A Graduate of Pomona
Fig. 11. William Henry Hunt, The Kitchen at Cassiobury Park, Seat of the Earl of Essex, c. 1821
The Kitchen at Cassiobury Park, Seat of the Earl of Essex
Watercolor
15.5 X 12.75 inches
This early work is easily identifiable as one of the watercolors that was retained by the artist throughout his lifetime and included in his estate sale, No. 178, the Kitchen at Cashiobury, It sold for 2 gbp, 7 s., a low price for a finished Hunt watercolor in that sale, which was generally lacking in signficant works of the artist as these so readily sold to the public and were not still in the artist's possession at the time of his death.
It is because watercolors such as many of those painted at Cashiobury Park were dull in color and could not compete with detailed oil paintings of similar subjects that Hunt began to abandon pen outlines with transparant washes in about 1825, even as he continued to paint servants, laborers, and interior views at Cashiobury Park and Chatsworth House. Compare this ethereal, pale watercolor with the view of the kitchen at Chatsworth, probably painted a short time later but in the artist's new, denser and more detailed style of painting with watercolor. (fig 11b)
Fig. 11. William Henry Hunt, The Kitchen at Cassiobury Park, Seat of the Earl of Essex, c. 1821
The Kitchen at Cassiobury Park, Seat of the Earl of Essex
Watercolor
15.5 X 12.75 inches
This early work is easily identifiable as one of the watercolors that was retained by the artist throughout his lifetime and included in his estate sale, No. 178, the Kitchen at Cashiobury, It sold for 2 gbp, 7 s., a low price for a finished Hunt watercolor in that sale, which was generally lacking in signficant works of the artist as these so readily sold to the public and were not still in the artist's possession at the time of his death.
It is because watercolors such as many of those painted at Cashiobury Park were dull in color and could not compete with detailed oil paintings of similar subjects that Hunt began to abandon pen outlines with transparant washes in about 1825, even as he continued to paint servants, laborers, and interior views at Cashiobury Park and Chatsworth House. Compare this ethereal, pale watercolor with the view of the kitchen at Chatsworth, probably painted a short time later but in the artist's new, denser and more detailed style of painting with watercolor. (fig 11b)