William Henry Crome

"England Births and Christenings, 1538-1975"

• Name: William Henry Crome
• Gender: Male
• Christening Date: 02 Nov 1806
• Christening Place: SAINT GEORGE COLEGATE,NORWICH,NORFOLK,ENGLAND
• Birth Date: 22 Oct 1806
• Father's Name: John Crome
• Mother's Name: Phebe Barney
• Indexing Project (Batch) Number: C04801-1
• System Origin: England-ODM
• GS Film number: 993666

Citing this Record

"England Births and Christenings, 1538-1975," index, FamilySearch (https://familysearch.org/pal:/MM9.1.1/NBXZ-ZJM : accessed 07 Jul 2013), William Henry Crome, 22 Oct 1806.

From Ancestry tree owned/managed by francespirie - May 2012

William Henry Crome was born in Norwich on 22nd October 1806, the son of the renowned painter John Crome, one of the founders of the Norwich School. When his father died in 1821, William’s tuition was probably taken over by his brother John Berney Crome. Indeed, many of William’s early works were moonlights and one can clearly see the influence of his elder brother.

In 1826 he exhibited his first painting entitled A View at Cotessy, Norfolk at the British Institution. At the age of 24, William was beginning to look towards the Old Master Claud Lorraine for influence. The evidence of a Claudian composition and palette, particularly in the use of blue, is manifest in his work from this time. These blues are notable in many of his Scottish views, such as Lochleven Castle and Pitleven Bridge. In his journal written about 1850, Henry Ladbrooke mentions William living in London. It was probably from here that he set out for the continent. His visit is recorded by an inscription on a painting belonging to Mr. E. Levine which reads: Near Aix La Chapelle, Brussels 1854. Crome’s work may be identified by his distances which have an emerald greeny blue appearance. Indeed, his palette often includes these greeny blues – one often finds it in the touches on tree boles and in the foliage of trees. Amongst the greens of the trees there is often a tree carrying a deep earth-colour which lends the painting a rich appeal. He learnt about balancing masses from his father, and one often finds a small mass alongside a larger one. His drawing of figures and animals, though not given prominence, are often meticulous and effective. The blue period was followed by a number of paintings of very balanced colour, most of them being Norfolk scenes. However, most of his paintings continue to exhibit his fondness for emerald green tones. Indeed, the use of green becomes increasingly apparent until he embarks upon his ‘green’ period which began about 1840. In watercolours he attained great delicacy; though not his usual working medium, several watercolours are recorded, the most interesting being Views of Windsor, executed at the mere age of 15. His late work suggests a further colour transition to sienna. It is also interesting to note that in 1867, a piece entitled Norwich from the Hellesdon Road was exhibited at Norwich by John and William Crome which either suggests that William Henry completed his father’s picture or that they executed a joint work. It is possible that other such works exist. He died in 1867.

~~~ http://www.museums.norfolk.gov.uk/Research/Collections/Fine_Art_Col...

The two leading members of the School were John Crome (1768-1821) and John Sell Cotman (1782-1842) ...

...The Norwich School artists found subjects for their paintings primarily in Norwich and the countryside and coastline of Norfolk, but not exclusively so. In common with their contemporaries they also toured the British Isles, while Crome and Cotman were among the first to tour the continent in search of subject matter. The artists are too numerous to mention all of them, but among the more prominent of the landscape painters were Robert Ladbrooke, his son John Berney Ladbrooke, Crome’s most important pupils, James Stark and George Vincent and Crome's own sons John Berney Crome and William Henry Crome.