He Opened A Matchmaking Agency In 18Th Century London [EN]: Chapter 108

< The Miner's Portrait >

◈ Royal Academy of Arts, London

Theo found it hard to refuse the persistent requests from Director Reynolds and his entourage, so he accompanied them to the Royal Academy of Arts.

The Royal Academy of Arts, situated near the Thames, boasted an artistic yet functional design, a modern take on ancient Roman architecture.

‘Indeed, it’s a training ground for artists…’

The entrance was marked by a grand, ornate arch, flanked by twelve Greek Corinthian columns standing in perfect formation.

Solid stone walls and expansive windows, beautifully adorned with intricate ornaments, clearly indicated that this was a haven for artists.

Sir Reynolds led Theo to the director’s office and seated him at the head of an elaborately carved table.

Taking his seat, Theo surveyed the director’s office.

Several elegant and dignified portraits graced the spacious room, each bearing the name ‘Joshua Reynolds’ beneath it. They appeared to be the director’s own creations.

‘Director Reynolds must be a portrait painter.’

Joshua Reynolds.

As Theo suspected, Joshua Reynolds was a prominent portrait painter in the 18th-century British art scene, appointed as the first director of the Royal Academy of Arts in 1768, a position he held for over a decade.

He dedicated considerable effort not only to art but also to art education, and in recognition of his contributions, he was knighted by George III.

“Our Royal Academy was established just over ten years ago through the Royal Charter of His Majesty, and it has been nurturing numerous artists. We are particularly focused on supporting and sponsoring aspiring artists who lack access to proper education due to their family circumstances.”

At that time, Britain employed the ‘Royal Charter’ system, where the King granted patents to establish important organizations such as universities or academic societies, thereby bestowing rights and authority.

The Royal Academy of Arts also operated under this system, receiving various benefits from the British government, including buildings and financial support.

However, given the nature of the art world, government funding alone was insufficient to ensure its full operation.

To secure the necessary resources, they held annual exhibitions and sales of artists’ works, using the proceeds to cover operational costs.

However, as the war with the North American colonies intensified, support from the government and revenue from exhibition sales dwindled.

Moreover, with even King George, their most influential patron, preoccupied with the war, the Royal Academy of Arts faced a significant financial crisis.

The immediate problem was the art competition held earlier this year.

At the end of the previous year, King George had promised sponsorship and launched it with great fanfare, but after the British army suffered a major defeat against the colonial army, they were left with nothing but disappointment, unable to secure the promised support.

“The art competition has already taken place. All the works have been submitted. However, we need funds for the subsequent judging process and the prize money for the winners, but the Royal Academy of Arts’ current finances are far from adequate, so everything has been put on hold.

I have sought assistance from sponsors, but due to the economic hardships that began a few years ago, even our existing sponsors are less generous than before. Yet, we cannot simply cancel the competition after it has already been held because we lack the funds… It’s truly a predicament.”

Theo had recently become a sensation due to his coffee business, and his name was frequently mentioned in newspapers and magazines as one of London’s most promising wealthy men.

Joshua Reynolds, who had been following these articles, happened to see Theo at the palace and, despite feeling presumptuous, mustered the courage to ask for his help.

“So, if you have any spare funds, I would be grateful if you could lend some assistance to our academy, which is why I invited you here.”

“Approximately how much would it cost to properly proceed with the competition and bring it to a successful conclusion?”

“Considering the recruitment of judges and the prize money, we would need approximately 4,000 pounds…”

The director’s voice trailed off as he watched Theo’s expression.

4,000 pounds would be equivalent to about 600 to 700 million won in 21st-century terms [approximately $500,000 – $600,000 USD].

Considering that the annual salary of a university president at the time was around 150 to 200 pounds, 4,000 pounds was undoubtedly a substantial sum.

However, for Theo, who was generating income from the coffee farm, Burke’s mining venture, his investment in James Watt’s steam engine, and the Manchester textile factory, 4,000 pounds was not an insurmountable burden.

One good deed begets another, as the saying goes.

The more one clings to incoming money, fearing its loss, the more likely it is to slip away.

Conversely, by boldly investing in ventures one believes in and using the remaining funds for charitable acts, the initial investment can yield returns several times greater.

Theo, who had been keenly aware of this principle since his time in the modern era, had been planning to establish a scholarship program soon.

He was pleased that such a fitting opportunity had presented itself so readily.

“Director, I was already considering investing in students in need, and your request comes at a perfect time.”

Director Reynolds’ face brightened.

“Oh, is that so?”

The academy officials, who had been watching with anxious expressions, also perked up at Theo’s words.

