Английская Википедия:Edward Thomas Daniell

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Шаблон:Short description Шаблон:EngvarB Шаблон:Use dmy dates Шаблон:Infobox artist

Edward Thomas Daniell (6 June 1804Шаблон:Snd24 September 1842) was an English artist known for his etchings and the landscape paintings he made during an expedition to the Middle East, including Lycia, part of modern-day Turkey. He is associated with the Norwich School of painters, a group of artists connected by location and personal and professional relationships, who were mainly inspired by the Norfolk countryside.

Born in London to wealthy parents, Daniell grew up and was educated in Norwich, where he was taught art by John Crome and Joseph Stannard. After graduating in classics at Balliol College, Oxford, in 1828, he was ordained as a curate at Banham in 1832 and appointed to a curacy at St. Mark's Church, London, in 1834. He became a patron of the arts, and an influential friend of the artist John Linnell. In 1840, after resigning his curacy and leaving England for the Middle East, he travelled to Egypt, Palestine and Syria, and joined the explorer Sir Charles Fellows's archaeological expedition in Lycia (now in Turkey) as an illustrator. He contracted malaria there and reached Adalia (now known as Antalya) intending to recuperate, but died from a second attack of the disease.

Daniell normally used a small number of colours for his watercolour paintings, mainly sepia, ultramarine, Шаблон:Not a typo and gamboge. The distinctive style of his watercolours was influenced in part by Crome, Шаблон:Nowrap and John Sell Cotman. As an etcher he was unsurpassed by the other Norwich artists in the use of drypoint,Шаблон:Sfn and he anticipated the modern revival of etching which began in the 1850s. His prints were made by his friend and neighbour Henry Ninham, whose technique he influenced. His paintings of the Near East may have been made with future works in mind.

Background

Шаблон:Further

Portrait of Daniell's teacher, John Crome
John Crome, whose pupils included Edward Daniell. Crome was the leading spirit of the Norwich School of painters.Шаблон:Sfn

Edward Daniell was associated with the Norwich School of painters, a regional school of landscape painters who were connected personally or professionally. Though mainly inspired by the Norfolk countryside, many also depicted other landscapes, and coastal and urban scenes.Шаблон:Sfn

The school's most important artists were John Crome, Joseph Stannard, George Vincent, Robert Ladbrooke, James Stark, John Thirtle and John Sell Cotman, along with Cotman's sons Miles Edmund and John Joseph Cotman. The school was a unique phenomenon in the history of 19th-century British art:Шаблон:Sfn Norwich was the first English city outside London which had the right conditions for a provincial art movement.Шаблон:SfnШаблон:Sfn It had more locally born artists than any other similar city,Шаблон:Sfn and its theatrical, artistic, philosophical and musical cultures were cross-fertilised in a way that was unique outside the capital.Шаблон:SfnШаблон:Sfn

Life

Early life and education

Edward Thomas Daniell was born on 6Шаблон:NbsJune 1804 at Charlotte Street in central London, to Sir Thomas Daniell, a retired attorney-general of Dominica, and his second wife Anne Drosier, the daughter of John Drosier of Rudham Grange, Norfolk.Шаблон:SfnШаблон:Sfn Sir Thomas' first wife, with whom he had a son Earle and a daughter Anne, died in London in 1792. Their daughter married John Holmes in Norfolk in 1802 and died in childbirth in 1805.Шаблон:Sfn[1][2] Her brother Earle was an officer in the 12th Dragoons by 1806.Шаблон:Sfn

portrait of mother
John Linnell, Mrs Daniell, Mother of the Artist E. T. Daniell (1835)Шаблон:Refn

Sir Thomas purchased land and slaves in the Leeward Islands, which were then part of the British Empire. His estates, including Шаблон:Convert at Dickenson Bay on Antigua, had been bought in 1779 from the family of his first wife.Шаблон:Sfn He retired and moved to the west of Norfolk,Шаблон:Sfn but his health deteriorated and he died of cancer in 1806, leaving a young widow and infant son.Шаблон:SfnШаблон:Refn He left his Dominican lands to her, and his Antigua estate to his adult son Earle, subject to him providing a guaranteed annual income of £300 to the family in Norfolk.Шаблон:Sfn Anne Daniell and her son moved to a house in St. Giles Street, Norwich.Шаблон:Sfn She died in 1836 aged 64, and was buried in the nave of St Mary Coslany.Шаблон:Sfn

