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21<span style="color:#FFFFFF;font-size:3px;">ated watercolour Old Waterside Cottage, Norwich; he typically did not use the kind of flat washes that Cotman used regularly. The large finished drawing The Boatyard, near The Cow Tower, Norwich (1812) is independent of Cotman&#39;s influence and has more naturalism, as it relies to a greater extent on carefully observed light effects. Although Thirtle attempted to paint in oils, he is known for his watercolours. The Times, announcing an exhibition of works by lesser known members of the Norwich School in July 1886, described him as &quot;a good portrait painter and a charming landscapist in watercolour, his drawings being full of observation and treated with a freedom, breadth and delicacy that are really remarkable&quot;. He surpassed both Crome and Cotman as a watercolourist of outdoor phenomena. His earlier landscapes, from 1808 to 1813, were painted mainly with a restricted range of buffs, blues and grey-browns, as exemplified by Interi
22 or of Binham Abbey (1808), now in the Ashmolean Museum, Oxford. painting of the Wensum by Thirtle Rainbow Effect on the River, King Street, Norwich (1817), Norfolk Museums Collections[note 5] With his later paintings (produced during the period 1814&ndash;1819) he reached his peak, and according to the art historian Margorie Allthorpe-Guyton, his scenes were painted with &quot;limpid, silvery tonality and broad assured washes&quot;. He went on to paint with greater brilliancy of colour, producing works that included angular block forms. Clifford praised Thirtle&#39;s ability to organise his subjects harmoniously in an unforced and unselfconscious way, but noted how he was less able than Crome to &quot;give the impression of an unaffected, unselected chunk of nature&quot;. Hemingway, who describes Thirtle as &quot;an outstanding if variable&quot; watercol</span><br />
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