328:. Both texture and composition were important in a "correctly picturesque" scene. The texture should be "rough", "intricate", "varied" or "broken", without obvious straight lines. The composition should work as a unified whole, incorporating several elements: a dark "foreground" with a "front screen" or "side screens", a brighter middle "distance", and at least one further, less distinctly depicted "distance". A ruined abbey or castle would add "consequence". A low viewpoint that tended to emphasise the "sublime" was always preferable to a prospect from on high. While Gilpin allowed that nature was good at producing textures and colours, he saw it as rarely capable of creating the perfect composition. Some extra help from the artist, perhaps a carefully placed tree, was usually required.
178:, it shows that Gilpin had already begun to develop his ideas on the picturesque. Unusually for the time, Gilpin showed an appreciation of wild and rugged mountain scenery, perhaps rooted in his Cumbrian upbringing. Even more unusually, he expressed ideas about the perception of beauty which were purely aesthetic and often divorced from other qualities of the object viewed, such as morality or utility. He is credited with helping to originate the idea of the “picturesque”, producing many pictures in this style. The British Museum holds 113 object of his including many of his drawings. Interestingly, an album of his paintings in the picturesque style was sold at Christie's in 2008 for nearly £10,000.
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400:, to develop Gilpin's ideas into more comprehensive theories of the picturesque and apply these more generally to landscape design and architecture. Ultimately, these grand theories of wild natural beauty gave way to the tamer, more commercialised picturesque of the mid-19th century, though Gilpin's works remained popular and several new editions appeared with additions by
335:, Gilpin included little history and few facts or anecdotes. Even Gilpin's descriptions can seem quite vague, concentrating on how scenery conformed to picturesque principles rather than its specifics. In a much-quoted passage, Gilpin took things to an extreme, suggesting that "a mallet judiciously used" might render the insufficiently ruinous gable of
185:
School. Perhaps influenced by the premature death of his great-uncle, Richard Gilpin (born 1664)“from a blow of his schoolmaster”, he was an enlightened educationalist, instituting a system of fines rather than corporal punishment and encouraging the boys to keep gardens and in-school shops. His
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tourists were intent on sketching, or at least discussing what they saw in terms of landscape painting. Gilpin's works were the ideal companions for the new generation of travellers; they were written specifically for them and not intended as comprehensive travel guides.
438:. Some of the profit from his writing went on good works in his parish, including the endowment of a school at Boldre that now bears his name. Many of the manuscripts of his tours, including unpublished or recently published material, are now housed in the
366:
Although he came in for criticism, Gilpin had published at exactly the right time. Improved road communications and travel restrictions in continental Europe produced a burst of
British domestic tourism in the 1780s and 1790s. Many such
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sought to exclude "drudgery and fear" through the use of play, outdoor activity and peer tutoring. Like Manson, Gilpin appears to have foreshadowed some of the experiments usually ascribed to the school of educationalists inspired by
232:, Hampshire, on 5 April 1804 and was buried there on 13 April. He was survived by his wife, Margaret (1725 – 14 July 1807), to whom he was married for over 50 years. His older son, John Bernard (1754-1851) became British Consul for
530:
Observations on several parts of the counties of
Cambridge, Norfolk, Suffolk, and Essex. Also on several parts of North Wales, relative to picturesque beauty in two tours, the former made in ... 1769, the latter in ...
544:
The life of
Bernard Gilpin: collected from his life written by George Carleton, bishop of Chichester, from other printed accounts of the times he lived in, from original letters, and other authentic records
261:. During the late 1760s and 1770s, Gilpin travelled extensively in the summer holidays and applied his principles to the landscapes he saw, committing his thoughts and spontaneous sketches to notebooks.
363:, notably refuses to join Mr. Darcy and the Bingley sisters in a stroll with the teasing observation, "You are charmingly group'd, and... the picturesque would be spoilt by admitting a fourth.")
254:, where he defined the picturesque as "that kind of beauty which is agreeable in a picture" and began to expound his "principles of picturesque beauty", based largely on his knowledge of
419:. This poor curate sets off on his straggly mare Grizzle in a quest for picturesque scenery, often (and usually to his discomfort) oblivious to the realities of the world around him.