Edward Daniell grew up with his mother in Norwich and was educated at Norwich Grammar School, where the drawing master was John Crome.Шаблон:SfnШаблон:Sfn He was involved in the art world at a young age; the brothers Thomas and Chambers Hall wrote to the artist John Linnell in 1822 about "our young friend Mr Daniells Шаблон:Sic who accompanied us to your house last week and who wishes to possess a drawing".Шаблон:Sfn

On 9 December 1823, aged 19, Daniell went to Balliol College, Oxford to read classics.Шаблон:Sfn He graduated in November 1828,[3] despite having neglected his studies in favour of art.Шаблон:Sfn In a letter to Linnell, he wrote: "I find that the examinations for which I am preparing next month require a closer application to my literary studies than I had imagined and that I must not attempt to 'serve two masters'."Шаблон:Sfn He was introduced to etching by Joseph Stannard, and during the holidays practiced at Stannard's studio in St. Giles Terrace, around the corner from his own house.Шаблон:SfnШаблон:Sfn He graduated with a Master of Arts on 25 May 1831.Шаблон:Sfn

Travels in Europe and Scotland

Daniell had the financial means to travel abroad to find subjects to paint,Шаблон:Sfn and during 1829 and 1830 he spent the months between his classics studies and his master's degree on a Grand Tour through France, Italy, Germany and Switzerland, producing scenic oil paintings and watercolours that the art historian William Dickes described as "well-centred performances, painted with a fluid brush, and revealing a delicate appreciation of tone".Шаблон:SfnШаблон:Sfn

etching Bridge at Toledo
Bridge at Toledo (Шаблон:Circa), Norfolk Museums Collections

The route Daniell took during his eighteen months on the Continent is revealed by the order of his paintings.Шаблон:Sfn His travels through Switzerland are reminiscent of those of the artist James Pattison Cockburn, who published his Swiss Scenery in 1820.Шаблон:Sfn In Rome and Naples he met the artist Thomas Uwins, who wrote: "What a shoal of amateur artists we have got here!Шаблон:Nbs... there is a Шаблон:Not a typo too come to judgement! Шаблон:Not a typo second Daniel!Шаблон:SndШаблон:Not a typo, I have gotten more substantial criticism from this young man than from anyone since Havell was my messmate."Шаблон:Sfn

Daniell may also have visited Spain, as his etchings of the country were copied by the Norwich artist Henry Ninham, but there is no direct evidence he went there. It is possible he returned home in time for the funeral of Joseph Stannard, who died from tuberculosis on 7Шаблон:NbsDecember 1830, agedШаблон:Nbs33.Шаблон:Sfn

In the summer of 1832, Daniell went on a walking trip in Scotland, accompanied by two contemporaries from Oxford, George Denison and Edmund Walker Head.Шаблон:Sfn The trip provided him with subject material Шаблон:Sfn and influenced his use of drypoint etching, as he was able to study the work of etchers such as Andrew Geddes.Шаблон:Sfn In The Etchings of E. T. Daniell, Jane Thistlethwaite wrote that his Scottish scenes "testify in their subjects to his enthusiasm for the beauties of Scotland and in their technique to his almost certain acquaintance with the Scottish etchers".Шаблон:Sfn

Church career

print: New Church, Mayfair
St. Mark's, North Audley Street, as it appeared in the 1830s

On 2 October 1832 Daniell was ordained in Norwich Cathedral as a deacon, and three days later was licensed as the curate of the parish church at Banham, a post he held for eighteen months.Шаблон:Sfn Letters to John Linnell show he felt a need to increase his income during this period in his life.Шаблон:Sfn Little is known of his career as a Norfolk curate, but the Banham registers, all of which have been preserved, show he led an active life in the parish. He continued to etch at this time, and in Thistlethwaite's view whilst there produced his "loveliest and most sophisticated plates".Шаблон:Sfn

