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Page
Introductory 1
Early Days--1775 to 1789 6
Youth--1789 to 1796 20
Yorkshire and the young Academician--1797 to 1807 38
The "Liber Studiorum" and the Dragons 55
Harley Street, Devonshire, Hammersmith, and Twickenham 75
Italy and France--1820 to 1840 92
Light and Darkness--1840 to 1851 121
TURNER.
INTRODUCTORY.
We are used to having our idols broken; but we still fashion them with a persistency which seems to argue it a necessity of our nature, that we should think of the life and character of gifted men as being the outward and visible sign of the inward and spiritual grace we perceive in their works. It is this habit which makes any attempt to write a life of Turner pre-eminently unsatisfactory, for his refined sense of the most ethereal of natural phenomena is not relieved by any refinement in his manners, his supreme feeling for the splendour of the sun is unmatched by any light or brilliance in his social life; his extreme sensibility, a sensibility not only artistic but human, to all the emotional influences of nature, stands for ever as a contrast to his self-absorbed, suspicious individuality. There is of course no reason why a landscape painter should be refined in manner or choice in his habits. There is no necessary connection between the subjects of such an artist and himself, except his hand and eye. He lives a life of visions that may come and go without affecting his life or even his thought, as we generally use that word. The most tremendous phenomena of nature may be seen and studied, and reproduced with such power as to strike terror into those who see the picture, and yet leave the artist unaltered in demeanour and taste. Even those men of genius who, instead of employing their imagination upon nature's inanimate works, devote themselves to the study of man himself, socially and morally, do not by any means show that relation between themselves and their finest work that we appear naturally to expect.
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