Our artists had yet to learn—what having learned, they must now always remember—viz., the self-evident truth, that those who follow never will lead, and that aspirants to eminence must seek their inspiration at first hand–in her own glorious temple from Nature herself. As Leonardo da Vinci wittily remarked, “One painter ought never to imitate the manner of another, because, in that case, he cannot be called the child of Nature but only the grandchild.” It is evident that no true “school” can ever be established by mimics of the masters of other lands or former times.
In attempting to write a history of the Norwich School, the Author finds himself confronted by the demand for a definition of the title. He commenced his task with the intention of limiting it to a description of the lives and works of that remarkable group of artists who, owing to the then comparative remoteness of Norwich from the Metropolis, and to their own poverty, were compelled to teach themselves and their pupils Art in the beautiful academy of nature that was opened to them. Uninfluenced by prescription or tradition, but surrounded by scenery of a special sort, with the delightful features of which they could not help being in love, they boldly declared NATURE THEIR ONLY GUIDE. And, when they founded their Society and held exhibitions of their works, it soon became evident to the world that their Art was distinguished by a speciality. Love of their native heathland rivers, mills, and woods had kept them so continually repeating the same views under every change of sunshine and shadow—their palettes were so constantly set with the same rich and mellow colours—that even when they went to other scenes their colouring and touch declared them still “of Norwich.”
To find any less general definition of the characteristics of the Norwich School than that of “looking only to Nature,” as announced on the catalogues of the Norwich Exhibitions, is not possible for a preface to the works of a number of artists each one of whom, of course, claimed the right to look at Nature in his own way. Indeed, in these latter days, when the emancipation of Art from academic prescription has been secured and freedom is the birthright of every artist, the importance of the claim is less apparent. Nevertheless, no one will deny that the Norwich School has had a powerful influence upon the Art of Great Britain, and has done its best towards raising British landscape to the envied position it holds to-day throughout Europe.
As a fitting close to this short introduction the writer thanks owners of pictures for the courtesy with which they have permitted him to view their treasures. Their names occur on every page and need not be recited here. But the patriotic zeal with which the late Mr. Colman, Mr. Geo. Holmes, Mr. Barwell, Canon Ripley, Mr. John Gurney, Mr. Geldart, and Mr. James Reeve, preserved for Norwich the masterpieces of its famous School, deserves to be recorded. The last gentleman, himself an artist, devoted over forty years to patiently gathering together the drawings, proof-etchings, and documentary remains of Norwich masters—treasures which but for him would have been scattered through the land, but which, in his intelligent keeping