155:, the son of Captain John Bernard Gilpin, a soldier and amateur artist. From an early age he was an enthusiastic painter, sketcher and collector of prints. However, while his brother
524:
Two essays: one on the author's mode of executing rough sketches; the other on the principles on which they are composed. To these are added, three plates of figures by S. Gilpin
488:
Observations, relative chiefly to picturesque beauty, made in the year 1772, on several parts of
England; particularly the mountains, and lakes of Cumberland, and Westmoreland
388:
Although Gilpin sometimes commented on designed landscapes, the picturesque remained for him an essential set of rules for depicting nature. It was left to others, notably
1004:
512:
Observations on the
Western parts of England, relative chiefly to picturesque beauty; to which are added a few remarks on the picturesque beauties of the Isle of Wight
600:
An exposition of the New
Testament, intended as an introduction to the study of the Scriptures, by pointing out the leading Sense and Connection of the sacred writers
518:
Observations on the coasts of
Hampshire, Sussex, and Kent, relative chiefly to picturesque beauty, relative to Picturesque Beauty, made in the Summer of the year 1774
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An essay on prints: containing remarks upon the principles of picturesque beauty; the different kinds of prints; and the characters of the most noted masters
1019:
1014:
700:
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Observations, relative chiefly to picturesque beauty, made in the year 1776, on several parts of Great
Britain; particularly the High-lands of Scotland
879:
Jean-RĂ©mi
Mantion, "Appendages. William Gilpin et la question du paysage', Q/W/E/R/TY (Presses Universitaires de Pau) n°10, Octobre 2000, p.147-161
500:
Remarks on forest scenery, and other woodland views (relative chiefly to picturesque beauty), illustrated by the scenes of New Forest in
Hampshire
482:
Observations on the River Wye, and several parts of South Wales, etc. relative chiefly to picturesque beauty; made in the summer of the year 1770
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Observations on the River Wye and several parts of South Wales, etc. relative chiefly to Picturesque Beauty; made in the summer of the year 1770
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Three essays: on picturesque beauty; on picturesque travel; and on sketching landscape: to which is added a poem, On landscape painting
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broad intention was to promote "uprightness and utility" and give his pupils "a miniature of the world they were afterwards to enter."
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Sermons to a country congregation; to which are added, a few hints for sermons, intended chiefly for the use of the younger clergy
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The lives of John Wicliff; and of the most eminent of his disciples; Lord Cobham, John Huss, Jerome of Prague, and Zisca
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cleric, schoolmaster and author. He is best known as a travel writer and as one of those who originated the idea of the
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Observations relative chiefly to Picturesque Beauty, Made in the year 1772 ..... Cumberland & Westmoreland
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225:. He was succeeded at Cheam by his second son, another William Gilpin (1757-1848, headmaster 1777–1805)
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Dialogue upon the gardens of the Right Honourable the Lord Viscount Cobham, at Stow in Buckinghamshire
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for giving a distant object too much detail. Such passages were easy pickings for satirists such as
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became a full-time professional painter, William opted for a career in the church, graduating from
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writing, Gilpin published several works on moral and religious subjects, including biographies of
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305:(London 1782). This was illustrated with plates based on Gilpin's sketches, etched by his nephew
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Gilpin stayed at Cheam until 1777, when he moved with his wife Margaret to become Vicar of
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202:, but there is no evidence that he (or Manson) was influenced by Continental theorists.
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Jean-Rémi Mantion, "William Gilpin et la beauté pittoresque", Critique n°766, Mars 2011
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The search for the picturesque: landscape aesthetics and tourism in Britain, 1760–1800
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Full text of his letter-writing manual, now edited by Alain Kerhervé and published
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Full text of his correspondence with his grandson William edited by Alain Kerhervé
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Moral contrasts; or, the power of religion, exemplified under different characters
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William Gilpin: Observations of the River Wye, and several parts of South Wales
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on the Lake District and the West of England, and after his move to Boldre,
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Gilpin's tour journals circulated in manuscript to friends such as the poet
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After working as curate, Gilpin became master, and from 1755 headmaster at
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236:. His two daughters, both Margaret, died in infancy (1756 & 1759).
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229:
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84:
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379:
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182:
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William Gilpin, by Henry Walton (died 1813). Clergyman and writer
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In pursuit of the picturesque: William Gilpin's Surrey excursion
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Gilpin's watercolour technique has been compared with that of
652:. Retrieved 20 March 2016 Oxford, UK: OUP, 2004, pay-walled.
189:
As an educator, he has been compared to his contemporary,
168:
A Dialogue upon the Gardens... at Stow in Buckinghamshire
799:
The Dictionary of British Watercolour Artists up to 1920
217:. While there he took as a child pupil the future poet
727:"The Eighteenth Century: Experiment and Enlightenment"
319:
Remarks on Forest Scenery, and other woodland Views...
562:
The life of Thomas Cranmer, archbishop of Canterbury
301:. In 1782, at Mason's instigation, Gilpin published
166:
While still at Oxford, Gilpin anonymously published
135:(4 June 1724 – 5 April 1804) was an English artist,
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ed. W. Jackson (1879), pp. 127–128. Quoted in ODNB.