On 2 June 1833, Daniell was ordained to the priesthood, but continued as the curate at Banham until 1834. That year he was appointed to the curacy of St. Mark's, North Audley Street in London, and took rooms in Park Street, Mayfair.Шаблон:SfnШаблон:Sfn He also worked at St. George's Hospital but, as with his curacy at St. Mark's, no official records of his employment have survived.Шаблон:Sfn In a letter written in 1835 to his Oxford tutor Joseph Blanco White, Daniell wrote: "You probably, thought I was haranguing the plough-boys in Norfolk, and you find me among the Dons of Grosvenor Square, and having to preach (as I must) next Wednesday at St. George's, Hanover Square. I wish you would come and give me some assistance."Шаблон:Sfn In about 1836 he moved to rooms in Green Street, near Grosvenor Square and close to St. Mark's, living there until his departure for the Holy Land in 1840.Шаблон:Sfn

The outer shell of Norwich Castle's keep was refaced in Bath stone from 1834 to 1839, replicating the original blank arcading.[4] Daniell was among those who strongly opposed the proposed refacing. Letters written from London show that he had not forgotten this contentious issue. He planned a plate of Ninham's drawing of the castle as a gesture of his opposition to the project,Шаблон:Sfn informing the antiquary Dawson Turner that "I have had a very beautiful drawing made of it, and I mean to etch it the size of the drawing." His etching of the old keep was never completed.Шаблон:Sfn

Tour of the Near East

At some date after June 1840,Шаблон:Sfn perhaps inspired by the Scottish painter David Roberts who had travelled to Egypt and the Holy Land to find landscapes to depict,Шаблон:Refn Daniell resigned his curacy and left England to tour the Near East.Шаблон:Sfn He arrived in Corfu in September 1840.Шаблон:Sfn Although Roberts' paintings of the Middle East are thought to have compelled him to tour abroad, he had also been told of recent discoveries in Lycia (now part of modern Turkey) by the explorer Charles Fellows.Шаблон:Sfn

painting: Nablous, Jordan
Nablous, Jordan (1841), Yale Center for British Art

Daniell was in Athens by the end of the year, and sailed to Alexandria early in 1841. He travelled up the Nile to Nubia, and then from Egypt to Palestine, on a route that took him past Mount Sinai. He reached Beirut in October 1841.Шаблон:Sfn

He met Fellows in the Turkish city of Smyrna and joined his expedition, boarding HMS Beacon, a ship sent by the British Government to convey home antiquities recently discovered by Fellows at Xanthos.Шаблон:Sfn During the expedition 18 ancient cities were located.Шаблон:Sfn After spending the winter at Xanthos, Daniell chose to remain in Lycia to help survey the region, in company with Thomas Abel Brimage Spratt, a lieutenant in the Royal Navy, and the naturalist Edward Forbes.Шаблон:Sfn Spratt was responsible for researching the area's topography and Forbes its natural history; Daniell was to make records of any discoveries.Шаблон:Sfn In Lycia he produced a series of watercolours, of which Laurence Binyon said, "What strikes one most at first is the astonishing air of space and magnitude conveyed, the fluid wash of sunlight in these towering gorges and open valleys."Шаблон:Sfn

painting – coast off Cypress
Larnaka, Cypress, from the Sea (1842), British Museum

In March 1842, Fellows left for London on HMS Beacon, in order to obtain bigger ships for transporting the antiquities back to England.Шаблон:Sfn Daniell travelled to Selge, sketching and exploring its ruins.Шаблон:Sfn He made copies of inscriptions from monuments in Cibyratis, Pisidia and Pamphylia,Шаблон:Sfn and visited Sillyon, Marmara, Perga and Lyrbe.Шаблон:SfnШаблон:Refn His original drawings are now lost, but they were later published in Travels in Lycia, Milyas, and the Cibyratis, in company with the Late Шаблон:Nowrap, and his notes were transcribed (inaccurately) by Samuel Birch at the British Museum. Birch's collection contains a single page of Daniell's original manuscript.Шаблон:Sfn

The expedition arrived at Adalia (now known as Antalya) in April 1842. Spratt and Forbes left the city before Daniell, who travelled overland after meeting the Pasha.Шаблон:Sfn He then visited Cyprus and painted a watercolour of the island, possibly while anchored off shore.Шаблон:Sfn The author Rita Severis has compared his painting with the watercolours of Turner, whom he was known to admire. In her book on artistic representations of the island from 1700 to 1960, she wrote: "The interplay of the blue sea and the sandy colour of the landШаблон:Sndwhich is repeated successfully in the foreground of the pictureШаблон:Sndaccentuates the distance between the viewer and the land while simultaneously increasing the desire to look more closely and attentively at the subject."Шаблон:Sfn

