J.M.W. Turner famously said of his friend and fellow artist, Thomas Girtin, that had Girtin survived, he (Turner) would have starved. Such was the high esteem in which Turner held his young friend’s work. Girtin, however, died at the age of 27 in 1802 but not before having been credited with inspiring Romantic watercolor painting. In the painting above, his deft touch of the brush manages to create light airy clouds and smooth shimmering sea waters along with the solidity of that strip of land. Though the buildings are indistinct, one can see a windmill, and a tower or two. However, the main point of distinction is what appears to be a house so white that it leaves a long strip of bright white reflected in the waters. The painting is light and so delicate that it seems as though the colors were put upon the paper in a single breath. Yes, as though the artist drew a breath of air and exhaled this painting with it onto the surface of the paper.
This portrait of Thomas Girtin done by John Opie in 1800 shows the young artist emerging from the shadows, head turned to present only the left side of his face, a paint brush in hand, and a stark white cravat to contrast with the skin tones of his face. His dark hair and clothing fade-to-black into the background, making him both mysterious and romantic, which is quite appropriate for a man who is credited with making watercolor be taken seriously.
Being taken seriously has often been a problem for watercolors. Often seen only as a medium for Sunday dabblers or “for women only” as was the commonly thought in the 18th and 19th centuries, it often has shown up in history only as a way to color in something more important, like a map or an architectural drawing. Yet, just recently a watercolor set a world record purchase price of 10 million British pounds or roughly $12,271,000.00. That painting is The Dark Rigi (1841) by Girtin’s great friend and great rival, J.M.W. Turner ( www.gov.uk).
Turner and Girtin were friends in their teens and twenties. They came to know each other as teenagers when they worked coloring in topographical prints with watercolors. The two were known to go out plein air painting sometimes with the express purpose of “skying,” or making paintings of the sky. As young men, it was Girtin who captured the most attention; however, since Turner lived much longer, his skills were able to develop into those that produced the masterpiece shown above. In it Turner pays homage to the friend of his youth with that little line of white in the far left that leaves a long reflection in the water. Turner’s paintings often have a spot of white as a remembrance of Girtin and as a reference to The White House at Chelsea.
The Dark Rigi is one of a set of paintings (there are red and blue versions of the iconic mountain) that Turner painted on a visit to Switzerland’s Lake Lucerne. In it we see how rich and varied the color combinations are. This is very much like the look of his oil paintings which often have tempestuous skies. In fact it has been hypothesized that Turner used watercolor techniques in his oil paintings (perhaps glazes to create the effects of light) and oil painting techniques in his watercolors (look at the overlay of white gouache used to form the clouds and morning mist). One thing for sure, he was no purist. He used what he needed to express what he wanted to say about the scene he was painting. There is some question about whether he always prepared his own paints or whether he used the then new pan colors that came pre-mixed. He certainly was in the forefront of the movement that began taking watercolors seriously which coincided with the production of those manufactured pan watercolors.
Britain developed quite a reputation for producing great watercolorists, another one of whom was Richard Parkes Bonington. With Bonington there is a bit of a twist to the story, as he lived most of his life in France though he was born of British parents. That fact allowed his work to be included in the 2009 exhibition, Corot to Monet, French Landscape Painting, held at the National Gallery in London. Bonington’s life like that of Thomas Girtin was short (1802-1828). However, at the time of his death, he was one of the most influential English artists, especially since he was also counted as a French artist who brought English influences into French Romantic painting.
Bonington, pictured here in a portrait by Margaret Sarah Carpenter, actually learned his watercolor techniques from studying the works of Thomas Girtin. Perhaps a trace of that training can be seen in the nuances in the handling of the sky in the painting above. His creation of the choppy seas shows skillful usage of tonal variations and the contrast between dark and light to create depth.
Eugene Delacroix (1798 – 1863) first met Bonington in 1817 in Paris, though in 1825 they were known to go plein air painting and even shared a studio for a time. Of Bonington, Delacroix said in a letter, “…no one in this modern school, and perhaps even before, has possessed the lightness of touch, which, especially in watercolors, makes his work a type of diamond that flatters and ravishes the eye…” See the full quote here: www.en.wikipedia.org
So with those wonderful words of compliment from Delacroix, we all must take a look at watercolor with a new vision and one that does not make it play second fiddle to oils. No, painting in watercolor is a world in and of itself and not just for “coloring.”
