1823, I think, that Cotman left Yarmouth: a married man in
early middle age, with five young children. He did it to establish
himself again at Norwich, hoping perhaps to sell his pictures better
there, and expecting again to add to his group of pupils--he still went
regularly and frequently to those who learnt of him at Yarmouth. This
time it was only a house opposite the Bishop’s Palace--the address,
‘St. Martin’s at Palace’--that sufficed for Cotman’s needs, or Cotman’s
ambitions. But before long, though he made no change, his mind suffered
tortures from the costliness of his new abode, and the unremunerative
character of the adventure. He went to the Dawson Turners in utter
gloom, and then it was that his excellent friend wrote to him and to
his father letters full of tact, wisdom, and feeling, pointing out to
the well-to-do father that Cotman must really be relieved, and pointing
out, to the now depressed and now exalted genius of a son, that his
position, could he but face it, and retrench a little, was not by any
means so bad. The existence of the letters on this subject allows us
entrance into the intimacy of these housekeeping troubles, and of the
troubles of mind that threatened to be more serious. But we do not
get the end of the story. We can only suppose that Cotman’s father,
who was really on good terms with him, afforded reasonable help, and
that though the house was not moved from with promptitude, the expenses
inside it were curtailed. Cotman rubbed on, somehow, and in 1834 he
received the appointment which I spoke of at the beginning--that post
of drawing-master at King’s College, London, which he was to retain
till his death.
Preparing to quit Norwich, and wishing to put money in his purse before
doing so, he had a sale by auction of many of his effects. These
included nearly twenty of his paintings in oil, and five guineas was
the highest price realised for any one of them. He sold, likewise,
some copies of his printed book: the demand proving by no means
‘active’--they were indeed rather ‘quiet’ than ‘lively’ or ‘firm’--but
of the drawings he wisely kept back all that were still in his
possession: they were destined to be serviceable in his King’s College
lessons.
Public-domain text, read in full here on John Shaqi.
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