Windermere Art Society

Different Perspectives

Last May, the art class at the Marchesi Centre in Windermere visited the Wordsworth Trust to study a selection of watercolours and paintings. The Trust owns 2,500 watercolours, mostly of the Lake District, painted between 1750 and 1850. All are available for research by appointment. Members of the group selected their favourite picture, and we are delighted to display them in the museum (February and March 2013) and on our website. If you would like to see pictures in the collection, or bring a group, then please contact the Curator, Jeff Cowton, through The Wordsworth Trust's website www.wordsworth.org.uk


1990.77.1#Cox, David, after. - Lancaster Sands. - 1842. - Oil. - 330 x 480mm.

“The most beautiful picture I have ever seen. He uses oils like watercolour. The figure on the pony, the man and dog are the composition. The rest is merely suggestion, under that stormy sky - exquisite. Sue Tasker and Anne Walker

1991.27#Wright, Joseph (1734-1797). - Ullswater. - Oil on canvas. - 1795. - 444 x 520mm.

The painting makes me very happy. It is relaxing to look at and calming. The tones are warm and helps me understand the different strengths of colour you can achieve and how to blend them together. Thank you for showing it to me. Caroline Kaye

1998.19#Turner, J.M.W. - Menaggio, Lake Como. - 1842-1843. - Pencil and watercolour. (Where Wordsworth lodged, 1820).
So much ahead of his time. Subtle, attractive impressionist painting with a little fine line drawing. Red splodge sets off the blues exactly. Using beautiful colour in landscape when others were far behind. Ruth Ogden
2002.90#Towne, Francis. - Rydal with the Grasmere Hills. - 1786. - Pencil, ink and watercolour. - 235 x 375mm.
Rydal with Grasmere Hills. A watercolour painting layered washes, drawn lightly first, and gone over the lines with a light brown. I was surprised to read on the back of the painting that it was 1740, as at first I thought it was much later than that. It was interesting to also see his student’s painting. How similar it was to his Master’s! I liked the delicate colour and technique of how Francis Towne had achieved his picture. Ruth Richards
2003.38#Smith, John 'Warwick'. - From Calgarth looking up the lake. - c.1788-1792. - Watercolour. - 348 x 510mm.
This painting shows a lot of detail and the depths of muted colours. The spectacular ‘temperature inversion’ is clearly shown and this also shows the height at which the painting was sketched. A delightful painting with a touch of colour which is very enjoyable to look at. Caroline Kaye
2005.54.1#Archer, James (1823-1904). - Thomas De Quincey with his daughters Emily and Margaret and granddaughter Eva Craig. - 1855. - Chalk. - 525 x 565mm.
I was not disappointed with the one I chose, it was very beautiful. The portrait of Thomas De Quincey, with his daughters and baby grand-daughter, oozed with peace and tranquillity, a wonderful happy family scene (was that the opium?) How was the shading and the shadows achieved using chalk? The detail was amazing. I thought that the shape enhanced the portrait- it was quite romantic and the colour gave a warm glow highlighted with the touches of white. I just love it!! Mary Kelso
GRMDC.B189#Constable, John. - Langdale Pikes from Elterwater. - 4.9.1806. - Pencil. - 239 x 380mm.