The treatment of nature in English poetry between Pope and WordsworthReynolds, Myra
History
The treatment of nature in English poetry between Pope and Wordsworth
Reynolds, Myra
English poetry -- History and criticism; Nature in literature
Richard Wilson (1714–82) was born at Penegoes near Machynlleth,
Montgomeryshire, Wales, but while still a child, his father, the Rev.
John Wilson, went to live at Mold, Flintshire, and there the lad was
brought up. Talent of some sort as an artist he early evinced and at
fifteen he was sent to London to study portrait painting, a profession
at which he worked steadily for twenty-one years, and by which he
apparently made a fair income though his portraits never rose much
above mediocrity.[606] At thirty-six he went to Italy for further
study. During his six years there he devoted himself exclusively to
landscape. He remained in Venice a year; with William Lock he made
a slow tour from Venice to Rome; with Lord Dartmouth he went to
Naples; from Rome as his headquarters he made many excursions into
the surrounding regions; and throughout all these travels he was
tireless in the production of studies, sketches, pictures. Through the
generous praise of recognized authorities such as Zucarelli, Mengs,
and Vernet, a report of his surprising achievements reached England,
and when he returned to London in 1755 it was to find his reputation
practically established. His solemn style did not, however, at once
commend itself to the artists of his time. Wright says that his return
excited “some interest and much criticism in the coteries of art,” and
that certain artists “who then constituted themselves, what they called
_A Committee of Taste_, and led the understanding of the public
in art” sat in judgment on Wilson’s work and resolved “That the manner
of Mr. Wilson was not suited to the English, and that if he hoped for
patronage he must change it for the lighter style of Zucarelli.” When
this committee waited on Wilson it was met with cool contempt,[607]
and he painted on in his own fashion. But the committee’s estimate
of patronage was apparently correct, for during the lifetime of the
artist, in spite of the fact that during a period of twenty-five
years he assiduously painted landscapes, he did not achieve an even
moderately comfortable livelihood. His life was one of sordid financial
shifts and of growing bitterness of spirit, until, in 1780, through a
small inheritance, he was enabled to retire to a little patrimony in
Wales, where, broken and enfeebled, he spent the two years before his
death.
Public-domain text, read in full here on John Shaqi.
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