Death

In late May 1842 the ships Шаблон:HMS and Media arrived and Daniell accepted an offer of a passage to England.Шаблон:Sfn In June he left Rhodes to return to Lycia and rejoin Forbes and Spratt,Шаблон:Sfn but he missed his shipШаблон:SndMonarch and Media had set sail the previous dayШаблон:Sndand was forced to amend his plans.Шаблон:Sfn There was a chance to return to Rhodes by caïque and join the returning ships,Шаблон:Sfn but he instead travelled to Adalia with the newly-appointed consul for the city, John Purdie. During the journey Daniell became feverishly ill with malaria,Шаблон:SfnШаблон:Sfn contracted, according to Forbes and Spratt, "by lingering too long among the unhealthy marshes of the Pamphylian coast".Шаблон:Sfn

photograph: Norwich plaque to Daniell
Plaque in St. Mary Coslany Church, Norwich

He stayed at Purdie's residence to recuperate,Шаблон:Sfn and wrote to Forbes and Spratt describing his discoveries at Apollonia and Lyrbe.Шаблон:Sfn Before he had fully recovered he left the city to undertake a solitary expedition to Pamphylia and Pisidia, travelling during the hottest part of the year.Шаблон:Sfn He was forced back to Adalia after suffering a second attack of malaria,Шаблон:Sfn and at Purdie's house dictated what was to be his last letter, which expressed his intentions to continue his work.Шаблон:SfnШаблон:Refn He lost consciousness after sleeping whilst exposed to the heat of the day on the front terrace of Purdie's residence, and died a week later, on 24 September. He was buried in the city.[5]Шаблон:Refn The Norfolk historian Frederick BeechenoШаблон:Sfn wrote in 1889 that Daniell was "buried beneath an ancient granite column in the court of a Greek church in the centre of the town of Adalia".Шаблон:Sfn

Forbes paid tribute to his friend Daniell, writing that his illness "destroyed a traveller whose talents, scholarship, and research would have made Lycia a bright spot on the map of Asia Minor, and whose manliness of character and kindness of heart endeared him to all who had the happiness of knowing him".Шаблон:Sfn

A memorial was placed near his tomb in Antalya "by his affectionate and grieving relatives".Шаблон:Sfn Another memorial can be seen in Norwich, on the wall of the church of St. Mary Coslany. His will is preserved in the National Archives at Kew.[6]

Friends and associates

sketch of Daniell
Portrait of the Rev Шаблон:Nowrap by John Linnell (pencil on paper, undated), Norfolk Museums Collections

Many of Daniell's etchings were printed in Norwich by Henry Ninham, who lived a short distance from Daniell's house on St. Giles Street.Шаблон:Sfn His friendships with Ninham and Joseph Stannard may have begun at school.Шаблон:Sfn

Daniell was an active patrons of the artsШаблон:Sfn and held regular dinner parties and other gatherings at his London home.Шаблон:Sfn It became a resort of painters including John Linnell, David Roberts, William Mulready, William Dyce, Thomas Creswick, Edwin Landseer, William Collins, Abraham Cooper, John Callcott Horsley, Charles Lock Eastlake, Шаблон:Nowrap and William Clarkson Stanfield. Alfred Story, Linnell's biographer, described Daniell's home as "a treasure-house of art, (which) comprised works by some of the best painters of the day".Шаблон:SfnШаблон:Sfn

One of Daniell's pupils was the writer Elizabeth Rigby, who remembered him as the "old friend" who had introduced her to etching and admired her drawings. In 1891 she wrote: "My recollection of his face was that of one of the openest that could be seenШаблон:Snda superb forehead, and splendid teeth, which showed themselves with every smile, and no one smiled and laughed more genially."Шаблон:Sfn

John Linnell

portrait of John Linnell
John Linnell (self portrait)