All works of art used in this art history discussion are in Public Domain.
Marjorie Vernelle is an artist, writer, college professor and traveler. For more see the Pages at ofartandwine.com.
Chablis is not Chardonnay’s less pretty step-sister.
Just look at this beautiful picture. Would anyone doubt that there would be fine wine found here? Well, of course, there is good wine here, and it bears the name of this lovely town. However, there is something about Chablis that relates to the title above. It is a wine whose Appellation d’origine controlée requires it to be made only from Chardonnay grapes. So what is the difference between Chablis and its more honored relative Chardonnay? Well, it all has to do with climate and soil. Chablis is produced in northern Burgundy with the best vineyards being on the southwestern slope of hills just north of the town of Chablis. The cooler climate there influences the taste of the grapes that go into the wine and makes them distinct from Chardonnay grapes grown further south in a milder climate. As well, the “terrain” that the grapes grow in is made of clay and chalk, yes, chalk like what the sea cliffs in Normandy and Dover are made out of. This combination produces a dry wine with a flinty or even steely note.
Sometimes Chablis has been called the purest Chardonnay since it is generally made only from Chardonnay grapes. Yet there is a bit of a hangover from the 1980s jug-style Chablis that left people thinking of Chablis as some kind of country cousin to Chardonnay. In fact, Chablis has several distinctive qualities that set it apart. It lends toward dryness rather than to the fruitiness of Chardonnay. It is normally unoaked as it is produced in steel containers, which gives it a light taste that goes well with light fair that is not extremely rich; grilled shrimp is a good example. The good stuff also really has to come from Chablis in France, rather like Champagne comes from the eponymous region there. To get an idea of what goes into creating it, look at this information from Domaine Laroche.
Domaine Laroche is one of France’s premier producers of Chablis and as is common with many of the most celebrated wine producers there is a connection with a religious order. The abbots of Saint Martin started making wine in Chablis in the walls of a monastery called L’Obédiencerie in 867, starting the long tradition of producing Chablis and fine Chardonnay. Since the French Revolution, it has been a private property, but its fine wine making traditions continue. larochewines.com
Four appellations of Chablis exist. The Petit Chablis is very light, good to use as an apéritif or to take on a picnic. It should be served cold, around 45 degrees F. Chablis, which is the most commonly accessible appellation, is very versatile but especially good with seafood like oysters, and with goat cheeses or even with a salad and chicken pot pie. Chablis Premier Cru is fuller bodied but still light compared to a rich oaked Chardonnay. Again it is an excellent choice for seafood, oysters and/or oyster stew, scallops or chicken sautéed in white wine – of course, you would choose Chablis. Both Chablis and Chablis Premier Cru need a bit of a chill, around 50 degrees F. Finally there is Chablis Grand Cru. This is for when you go all out on expense and have it (pricey) with lobster, foie gras, or dishes with rich creamy sauces. This one can be served a bit warmer than the others at 57 degrees F.
So when looking for a really pure experience of the Chardonnay grape, the best bet is to get a good Chablis.
Now in these times of limited travel, it might just be a good time to get your wine-tasting experiences through a wine club. Here I invite you to look at Cellars Wine Club, which has a plan for every budget, free shipping, and a “no bad bottle” return policy. You can take a look here by clicking on the Cellars Wine Club page in the right column or go directly CellarsWineclub.com
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©marjorie vernelle 2020
Coming Soon on Of Art and Wine: The Hand as a Work of Art and Chianti.
Hands as we know are very important in everyday life, and that means in paintings, too. From the first print of a cave man’s hand left on the cave wall he had painted with wild animals, right down to contemporary versions of the hand, the human hand as seen in art is a rich subject to explore. And what goes better with a Tuscan painter like Leonardo than an exploration of Chianti, Tuscany’s very own red wine.