Great Marlow Church, Buckinghamshire (ca. 1795)

Technique: Giclée quality print
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More about this artwork

In this delightful sketch by Thomas Girtin, titled "Great Marlow Church, Buckinghamshire," we are transported back to the serene atmosphere of late 18th-century England. The drawing, predominantly a pencil sketch, captures the quaint essence of Great Marlow, focusing prominently on the historic church that lends the piece its name.Central to the composition is the church itself, with its distinctive pointed spire and the sturdy architectural lines of its tower. Girtin's skillful hand delineates the aged stonework and the architectural features with a fine precision that subtly hints at the building’s historical and cultural significance in the community.Set against a picturesque backdrop, the church is surrounded by lush trees and foliage, suggesting the verdant landscape typical of Buckinghamshire. These elements are rendered with loose, expressive strokes, creating a lively contrast to the meticulous detailing of the church.To the right of the church, the scene opens up to a riverside view, where a small boat is moored at the bank. This inclusion of a water element adds a tranquil and reflective quality to the sketch, inviting viewers to imagine the gentle flow of river life that would have been an everyday aspect of Marlow during this era.This drawing is not only a testament to Thomas Girtin’s mastery in capturing architectural and natural beauty with minimal strokes but also serves as a window into the pastoral life of late 18th-century Britain.

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Thomas Girtin was an English watercolourist and etcher. A friend and rival of J. M. W. Turner, Girtin played a key role in establishing watercolour as a reputable art form.

Thomas Girtin was born in Southwark, London, the son of a wealthy brushmaker of Huguenot descent. His father died while Thomas was a child, and his mother then married a Mr Vaughan, a pattern-draughtsman. Girtin learnt drawing as a boy (attending classes with Thomas Malton), and was apprenticed to Edward Dayes (1763–1804), a topographical watercolourist. He 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. Certainly Dayes did not appreciate his pupil's talent, and he was to write dismissively of Girtin after his death.