History
The beginning of the 19th century heralded a new era in the development of the art of watercolour drawing in the United Kingdom. Style and interpretation were changing. Interest and awareness were growing. Discontent amongst watercolour artists with the attitude of the Royal Academy towards their medium had been aroused through pangs of inferiority. It was not only the idea that a wash drawing was simply a preliminary to an oil painting that brought this about but also the regular controversy over the positional hanging of watercolours at the Academy exhibitions.
In 1804 the Society of Painters in Watercolours (known as the Old Watercolour Society then and today as the Royal Society of Painters in Watercolours) was established. Amongst the instigators of this body were Robert Hills, William Henry Pyne, John and Cornelius Varley, Joshua Cristall and John Glover.
The O.W.S. limited its membership and only works by members were exhibited - a policy designed to maintain the highest standards. Whilst the success of this "club" was welcomed in the watercolour world, the opportunity for membership was rare and often subject to a nepotistic process. Aspiring artists were therefore resentful at the lack of exposure in an exhibition setting in London.
The result of this, some 3 years later, was the formation in 1807 of a second organisation which took the title " The New Society of Painters in Watercolours". In contrast to the O.W.S., the New Society would pursue an "open" policy towards exhibitors and their works, i.e. not limiting exhibitions to members only.
In 1808 the name was changed to "The Associated Artists in Watercolours". However, four years later, the society folded under financial pressures.
The O.W.S. continued to flourish by its principle of exclusivity. With the passage of twenty years, a new momentum arose amongst those outside the O.W.S. to stage exhibitions. Eight artists signed a circular in 1831 setting out the aims of a "New Society of Painters in Watercolours". These were William Cowen, James Fuge, Thoams Maisey, Giles Firman Phillips, Joseph Powell, George Sidney Shepherd, William B. Sarsfield Taylor and Thomas Wageman. They organised a first exhibition in 1832, which encompassed over three hundred works by one hundred and twenty artists.
By some peculiar historical irony the Society changed its name in 1833 to "The Associated Painters in Watercolours". However, the evidence is that, in its formative years, this society witnessed considerable internal political wrangling. The name reverted to the "New Society" in 1834. There were dramatic changes in personnel looking after the affairs of the Society. The most fundamental change, however, was in policy. In 1831 the circular issued had said "....that no mode remains to them (artists) of bringing their works fairly before the public but by the formation of a new Society. They are persuaded that there is ample room for two Societies; and that there is abundant talent in the country to furnish an additional annual exhibition, the merit of which will entitle it to the encouragement of the public. To form this institution on a liberal and extended plan - to diffuse its advantages as widely as possible, and to produce a greater variety of talent, it is proposed to extend the number of exhibitors and merely to limit the number of works sent in by each painter."
Three years later, after the third exhibition, a manuscript was issued as follows:- " The undersigned gentlemen do hereby agree to unite together for the purpose of remodelling the New Society of Painters in Watercolours upon the understanding that none but responsible members shall be exhibitors and that they agree to share equally the expenses and labours necessary for the same ".
The New Society had therefore closed its doors and, other than defections, resignations and newly elected members, remained so until 1882. A reason for this was that artists were using the New Society simply as a stepping-stone to the Old Society and that the New Society was not fairly treated financially by such antics.
In 1840 an Associate class of membership was introduced. This was a preliminary stage that all new members had to pass through before attaining full membership. This procedure was abolished in 1879.
Inevitably the number of members increased over this period until 1882. In 1836 thirty-three members exhibited 279 works and in 1882 eight-nine members exhibited 215 works.
The decision was taken in 1863 to change the name from the "new society" to the "Institute of Painters in Watercolours". It was felt that, after thirty years, "New" was no longer the most appropriate description and also that the new name would diminish any confusion between the two existing societies.
However, history was repeating itself. Because the "Institute of Painters in Watercolours" pursued its members-only policy, the younger excluded artists of the day sought and found an alternative outlet in the form of "The General Exhibition of Water-Colour Drawings" formed in 1865, which has come to be known as the Dudley Gallery. This body flourished until 1882 when it merged into the "Institute" at which point the management of the "Institute" decided to reverse the 'closed' policy of the previous 48 years.
1882 was the last exhibition year of the old 'regime'. 1883 marked a new era and not long after the opening of the 1883 exhibition, Queen Victoria executed a royal warrant and commanded that the name of the society should be
The Royal Institute of Painters in Watercolours
the name by which it continues to be known today.....
Thus the Royal Institute was established. The first fifty years had not lacked drama or controversy but a major contribution had been made to the development of the watercolour as a medium in its own right in the United Kingdom. Examples of many of the artists involved - Edward Duncan, Thomas Shotter Boys, John Martin, Henry Bright, Thomas Miles Richardson, William Wyld, Tom Collier and James Orrock, to name but a few, continue to be keenly sought by collectors to this day...........