Callcott has been called the modern Claude, so also has Turner; but Callcott’s works, both in composition and colour, bear a closer resemblance to Claude’s than do those of Turner. His distances are deficient in the space we find in the landscapes of the old master, but the aerial perspective is exquisitely rendered, and the general effect of the distance more pleasing. He was a close imitator of nature, observing her with the eye of a true poet, while he interpreted her with the most exact fidelity. — Art-Journal, p. 11
In his own time, Callcott's name was almost invariably associated with that of Turner, first as a follower, later as a rival. — Alfrey 245
Works
- An Extensive View of Oxford from Elsfield, 1800
- Windsor from Eton, 1808-9
- Cow Boys, 1807
- Dutch River Scene, c.1819-c.1842
- The Passage Point, An Italian Composition, 1829-30
- Raffaelle and Fornarina, exhibited 1837
- View of Greenwich Hospital and the River Thames Taken on the Isle of Dogs, 1827
Bibliography
Alfrey, Nicholas. “London, Tate Gallery. Augustus Wall Callcott.” The Burlington Magazine 123, no. 937 (1981): 245–56.
"British Artists, Their Style and Character, with Engraved Illustrations XI: Sir Augustus Wall Callcott." Art-Journal 1856. Internet Archive. From a copy in the Harold B. Lee Library, Brigham Young University. Web. 14 April 2023.
Brown, David Blayney. Augustus Wall Callcott. London: Tate Gallery, 1981.
Stephens, F. G. A Century of British art from 1737-1837 with notes by F.G. Stevens (The Grosvenor Gallery Winter Exhibition). 2nd ed. revised. London: Henry Good & Son, 1888. 127-130. Internet Archive. Digitised book from the collections of the National Art Library, Victoria and Albert Museum, uploaded by library staff. Web. 14 April 2023.
Story, Alfred Thomas. The Life of John Linnell. R. Bentley, 1892. Internet Archive. From a copy in the Getty Research Institute. Web. 14 April 2023.
Created 14 April 2023