The Art of Love. Elizabeth Edmondson
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be poor and do his own work, thank you, and stayed on at the workshop.
Meanwhile, Polly’s work turning dreary flowers into skilfully and pleasingly-coloured flower paintings such as would adorn any home, gave satisfaction. She did some work on landscapes, adding various animals on Mr Padgett’s instructions. ‘Buyers go for cats,’ he would say. And he approved of her horses, which, added to another blank country scene, made an uninspired picture much more interesting.
Polly had her doubts as to the strict legality of what she was doing, but Mr Padgett assured her that since these works were almost all by unknown artists, and no pretence was made that they were anything else, where was the harm in making an unsaleable picture into one that a buyer was happy to hang on his wall?
‘Artists don’t always know best. If I had the painter of that landscape here, look at it, a few desultory hedges, a river going nowhere, a broken down bit of fence, I’d soon tell him what it needed to make a proper composition. And he’d be glad to learn, and wouldn’t make the same mistake again.’
Polly had gradually been allowed to pep up some portraits, giving some worthy gentleman or prosperous paterfamilias more appeal and a touch of style lacking in the mostly very wooden portraits that came through her hands.
‘People prefer not to have ugly or unpleasant faces looking down on them from their dining-room walls,’ Mr Padgett told her. ‘Of course, if they happen to be your ancestors, and your ancestors happen to be a lantern-jawed, disagreeable-looking lot, well, that’s one thing. But if you’re paying good money, then you want something more pleasing. A pretty woman will sell, where an ugly or even just a plain one won’t. And of course, if one of our pictures turns out to be of someone well-known, an admiral or a statesman or an actress, so much the better.’
‘Who buys these portraits?’ Polly said to Sam. ‘If you don’t know the person, and it’s not a wonderful painting, what’s the point?’
Mr Padgett, who was passing behind her, paused to give her question his usual careful consideration.
‘Sometimes a buyer wants to pass a painting off as an ancestor. Other buyers feel that having a few portraits hanging above the stairs adds a bit of class. And we sell a lot to hotels, of a certain kind, new places where they want to make foreign visitors feel they’re staying in a bit of Old England.’
There were times, however, when a portrait or a flower painting would come into the workshop only to be whisked away before it was passed over to Sam or Polly.
‘Hold on, Mr P,’ she had cried on more than one occasion. ‘That’s a promising bowl of fruit and flowers, I can do something with that.’
To which Mr Padgett, frowning, had said, that, no, this picture was staying as it was.
These, Polly found out after a while, were the older canvases. Mr Padgett, in an expansive moment, showed her how, under close scrutiny of the back of the canvas, it was possible to see whether the canvas was hand-made, meaning it dated from the eighteenth century or earlier, or was machine-made. ‘Machine-made canvases didn’t come in until the very end of the eighteenth century,’ Mr Padgett told her.
Of course if a picture had been ruined, then it was extremely difficult to judge whether the canvas had the irregularities that marked it out as hand-made, but Mr Padgett had an eye, and after putting his nose so close to the canvas that Polly thought he must make a dent in it, he would pronounce on its age and the picture would be handed over to her or her fellow assistants in the studio, or whisked away to the main studio.
Presumably Rossetti’s had scruples about refurbishing genuinely old paintings; well, she respected them for it, although a bad painting was still a bad painting, whatever its age.
Polly liked the work, and it certainly allowed her to pay her rent at the times, more and more frequent, when she could make no other money from her drawings or paintings. She’d had a run of luck earlier in the year with book jackets, for which WH Smith paid two guineas apiece; these had recently dried up, and so the twelve shillings a day she earned at Rossetti’s was a godsend.
That Monday was another wet day, the kind of day when the atmosphere became a grey cloud of drizzle, with the wetness creeping under collars and into shoes. Polly felt damp inside and out when she arrived in Lion Yard, she climbed the stairs with extra care, as the steps were always slippery in the rain, and pushed open the door to the workshop.
She was starting work on yet another flower painting, a small canvas, circa 1855, Mr Padgett had said. ‘Believe it or not, the Victorians loved those vivid colours. So did the Georgians, but taste today won’t stand for that kind of thing.’
So, under his watchful eye, Polly had applied his patent varnish-removing fluid, made up to a secret formula, and then the painting had been left out in the yard in the rain for a week, to fade the colours and leave a matt surface for her to work on.
It had dried over the weekend, and now her first task was to alter the colours to give a more realistic representation of the blooms in question. Then, she decided, looking at the picture through narrowed eyes, she would change the balance, to make the design less stiff and formal and give the flowers a more natural, relaxed look.
She took her tattered smock from the hook behind the door, and put some coffee on to brew, warming her fingers at the gas ring; she couldn’t paint with fingers numb from cold.
Sam came up the stairs and into the room. ‘Late again, Mr Carter,’ said Mr Padgett, but without rancour.
‘Sorry, Mr P, ’ Sam said, not sounding in the least apologetic.
Sam was working on what had been a battered seascape. He had a particular knowledge of ships which came from his belonging to a naval family; he had grown up in various ports around the world, and as a boy, he had spent hours out and about in boats. He pulled his easel round to get a better light, and, wiping a fine sable brush on an old rag, he set to work, painting delicate cotton wool puffs from the cannon he had added to an otherwise uninteresting sailing vessel. A man of war gave extra value to a painting, Mr Padgett said, and the more warlike violence a canvas contained, the more easily it would find a customer.
Sam was in a talkative mood when he and Polly were alone later that morning, Mr Padgett having gone off with a delivery of paintings.
‘Of course,’ Sam said, ‘we should go into this business on our own account, make ourselves more than the miserly pay we get here.’
‘What, set up on our own, touching up bad paintings?’
‘Why not? We could buy them up at country house sales and auctions just as Padgett and his scouts do. Cut out the middle man.’
‘Would you want to?’ said Polly, adding some blue dabs to a flat green leaf. ‘What about your own work? What about all that stuff about preferring to be poor, when Mr Padgett wanted you to train properly as a restorer?’
‘Oh, I don’t know,’ said Sam. ‘One says these things, and one bangs on, in the name of art, but is one getting anywhere? I doubt it.’
‘You’re still studying.’
‘Yes, but you aren’t, and where’s your own work going? Do you sell it? Do you think your painting is improving, are you getting down the visions in your head? Is anyone remotely interested? I sometimes think I’ll end up painting Christmas cards, more jolly naval scenes. Robins, too, perhaps, I might have a go at robins.’
‘Could one give it up, just like that?’
‘Dunno. I suspect it gives you up, you wake up one morning and realize that you’ve nothing more to say. Look at you. Mr Padgett raves at your sense of colour, yet your own painting is all dreariness.’
Polly had invited Sam round for tea one Sunday and regretted it ever since. He, with all the braggadocio of a promising student, hadn’t been able to hide his lack of enthusiasm for Polly’s canvases. ‘Why are they all so small?’
‘Small canvases cost less and you use less paint.’ Polly had replied, but it