407:Gilpin also lives on as the model for the satirist
114:
106:
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69:
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847:Francesca Orestano, "Gilpin and the Picturesque",
588:Lectures on the catechism of the Church of England
357:and other novels and works. (Elizabeth Bennet, in
339:more picturesque. In the same work he criticised
733:, London: Palgrave Macmillan UK, pp. 3–52,
331:Unlike other travel writers of his time such as
575:, Esq., Commander of his Majesty's Ship, Quebec
606:Three dialogues on the amusements of clergymen
445:Gilpin is one of eight travellers included in
413:Tour of Dr Syntax in Search of the Picturesque
824:, from the National Portrait Gallery, London
550:The life of Hugh Latimer, Bishop of Worcester
8:
221:. Another pupil was his nephew, the painter
16:English artist, cleric and author, 1724–1804
931:Digital facsimile of 1792 third edition of
872:Jean-RĂ©mi Mantion, "L'oeil pittoresque" ,
36:
20:
801:. Antique Collectors' Club. p. 144.
725:Stewart, W. A. C.; McCann, W. P. (1967),
936:, at the National Gallery of Art Library
770:A New Guide to Lymington, by a Resident
650:Oxford Dictionary of National Biography
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641:
639:
1005:Alumni of the Queen's College, Oxford
970:18th-century English Anglican priests
927:, with links to the places mentioned.
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773:. London: R. King. 1828. p. 62.
731:The Educational Innovators 1750–1880
787:: London: R. Blamire, facing p. 85.
415:(1809), brilliantly illustrated by
250:In 1768 Gilpin published a popular
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1020:18th-century Anglican theologians
1015:People educated at St Bees School
924:A Vision of Britain through Time
907:Works by or about William Gilpin
713:Memoirs of Dr. Richard Gilpin...
679:Dictionary of National Biography
665:Dictionary of National Biography
343:'s description of the view from
42:An engraving of Gilpin from 1869
193:, who in his grammar school in
624:Dialogues, on various subjects
384:William Gilpin by Henry Walton
272:in 1772 from Gilpin's book on
1:
980:English educational theorists
647:"Gilpin, William (1724–1804)"
289:and a wider circle including
995:English Anglican theologians
869:(Painshill Park Trust, 1994)
862:(Surrey Gardens Trust, 2001)
867:William Gilpin at Painshill
739:10.1007/978-1-349-00531-4_1
702:Christie's auction records.
691:British Museum collections.
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170:(1748). Part guidebook to
893:The Literary Encyclopedia
309:using the newly invented
35:
797:H. L. Mallalieu (1986).
783:Gilpin, William (1786),
313:process. There followed
1000:English watercolourists
898:Works by William Gilpin
228:William Gilpin died at
161:Queen's College, Oxford
1010:People from Cumberland
985:English travel writers
853:Garden History Society
452:Great British Journeys
385:
282:
844:(Scholar Press, 1989)
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307:William Sawrey Gilpin
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223:William Sawrey Gilpin
124:William Sawrey Gilpin
411:'s clever but cruel
402:John Heaviside Clark
390:Richard Payne Knight
219:Caroline Anne Bowles
1025:New Forest folklore
975:English biographers
876:N°461, Octobre 1985
360:Pride and Prejudice
351:, as she showed in
151:Gilpin was born in
828:, London: NPG 4418
464:On the picturesque
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902:Project Gutenberg
840:Malcolm Andrews,
748:978-1-349-00533-8
645:Malcolm Andrews,
417:Thomas Rowlandson
137:Church of England
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990:Anglican writers
911:Internet Archive
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321:(London, 1791).
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191:David Manson
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101:Cheam School
73:5 April 1804
26:The Reverend
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965:1804 deaths
960:1724 births
851:vol. 31:2 (
711:W. Gilpin,
594:Two sermons
538:Biographies
424:picturesque
369:picturesque
349:Jane Austen
291:Thomas Gray
246:Picturesque
240:Picturesque
141:picturesque
51:4 June 1724
954:Categories
631:References
442:, Oxford.
274:Cumberland
244:See also:
211:New Forest
176:aesthetics
153:Cumberland
107:Occupation
77:1804-04-06
62:Cumberland
55:1724-06-04
341:John Dyer
256:landscape
215:Hampshire
163:in 1748.
121:(brother)
115:Relatives
97:Education
91:, England
89:Hampshire
64:, England
874:Critique
311:aquatint
259:painting
200:Rousseau
126:(nephew)
909:at the
754:1 April
569:Memoirs
209:in the
195:Belfast
75: (
53: (
805:
745:
626:(1807)
620:(1799)
614:(1798)
608:(1796)
602:(1790)
596:(1788)
590:(1779)
577:(1808)
564:(1784)
558:(1765)
552:(1755)
546:(1752)
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520:(1804)
514:(1798)
508:(1792)
502:(1791)
496:(1789)
490:(1786)
484:(1782)
478:(1768)
472:(1748)
376:Legacy
230:Boldre
207:Boldre
85:Boldre
855:2004)
459:Works
183:Cheam
172:Stowe
803:ISBN
756:2023
743:ISBN
531:1773
434:and
396:and
297:and
276:and
147:Life
70:Died
48:Born
900:at
735:doi
571:of
449:'s
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741:,
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