Page:Dictionary of Artists of the English School (1878).djvu/492

 WIL

He also painted among his friends a few small portraits and miniatures.

His ambition was then aroused. He had sold bis ' Pitlessie Fair/ for 25/., and probably added to this sum by his por- traits; and, determining to try his fortune in London, he started from Leith by sea in May, 1805. On his arrival, his first object was to secure admission to the schools of the Royal Academy. He added to his means by selling for 61. a small pic- ture of 'The Recruit/ While continuing zealously his Academy studies, he com- pleted for the next year's exhibition his

sale, and the interest which it excited on the Academy walls, he set to work on ' The Blind Fiddler/ a commission for 50/., and now in the National Gallery. He then painted, also on commission, his 'King Alfred m the Herdsman's Cottage/ which did not add to his growing reputation. But, returning to a more congenial subject, he produced nis characteristic picture of
 * Village Politicians/ and, stimulated by its

in 1809 was elected an associate of the Academy.
 * The Rent Bay/ sold for 300 guineas, and

He had just completed his 24th year, and was already famed in art when he began his 'Village Festival/ also in the National Gallery. This picture was studied with great care, and, both in execution and the treatment of his subject, evinces a very marked improvement; the groups are well composed, and the varied characters true to nature. It was not completed in time for the Academy exhibition of 1811, and though only weakly represented, the reput- ation he had already earned gained nim his election as academician in that year. In 1812 he made an exhibition of 29 of his own works and sketches in Pall Mall, when his 'Village Festival' was first shown to the public; but his exhibition did not suc- ceed—he did not realise his expenses. In weak health, and with his new honours, he now paid a visit to his family, and in 1814 made his first visit to the continent, pass- ing five or six weeks in France in the study of the collections of art in the Louvre, then so rich. On his return he produced his 'Distraining for Rent/ followed by the 'Penny Wedding' in 1819, and in 1820 the * Reading the Will,' which greatly added to Ins reputation. In 1822 he completed in time for the exhibition his 'Reading the Gazette of the Battle of Waterloo/ a commission from the Duke of Wellington, a work almost historical, and the attraction of the year; and the next year, for George IV., 'The Parish Beadle/ in which his early art and manner culminated.

On the King's royal progress to Edin- burgh, Wilkie went to the Scots' capital to find a subject in connexion with the event,

WIL

and the office of King's Limner for Scot- land falling vacant at the time, he was ap- pointed to it. He proposed to paint ' The Entrance of the King/ and his Majesty, approving the choice, sat to him — but the attendant courtly sitters troubled him sadly, many incongruities presented themselves, and the work proceeded but slowly. Mean- while domestic troubles and anxieties gathered round him, and weighed sorely on his sensitive mind; added to these, about 1825, he lost a considerable sum which he had invested in some speculation connected with a publishing house. Under these trials his health again failed, and he sought its restoration in foreign travel and an entire cessation of his art labours. He set out in 1825 for Paris, and, joined there by a cousin, travelled on to Italy. At Florence his painter friends, Hilton and Phillips, were added to the party, and by easy journeys they made their way to Rome. His health had somewhat im-

E roved, but the fever of admiration excited y the great works at Rome, added to further accounts of pecuniary losses, again threw him back. He visited Naples, Bologna, and Venice, and from thence went to Germany, seeing Dresden, Prague, and Vienna, and then returning to spend the winter in Italy, and, slowly recovering in health, he again took up his palette.

He had altered his style by the study of the old masters, and painted in a larger, bolder manner; he sought to make his pic- tures more effective, and to attain greater rapidity of execution. Having arrived at Geneva on his way home, he changed his mind after a short stay there, deter- mining to see Spain. He arrived at Madrid in October 1827, painted several pictures, and made many sketches and studies, re- turning to London in the spring of 1828, highly satisfied with his visit. His enthu- siastic study of Velasquez confirmed him in his new manner, and the pictures paint- ed in Madrid and on his return seem to have been completed at once. They are fine in general effect and tone, and have a Spanish air about them. Of these we may mention 'The Guerilla Council of War/ 'The Guerilla Taking Leave of his Con- fessor/ ' The Maid of Saragossa/ and ' The Confessional.' When these pictures were exhibited, the public lamented his early art and the class of domestic stories, all his own, on which his fame is founded. But, though startled by the sudden change, many beauties will be found in his latter works? which, too, give him claims to historic art.

In 1830 he completed his ' Entry of the King into Holyrood/ but it added nothing to his reputation. The same year the President of the Academy died, and many thought that Lawrence would be succeeded

471