Daniell first met the artist John Linnell while he was at Oxford. Linnell asked him to promote the sale of Illustrations of the Book of Job by the artist and poet William Blake, who was Linnell's great friend.Шаблон:Sfn Daniell commissioned him to produce the painting now known as View of Lymington, the Isle of Wight beyond for the price of thirty guineas. At a later date, he exchanged it for Boy Minding Sheep, paying the difference of twenty guineas. In 1828 Linnell made a portrait miniature of Daniell and taught him how to paint in oils.Шаблон:SfnШаблон:Sfn

They corresponded regularly and Linnell was a frequent guest at Daniell's rooms in London.Шаблон:Sfn Daniell encouraged him to complete his St. John the Baptist Preaching in the Wilderness (1828–1833), offering to buy it himself if it did not sell. When the painting was exhibited in 1839 at the British Institution, it helped to enhance Linnell's reputation as an artist.Шаблон:Sfn

Before leaving for the Middle East, Daniell commissioned a portrait of J. M. W. Turner from Linnell. Turner had previously refused to sit for the artist, and it was difficult to get his agreement to be portrayed. Daniell positioned the two men opposite each other at dinner, so Linnell could observe Turner carefully and portray his likeness from memory. Due to Daniell's death, the completed painting was never delivered.Шаблон:Sfn

When Linnell's painting Noon was rejected by the Royal Academy in 1840, Daniell came to his friend's assistance. The picture was taken to Daniell's house and hung above the fireplace, where it was admired by his dinner guests, including two members of the Academy. Daniell reprimanded them, saying "You are a pretty set of men to pretend to stand up for high art and to proclaim the Academy the fosterer of artistic talent, and yet allow such a picture to be rejected!"Шаблон:Sfn

J. M. W. Turner

portrait of J. M. W. Turner
J. M. W. Turner, painted from memory by Linnell

Daniell's friendship with Turner, whom he first met in London, was short but intense. He was a regular guest at Daniell's gatherings and dinner parties, and they quickly became close friends.Шаблон:Sfn He was considered by Daniell's circle of artists to be their doyen.Шаблон:Sfn Beecheno, in his Шаблон:Nowrap: a memoir, recalled that on one occasion Turner was asked his opinion of Daniell's work. "Very clever, Sir, very clever" was the great master's dictum, delivered in his usual blunt way."Шаблон:Sfn Elizabeth Rigby wrote of Daniell:Шаблон:Sfn Шаблон:Blockquote

Roberts wrote that Daniell "adored Turner, when I and others doubted, and taught me to see and to distinguish his beauties over that of othersШаблон:Nbs... the old man really had a fond and personal regard for this young clergyman, which I doubt he ever evinced for the other."Шаблон:Sfn

He may have helped Turner spiritually. His biographer James Hamilton writes that he was "able to supply spiritual comfort that Turner required to help him fill the holes left by the deaths of his father and friends and to ease the fears of a naturally reflective man approaching old age".Шаблон:Sfn The old artist is known to have mourned Daniell's early death deeply, saying repeatedly to Roberts that he would never form such a friendship again.Шаблон:Sfn Roberts later wrote: "Poor Daniell, like Wilkie, went to Syria after me, but neither returned. Had Daniell returned to England, I have reason to know, from Turner's own mouth, he would have been entrusted with his law affairs."Шаблон:SfnШаблон:Refn

Turner's romantic style is approached by Daniell's watercolours painted during his travels abroad. Coincidentally, Turner toured Switzerland in 1829, visiting sites Daniell had earlier depicted.Шаблон:Sfn

Works and artistic style

Шаблон:See also

landscape entitled Bonneville
Bonneville (1829), pencil and brown wash on paper, Norfolk Museums Collections

As the son of a baronet, Daniell was of a higher social class than his Norwich School contemporaries.Шаблон:Sfn He lived during a time when "it was not suitable for young gentlemen to become artists",Шаблон:Sfn and his private income and position as a curate meant he was to remain an amateur artist throughout his life;Шаблон:Sfn in a letter to Rigby, he referred to himself as a "tree and house sketcher".Шаблон:SfnШаблон:Sfn

The writer Derek Clifford believed Daniell's distinctive style was influenced by the methods of John Sell Cotman, an artist Daniell deeply admired,Шаблон:Sfn but the art historian Andrew Moore writes that "his artistic influences are not readily established,"Шаблон:Sfn and Searle notes that he had an "assured individuality that recalls no one else".Шаблон:Sfn The historian Josephine Walpole, who believes Daniell's talent has yet to be properly recognised, has praised his ability to "create a sense of space, a feeling of heat or cold, of poverty or plenty, with apparent lack of effort".Шаблон:Sfn

