John Flaxman (1755-1826), sculptor and painter, is more particularly described under SCULPTURE (p. 157). Flaxman's pictures manifest the direct influence of ancient art. His study of Greek vases taught him to express much in a few strokes, and to draw in vigorous outlines the simple but grand characters and situations which he took from Homer, Hesiod, and iEschylos. Figure 6 (o/. 5o), depicting Ulysses just saved from the storm and following after fair Nausicaa, who guides her team of mules homeward, illustrates the spirit of Flaxman's paintings.
Edward English school of the last cen tury produced but few distinctively genre-painters of merit. Prominent in this class was Edward Bird, who was born at Wolverhampton in 1762 and died in 1819. He was apprenticed to a traymaker, and learned some thing of the use of pigments as well as facility in drawing while pursuing the humble art of decorating trays. When his apprenticeship was over he opened a drawing-school in Bristol, and during the intervals of teach ing applied himself to painting miniatures and stage-scenery. His first work exhibited at the Academy, entitled Good Xems, attracted much attention. His Chevy Chase is his masterpiece. In later years Bird under took history-painting—with less artistic success, as we are now compelled to believe, than in genre-painting, although this was not the opinion at the time, for his DeaM of Eli was sold for five hundred guineas, besides bringing him a prize of three hundred guineas from the British Institution.
George painter who doubtless had much genius and who attained more repute than Bird in genre-, or, as it was then called, subject painting, was George Morland. He came of a family of artists; there was a portrait-painter named H. Morland in the reign of William III. George Henry Morland, probably a son of the last-named, was a genre-painter of some repute during the time of Queen Anne, and his son, Henry Robert Morland (1724-1797), was a portrait-painter of merit sufficient to procure him a commission to paint a portrait of George III.
George Morland was a son of the preceding, and was born in London in 1764. He inherited the talent of the family to an unusual degree, and received every advantage not only for instruction in art, but also for a good general education. Thus equipped, it was reasonably expected that he would reach a high and permanent position in his profession, but such expectations were only partially realized, for with his talents he inherited a full share of the mercurial disposition which is so apt to accompany genius that is not of the highest order. Disinclined to work,
lie early yielded to habits of dissipation that followed him through life, lowered the quality of his art, and brought him to a premature grave.
When only sixteen years old, INIorland exhibited spirited sketches at the Royal Academy. After wandering several years through England and France he finally settled at Mensal Green and painted his Idle and Mechanic, of which the engraving had a large sale. At this time he was married, and for a while pursued his profession with assiduity. Family troubles again led him into irregular habits. Sur rounded by evil companions, lie went from bad to worse; creditors swarmed at his heels. In 1799 he was arrested and thrown into a sponging-house, where he remained until released by the Insolvent Act of 1802. His mind unpaired, lie was soon in the toils of his creditors again, and died in prison in 1804. His neglected wife died three days later, and they were buried together in Hampstead. During all these years of dissipation and trouble lorland toiled unceasingly both in and out of prison. Working only for money, he was unable to do justice to his great powers, as the numerous paintings were dashed off with feverish haste—a fact which must be taken into account in forming an estimate of Morland's talents.
In choice of subject Morland reminds one of the genre-painters of the Dutch school, who delighted in the homely scenes ever present at their own doors; a group of pigs, a boon-companion smoking in his shirt sleeves—such was the class of subjects he preferred. one of his most noted works is A Fox will, a Pa/lel. Notwithstanding his natural in dolence, circumstances forced him to such diligence that between t800 and 1804, while in prison and his mind beginning to decay, he produced one hundred and ninety-two paintings for one dealer alone, besides many others for the general market. While we detect much slovenliness in the composition and handling of some of 1\lorland's paintings, and not rarely crude color, yet one cannot but be impressed with the spirited and original character of his work and deeply regret that his irregularity prevented the full development of his powers.