Paul Sandby at the Royal Academy

Paul Sandby at the Royal Academy

10 March, 2010
by: Gina Louise

The Royal Academy puts on a major show of work by the "father of English watercolour". Gina Mortlock is impressed.

Paul Sandby is often thought of as "the father of English watercolour", but he is in fact a man of many talents. There is more to the man than the moniker: he is an etcher, a sketcher (no, not like your old childhood favourite), a painter and a mapmaker.

The Royal Academy have put on an exhibition entitled Picturing Britain, A Bicentenary Exhibition that best depicts his portrayal of Britain. His ability to define a whole nation with his work is astounding; he manages to cover all aspects of British life – rural and urban, from affluence to pauperism – with great historical and geographical accuracy.
 
The first section of the exhibition, ‘Picture-Making’, shows how Sandby developed his artistic skills through his employment in the Board of Ordnance. The topographical nature of this work advanced his panoramic abilities, and the delicate and accurate pen strokes paved the way for his later etchings, which are displayed in the adjoining room. They are mainly portraits of a myriad of characters from eighteenth-century Britain, and range from the fishmonger to the prostitute. He seems fixated on the extremities of form: many of his subjects are deformed or suffering from a bout of madness, and are reminiscent of Borther’s Grimm illustrations.
 
These portraits are interestingly contrasted to those in the next room, which depict wealthy holiday-makers in picturesque locations, painted in lavish colours on vast canvases. Yet in both sections Sandby plays with light and shadow, often using a lantern within the painting to draw attention to a scene, or to illuminate the realism of the work.
 
But, being the 'father of watercolour', there are sure to be a few trump cards hiding just round the corner. And as suspected, they are, for the most part, stunning. ‘Horse Fair on Bruntsfield Links, Edinburg’ is an example of just how meticulously Sandby paid attention to detail. Though the features of the figures in the forefront are flawless, the background does not suffer as a result.
 
Perhaps the most remarkable aspect of these paintings is his ability to distinguish the contours of buildings, evident most palpably in ‘Views of South Wales’. Both this, and Sandby’s particular infatuation with the reflection of light in his paintings gives an immense sense of realism to his work, whilst still retaining a slightly surreal edge. Many of his paintings evoke a nostalgia in me, of C S Lewis’ ‘Voyage of the Dawn Treader’, where the protagonist is sucked into the reality of the painting.
 
Sandby was also noted for his experimental nature, and often challenged the expectations of traditional watercolour work. It is evident in his work that he played with the opacity of his colours, and as his work progresses you can see notable changes. In retrospect, his earlier sketches are a little crude in comparison to his later works, which show either his growth as an artist or perhaps merely a change in style. Whilst his earlier depictions of trees are a little reminiscent of newspaper cartoons, his later efforts are remarkably better executed, and feature prominently in his ‘Estates’ collection, most evidently so in ‘View in Luton Park’.
 
Perhaps the most impressive point about Paul Sandby is his improvisation. He once burnt his bread, and instead of throwing it out, used the ashes as paint. This isn't necessarily the kind of innovative thinking that you'd expect from the "father of English watercolour", but this exhibition at the Royal Academy impressively highlights both Sandby's skill and his versatility.

Paul Sandby RA - Picturing Britain, A Bicentenary Exhibition is at the Royal Academy until 13th June 2010.

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Image credit: Paul Sandby RA (1731 - 1809): Picturing Britain, A Bicentenary Exhibition, 13 March 2010 to 13 June 2010, Key. 52  /  Cat. 51, Paul Sandby, View of the encampment in Hyde Park, c.1780, Pen, ink and watercolour over graphite, 290 x 471 mm, Birmingham Museums & Art Gallery

 

Gina Louise