xt7qjq0stw34_5337 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/mets.xml https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474.dao.xml unknown archival material 1997ms474 English University of Kentucky The physical rights to the materials in this collection are held by the University of Kentucky Special Collections Research Center.  Contact the Special Collections Research Center for information regarding rights and use of this collection. W. Hugh Peal manuscript collection Peter De Wint letter and clipped signature, with clipping and original notation from disbound volume text 43.94 Cubic Feet 86 boxes, 4 oversize boxes, 22 items Poor-Good Peal accession no. 11453. Peter De Wint letter and clipped signature, with clipping and original notation from disbound volume 2017 https://exploreuk.uky.edu/dips/xt7qjq0stw34/data/1997ms474/Box_62/Folder_4/Multipage28296.pdf 1840 April 8, undated 1840 1840 April 8, undated section false xt7qjq0stw34_5337 xt7qjq0stw34  

 MR. 1‘. DE \VINT.

This eminent water-colour painter died at his
residence in Upper Gower Street, on the 30th of
June.

For the long period of nearly forty years the
numerous drawings of Mr. De VVint formed one of
the most attractive features in the exhibitions of the
Old Society of Painters in VVater-Colours; his
subjects for the most part being of that class which
is sure to find favour with the frequenters of a
gallery of English pictures, and the lovers of
English landscape scenery. Green meadows, corn-
fields, hay-fields, stacks, and ricks, were the themes
wherein his pencil delighted, and these he por-
trayed with such truthfulness and fidelity, and at
the same time with such artistic feeling, as could
not fail to win for him popularity in the eyes of all
who can relish the simplicity of nature and the
quiet enjoyment of rural occupation. We know
not whether he was a native of Lincoln, but cer-
tainly the flat yet picturesque scenery of its neigh-
bourhood possessed peculiar attractions for him;
for we scarcely remember an exhibition which was
not graced by some half dozen views taken from
its vicinity, far and near. Mr. De Wint’s style
was unquestionably his own, and he appears to
have deviated little or nothing from that he had,
in his earliest practice, laid down as his rule. He
essentially belonged to the old school, carefully
eschewing all the improvements in the use of body—
colours, &c., which the younger painters of our
day havc thought fit to introduce into their works,
on the plea, it may be presumed, that 'the end
. justifies the means, and that so long as the end is

attained, it matters little through what medium it
is reached. If the subjects of Mr. De Wint’s pen-
cil were simple, his manner of treating them was
simple also; his handling was free and masterly,
devoid of all affectation, and appealing at once to
the judgment of the critic, and to the uninitiated
by its truth.

One who knew him intimately, and whose ac-
quaintance with art and artists generally entitles
his opinions to all respect, writes to us thus eon-
eerning the subject of this brief memoir z—“De
\Vint struck his roots deep in Art from the first,
and his talent was of great weight, spreading its
influence over a large portion of admirers. He
pursued his studies with a resolute and unwearied
perseverancethat obtained forhim the favour of pub- ‘
lic opinion (in which he stood high) and permanent
respect. In one thing especially I wish all artists
resembled him—his paramount attachment to the
Christian religion—his deep study of the sublime
science taught in the Bible. From frequent con-
versations with him I can say, adopting the idea of
Bacon’s (the sculptor) epitaph, “that what he was
as an artist was of some importance to him while i
he lived; but what he was as a Christian, would '
be the only thing of importance after death.”

1 Mr. De W'int was in his sixty—sixth year; the
works of his hands will be greatly missed from the
walls where we have so long been accustomed to
see them; the place left vacant in the social circle
will not be readily supplied.

 

"F No writer can hope to picture the contrast with so -
much true and touching pathos—with eloquence so full of i
forcefias it has been pictured by the aljst iu the pages '
0f Punch. "

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