In 1832 Daniell exhibited a number of his own pictures of scenes in Italy, Switzerland and France with the Norwich Society of Artists, which were favourably commented upon by the Norwich Mercury. During the sole instance of an exhibition of his works with the Society,Шаблон:Sfn he showed Sketch from Nature, Lake of Geneva, from Lausanne, painted on the spot. Ruins of a Claudian Aqueduct, in the Campagna di Roma, and Ruined Tombs, on the Via Nomentana, Rome, painted on the spot.Шаблон:Sfn

He served on bodies involved with the arts,Шаблон:Sfn becoming a Fellow of the Geological Society of London in 1835,Шаблон:Sfn and a committee member of the Society for the Encouragement of British Art in May 1837.Шаблон:Sfn

Oils and watercolours

oil painting of mountains
Sketch for a Picture of the Mountains of Savoy from Geneva (oil on canvas, 1839?), Norfolk Museums Collections

Daniell's oil paintings generally depicted subjects encountered on his continental travels, and he showed them at annual exhibitions in London.Шаблон:Sfn He was an honorary exhibitor with the Royal Academy, showing four pieces there: Sion in the Valais (1837); View of St. Malo (1838); Sketch from a picture of the Mountains of Savoy from Geneva (1839); and Kenilworth (1840), as well as four pictures at the British Institute (The Temple of Minerva (1836); Ruins of the Campagna of Rome (1838); Meadow scene (1839); and The Lake of Geneva, from near Lausanne (1840)).Шаблон:SfnШаблон:SfnШаблон:Sfn

His watercolours draw from a deliberately limited palette, exemplified by the paintings from his tours of the Middle East, where he used sepia, ultramarine, Шаблон:Not a typo and gamboge, with details emphasised using bistre, burnt sienna or white.Шаблон:Sfn The 120 large sketches at Norwich Castle and the further 64 at the British Museum may have been made in preparation for future works that were never made.Шаблон:Sfn

Daniell's watercolours have been highly praised by art historians. They were described by Hardie as "the perfection of free sketching".Шаблон:Sfn Binyon described them as showing him "at the height of his subject",Шаблон:Sfn and according to Andrew Hemingway, some of them are "magnificent".Шаблон:Sfn In Moore's opinion, Daniell's "fluid, sensitive use of washes", testified by his early Bure Bridge, Aylsham,Шаблон:Sfn ranks him alongside William James Müller and David Roberts,Шаблон:Sfn and the drawings produced on his last tour "reveal a vision that emulates that of David Roberts and exceeds that of Edward Lear".Шаблон:SfnШаблон:Refn Clifford identified Daniell's distinctively bold style and sense of draughtsmanship,Шаблон:Sfn but pointed out what he saw as weaknesses in some of the watercolours: a “fear” of using colour, the emptiness of some of the panoramic views, and an unsuitable use of coloured paper.Шаблон:Sfn

Walpole sees Daniell's watercolours as having a style that "is all his own"Шаблон:Sndfreely drawn, ambitious and "having a powerful feeling for the atmosphere of the landscape". She notes how his delicate outlines and distinctively varied tones convey a sense of space and give an illusion of detail, citing Interior of Convent, Mount Sinai as a watercolour that expresses to her all that is best about Daniell's "understated artistry".Шаблон:Sfn

Etchings

Daniell's 52 attributed etchings,Шаблон:Sfn though small in number and not exhibited during his lifetime, are the basis for his reputation as an artist.Шаблон:SfnШаблон:Sfn In 1899, Binyon considered his etchings to beШаблон:Sndfrom a historical point of viewШаблон:Sndthe most remarkable of his works, anticipating with their freedom of line the etching revival personified later in the century by Seymour Haden and James Abbott McNeill Whistler.Шаблон:Sfn Malcolm Salaman, writing in the 1910s, observed:Шаблон:Sfn

etching: View of Whitlingham
View of Whitlingham (1827), British Museum. "His View of Whitlingham, full of light and air, proves him to be in the direct line of the masters." (Salaman, The Studio, 1914)

