Classic Strokes
An investment made in understanding art now, can rake in dividends in future

Frederick G Cotman was born in Ipswich in a family of painters. His uncle John Sell Cotman and his cousins, Joseph and Edward all made significant contributions to enrich the British school. While the family chose water colour medium, Frederick relied more on oil painting and themes with figure-interest. In addition, he was a good landscape and portrait artist. His portrait of Lady Theodora Guest and Guest playing whist earned him countless admirers. Cotman regularly exhibited at the Royal Academy from 1871 to 1906 and his pictures were widely acclaimed in several continental art shows. He spent spent most of his time in St Ives, Huntingdonshire and in London. In 1920, he died at the age of 70.

‘One of the family’ is a picture that has little to offer to the glitterati in terms of Seuret’s symbolism, Matisse’s fauvism, Manet’s impressionism or even Picasso’s cubism but to the unpretentious and less ostentatious lovers of art, the work is a rich, vibrant, true to life and a pleasantly rewarding human experience in all its details. In this late nineteenth century canvas, there is indeed a kind of majesty in its simplicity that is far above the quaintness of wit often found in modern day paintings.

The sunlight filtering through the window symbolises the bright and happy family atmosphere. Here we can see three generations of a farmer’s family relishing a mid-day meal to which the pampered horse comes by as a matter of right and routine to demand his share. The tiny girl has her left hand stretched, little realising that the animal is beyond reach. Nevertheless, this is one of those initial lessons in life that will help her learn the value of caring and sharing. The small boy is struggling with his fork and knife. Lo and behold ! Boys will be boys but mistake not, they will also become men. The head of the family has since returned after a hard day’s toil and will soon join the party and his wife has little cause for complaint, which is evident from her healthy appearance and a radiant face. The darling kid of the family is too young to be on his own and is still under grandma’s care. He is keenly observing his elder brother and trying to figure out how soon can he negotiate his cutlery. The wrinkled and grey haired grand old lady of the house has a different tale to tell. True, God cannot be everywhere and therefore, he has made mothers and grandmothers. Look at the way she is slicing the bread — one can feel the tremor in those frail and fragile pair of hands and this amply demonstrates, how well Cotman knew his job as an artist.

Technically, the picture has some resemblance to the pre-raphalite style but compositionally it is quintessentially Cotmanian.

In this age when life moves at a concord speed and to those who are used to a working lunch that comprises a half eaten sandwich, unfinished coffee, abandoned dessert and the undrunk last sip of the beer, this kind of a laidback lunch is nothing less than ‘un meal royalis’.