These men took for their
masters the seventeenth-century painters of Holland. Old Crome, so
called to distinguish him from his son, founded his art upon that of
Hobbema, and came so close to him in his early years that it is difficult
to distinguish their pictures. In the works of this 'Norwich School'
the wide horizons of the Dutch artists often occur. But there is a
brighter colour, a fresher green, recalling England rather than
Holland. Turner never felt the influence of the Dutch painters so
strongly as these artists did. Like Gainsborough, and many another
artist before him and since, Turner was to be dominated by the necessity
of making a living. At the end of the century a demand arose for
'Topographical Collections,' of views of places, selected and arranged
according to their neighbourhood. These were not necessarily fine
works of art, but they were required to be faithful records of places.
Topographical paintings, drawings, and prints took the place now
filled by the photograph and the postcard. Turner found employment
enough making water-colour sketches to be engraved for such
topographical publications.
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