Шаблон:Blockquote

Martin Hardie asserted: "If only more proofs from his fine plates been made available for collectors and museums he would be more readily placed among the great etchers of the world."Шаблон:Sfn Miklos Rajnai, a Keeper of Art at Norwich Castle Museum, compared Daniell's skill as an etcher with John Crome and John Sell Cotman.Шаблон:Sfn The British art historian Arthur Hind said the etchings "anticipated far more than nearly anything of Crome or Cotman the modern revival of etching".Шаблон:Sfn

Daniell's first attempts at etching were made with Joseph Stannard in February 1824. The style of his earliest works were influenced by Stannard,Шаблон:Sfn but he later became more affected by the works of J. M. W. Turner.Шаблон:Sfn Three distinct groups of etchings can be identified: those produced in Norfolk, including Flordon Bridge, his masterpiece from his early years; a more grandiose group of etchings made during his tours of Scotland and the continent; and those made during his curacy at Banham, which includes his most assured work of this period, Whitlingham Lane near Trowse.Шаблон:Sfn He stopped etching after his move to London.Шаблон:Sfn Although his Norfolk prints are mostly landscapes, they were intended to be artistic rather than topographically accurate, and any figures were used simply to indicate the scale of the landscape they were set in.Шаблон:Sfn

Daniell later employed a looser style, moving away from Stannard and towards that of Andrew Geddes and other Scottish etchers, whose output he almost certainly first saw while in Scotland during the summer of 1831.Шаблон:Sfn His was outstanding in the use of drypoint, strengthening his design by using the needle's point to create a burr in the plate. The burrs allowed the ink to collect, producing a darker tone in some of his prints.Шаблон:Sfn Thistlethwaite views the large drypoint etchings and Norfolk landscapes made after 1831 as being "supremely independent and for his time unique", once he had moved away from the traditional style of etchers like Geddes.Шаблон:Sfn He is thought to have introduced drypoint etching to his Norwich peers; both Thomas Lound and Henry Ninham etched in this way after 1831, producing works of a quality approaching Daniell's own.Шаблон:Sfn

Legacy

Most of Daniell's works form part of the Norfolk Museums Collections, or are held at the British Museum, which obtained some of them before 1852 and purchased his prints as early as 1856.The original impressions are generally held in public collections. Binyon's biographical article appeared in 1889. Шаблон:Sfn

Although none of Daniells' etchings were exhibited or published during his lifetime, some were given to friends. They were first shown in public in 1891 in a Norwich Arts Circle exhibition.Шаблон:Sfn In 1882, the economist Inglis Palgrave wrote Twelve Etchings of the Rev. E. T. Daniell,Шаблон:Sfn and 24 copies of the book were printed, one of which is at the Victoria & Albert Museum. The book was never published.[7] In 1921, Hardie delivered a lecture to the Print-Collectors' Club in which he discussed Daniell's plates.Шаблон:Sfn He has described them as "full of interest and technical value, and at the same time curiously modern in their spirit", adding of him: "He reaches a very high level of refined thought and execution in his Borough Bridge."Шаблон:Sfn

Daniell's Middle East landscapes have provided important documentary evidence of the region during the 1840s.Шаблон:Sfn His works were exhibited at Aldeburgh in 1968,Шаблон:Sfn and at From Norfolk to Nubia: The Watercolours of E.T. Daniell, an exhibition held at Norwich Castle in 2016.[8][9]

Notes

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References

Шаблон:Reflist

Bibliography

External links

Шаблон:Commons category

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  1. ↑ John Jun. Holmes in "Bishop's transcripts for the Archdeaconry of Norfolk, 1686–1941", FamilySearch (John Jun. Holmes). Citing Bishop's transcripts for the Archdeaconry of Norfolk, 1686–1941. Шаблон:Registration required
  2. ↑ Шаблон:Cite news Шаблон:Subscription or libraries
  3. ↑ :* Шаблон:Cite news Шаблон:Subscription or libraries
  4. ↑ Шаблон:Cite web
  5. ↑ Шаблон:Cite journal
  6. ↑ Шаблон:Cite web
  7. ↑ Шаблон:Cite web
  8. ↑ Шаблон:Cite web
  9. ↑ Шаблон:Cite web
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