Thomas Girtin (18 February 1775 – 9 November 1802) was anEnglishwatercolourist andetcher. A friend and rival ofJ. M. W. Turner, Girtin played a key role in establishing watercolour as a reputable art form.
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Thomas Girtin was born inSouthwark, London, the son of a wealthy brushmaker ofHuguenot descent. His father died while he was a child, and his mother then married a Mr Vaughan, a pattern-draughtsman. Girtin learnt drawing as a boy (attending classes withThomas Malton), and wasapprenticed to the topographicalwatercolouristEdward Dayes.[1] Girtin is believed to have served out his seven-year term, although there are unconfirmed reports of clashes between master and apprentice, and even that Dayes had Girtin imprisoned as a refractory apprentice. Dayes did not appreciate his pupil's talent, and he was to write dismissively of Girtin after his death.
While a teenager, Girtin became friends with the youngJ. M. W. Turner. The boys were employed to colourprints with watercolours.[2] Girtin exhibited at theRoyal Academy from 1794. Hisarchitectural and topographical sketches and drawings established his reputation, his use of watercolour forlandscapes being such as to give him the credit of having createdRomantic watercolour painting.[1] He went on sketching tours, visiting the north of England, North Wales and theWest Country. By 1799, he had acquired influential patrons such asLady Sutherland and the art collector Sir George Beaumont. Girtin was the dominant member of the Brothers, a sketching society of professional artists and talented amateurs.
In 1800, Girtin married Mary Ann Borrett, the 16-year-old daughter of a wealthyCitygoldsmith, and set up home in St George's Row,Hyde Park, next door to the painterPaul Sandby. By 1801, by this time suffering from deteriorating health, he was a welcome houseguest at his patrons' country houses such asHarewood House andMulgrave Castle, and able to charge 20guineas for a painting.
In late 1801 to early 1802, Girtin spent five and a half months in Paris, where he painted watercolours. He made a series the pencil sketches that heengraved on his return to London, and which were posthumously published asTwenty Views in Paris and its Environs. In 1802, Girtin produced apanorama of London, the "Eidometropolis", 5.5 metres (18 ft) high and 33 metres (108 ft) in circumference, which was exhibited that year. It was noted for its naturalistic treatment of urban light and atmosphere. In November 1802, Girtin died in his painting room; the cause was variously reported asasthma,consumption, or "ossification of the heart." He was buried in the churchyard ofSt Paul's, Covent Garden in London.
Girtin's early landscapes are akin to 18th-century topographical sketches, but in later years he developed a bolder, more spacious, romantic style, which had a lasting influence on English painting. The scenery of the north encouraged him to create a new watercolour palette of warm browns, slate greys, indigo and purple. He abandoned the practice of undershadowing in grey wash and then adding pastel patches of colour, in favour of broad washes of strong colour, and experimented with the use of pen, brown ink and varnish to add richer tones. Girtin's early death reportedly caused Turner to remark, "Had Tom Girtin lived I should have starved." His most celebrated work, much admired by Turner, wasThe White House at Chelsea (1800).[3]
TheBritish Museum and theVictoria and Albert Museum have collections of Girtin's works. The British Museum was given watercolours by the collectorChambers Hall.[4] In July 2002Tate Britain organised an exhibition,Thomas Girtin: The Art of Watercolour which aimed to "reveal his technical genius".[5] An online catalogue raisonné of the artist, edited by Greg Smith, was published by the Paul Mellon Centre for Studies in British Art in 2022.[6]
LOWTHER CASTLE. THOMAS GIRTIN 1775 - 1802. F Leslie Wright Esq
This article incorporates text from a publication now in thepublic domain: Chisholm, Hugh, ed. (1911). "Girtin, Thomas".Encyclopædia Britannica. Vol. 12 (11th ed.). Cambridge University Press. p. 51.
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