قراءة كتاب John Pettie, R.A., H.R.S.A. Sixteen examples in colour of the artist's work
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John Pettie, R.A., H.R.S.A. Sixteen examples in colour of the artist's work
the picture. On this I try any alterations or variety of effect during the progress of the larger picture, sometimes finishing as highly as the principal one."
The second letter, of March 11, 1873, shows him indignant at an opinion, quoted to him by Sir Frederick Mappin, that he was getting into the hands of dealers and hurrying his work under pressure from them:
"Fortunately, or unfortunately, members of my profession who make any mark at all are the subject of much criticism and talk which is often presumptuous, wrong, or utterly foolish. None knew this better, I dare say, than John Phillip, your old friend. I have never desired the favour of critics and newspaper men, thinking, with Byron, that 'a man must serve his time to every trade save censure. Critics all are ready-made.' I have to look to members of my own profession for position and honour in it. It is therefore with me a matter of the highest importance that my pictures should be as good as I can make them, and thoroughly well studied. I should be unworthy indeed if money influenced me in the smallest degree as regards the quality of my work.... In conclusion, let me assure you that while I am by no means inclined to be self-confident in my own powers, yet I have judgment to see that being consciously true to my art I need not fear in the long run to receive my due from my profession and from the public as well."
Some critics—by no means all, for he had his meed of praise—have abused Pettie's work in his lifetime and since; the storied idea always their stumbling-block. But painters—and I have spoken with many whose own art is at the opposite pole to Pettie's in aim and method—are always enthusiastic in their homage to his colour and workmanship. I venture to think that no painter, however modern, and no critic, however biassed, could stand in front of that little portrait head in the Tate Gallery and honestly refrain from admiration and respect. Pettie need not fear to receive his due.
I have said little of the man himself. By his death in 1893 the world lost not only a fine painter, but one of the most honest, loyal, and generous of mankind. When writing Pettie's biography a year or two ago, I asked a well-known artist, who had been his life-long friend, for any recollection that would lend "atmosphere" to my memoir. He gave me several reminiscences, telling tale after tale of Pettie's cheeriness, loyalty, and unselfishness, and he ended: "Have you ever seen John Pettie's portrait of himself in the Aberdeen Gallery? It's all pure and luminous, all rich coral and amber and gold. That's the atmosphere you must suggest. Pettie was pure and honest through and through. His nature was all amber and gold."
MARTIN HARDIE.
