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COLUMN David Jarman 'Dissipated' artist John Hamilton Mortimer In his splenetic Annotations to Sir Joshua Reynolds’s Discourses (‘This Man was Hired to Depress Art’), published in 1808, William Blake wrote: ‘Painters are noted for being Dissipated and Wild’. One artist, with a <strong>Lewes</strong> connection, that Blake may have had in mind is John Hamilton Mortimer. A brilliant and prolific draughtsman, he is largely forgotten now, but in the catalogue for the Tate’s 2001 James Gillray exhibition Richard Godfrey describes Mortimer as ‘the single most important influence on the early work of [18th century satirical artists] Gillray and Rowlandson’. John Hamilton Mortimer was born in Eastbourne on 17 September 1740. His father was a local corn dealer and customs officer. The artist’s later interest in depicting banditti, ultimately derived from the work of Salvator Rosa, is sometimes attributed, rather fancifully perhaps, to his childhood experience of smugglers in and around Eastbourne. One contemporary of Mortimer’s, also an artist, was Joseph Farington. A pupil of Richard Wilson, he is now best remembered for his diaries. Extending to sixteen volumes, they are a wonderful source of information and gossip about the London art world. It is the entry for 9 September, 1797 that tells us that John Hamilton Mortimer went to school in <strong>Lewes</strong>. Mortimer’s artistic training began with the portrait painter Thomas Hudson, in whose studio he first met Joseph Wright of Derby, who was to become a lifelong friend. (Reynolds was another of Hudson’s pupils). Thereafter Mortimer was a prizewinning student at St Martin’s Lane Academy, won further prizes at the Society of Arts, and from 1762 until 1777 he exhibited regularly at the newly founded Society of Artists, becoming their president in 1774. Unfortunately all this success was combined with a reputation for being, as the Dictionary of National Biography puts it, ‘a lively and reckless companion’ whose ‘high spirits degenerated into dissipation and folly’. According to another fellow artist, Edward Dayes, ‘nothing was too extravagant for him to undertake’ and on one occasion ‘he absolutely ate a wine glass, of which act of folly he never recovered’. Mind you, Dayes didn’t actually witness this ‘act of folly’ himself. And he seems to have been rather a censorious fellow. When his pupil, the great Thomas Girtin, died at the age of 27, Dayes wrote that this was a cautionary tale of how young artists should ‘shun the fatal consequences of vice’. Girtin had ‘trifled away a vigorous constitution’. Mortimer’s marriage to Jane Hurrell in February 1775 appears to have had a calming effect on the bon vivant, not least because she was able to undertake the regularisation of his chaotic financial affairs. In <strong>November</strong> 1778, Mortimer was elected an Associate of the Royal Academy, but before he could receive his diploma he succumbed to a violent fever and died at 33 Norfolk Street, Covent Garden on 4 February 1779. He was 38. There’s a Self Portrait in Character by John Hamilton Mortimer in the collection of the Towner in his home town of Eastbourne. A postcard is on sale in the shop, but you’d probably have to ask if you wanted to see the actual painting. 'Self Portrait in Character' by John Hamilton Mortimer, courtesy of the Towner collection 35