“I will fully support the competition prize money and operating expenses of 4,000 pounds.”

Director Reynolds was deeply touched by Theo’s decisive generosity.

“Oh, how can I ever thank you enough! Thank you, Mr. Sanderson! Thank you so much.”

“Thank you so much, thank you! Mr. Sanderson!”

“Mr. Sanderson has saved us. Thank you!”

As he watched them rejoice as if they could fly, Theo suddenly recalled the director’s earlier statement that the judging had been suspended due to lack of funds.

“If I provide the sponsorship, will the judging proceed immediately?”

“Yes, indeed. The entries have already been exhibited, and if the judges were to examine them even tomorrow, the results could be released immediately.

Then, the winners can be selected, and the prize money can be awarded as scheduled.”

By involving renowned judges in the judging process to determine the winners, the competition’s authority and prestige would naturally increase.

However, with a limited operating budget, even the judges’ fees were a burden.

Theo’s generous sponsorship, arriving at this opportune moment, greatly relieved the director and his staff.

“Since time is of the essence, let’s draw up the sponsorship agreement today, and I will transfer 4,000 pounds through the bank tomorrow.”

“Ah! Thank you, thank you so much!”

All the officials of the Royal Academy of Arts rose from their seats and bowed to Theo repeatedly.

*

“Do you perhaps have an interest in portraits?”

After the sponsorship agreement and other documents were finalized with signatures, Director Reynolds, now with a relaxed smile, inquired of Theo.

“Portraits?”

“Yes, the theme of this art competition is portraits. I am also a painter who primarily specializes in portraits.”

“I see. I have limited artistic knowledge, but I personally appreciate portraits because they capture the emotions of both the painter and the subject.”

“That’s wonderful. Then, let’s take a look at the preliminary works exhibited in the lobby on the first floor. There are quite a few impressive pieces.”

“Oh, would that be alright? Haha.”

“Of course. It’s as if Mr. Sanderson is personally awarding the prize money to the winners.”

Theo had been considering commissioning a portrait, and since these were works from a competition he had sponsored, he found himself intrigued, despite his initial lack of interest.

The entries he examined with the director contained many outstanding works, as he had mentioned.

In particular, many styles emphasized color and shading over detailed lines, favoring formal portraits.

It seemed that this style of portraiture was the prevailing trend of the era.

‘…!’

Then, a painting caught Theo’s attention.

It was a detailed portrait of a miner wearing a thick cotton hat, typical of those used in coal mines.

Deeply etched wrinkles, a face covered in black coal dust mixed with sticky sweat, and the hardships and sorrows of life etched into his features. Yet, the miner wore a kind smile directed at someone.

‘…Sadness, the weight of life, anxiety, love…’

Although it was merely a painting, it felt incredibly lifelike, conveying a multitude of emotions.

Among the numerous portraits displayed for judging, this miner’s portrait was the only one that stirred Theo’s emotions.

However, unlike the other paintings around it, the pencil marks from the initial sketch were clearly visible, and the coloring applied over it was too faint, with the brushstrokes appearing unfinished.

As Theo gazed at the portrait in a daze, Director Reynolds quietly approached and spoke to him.

“It’s a remarkable painting, isn’t it? I also spent a considerable amount of time examining this piece when I first saw it. I was truly impressed by the delicate yet bold touch, which is quite distinct from the other competing works, and the profound sensibility it conveys.”

“Then, this painting has a chance of being among the winners in this competition?”

Director Reynolds shook his head with a regretful expression.

“Well, it doesn’t seem likely. The sketch, overall composition, and expression are undoubtedly excellent, but the paint application is lacking, and the brushwork is poor.

As a result, the overall coloring appears rough and unnatural, and the colors are muted and lack clarity. Perhaps the artist couldn’t afford quality brushes and paints, so they had to express themselves in this manner.

The judges can only evaluate based on the overall completeness of the painting, so it will be difficult for it to receive a favorable score.”

“…”

It didn’t seem fair.

It felt contradictory that a competition intended to discover and support struggling artists would disqualify someone simply because they couldn’t afford good brushes and paints.

However, Theo quickly shook his head and attempted to turn away.

‘Well, the perspectives of experts and the general public often differ, and if they were to publicly announce that they are specifically selecting struggling artists, it might encourage some to deliberately use inferior paints or feign a lack of art supplies in an attempt to win.’

However, the sad eyes of the miner in the painting prevented him from moving. It was as if he was pleading with Theo for something.

‘Okay, I may not know much about painting, but if a painting can move people’s hearts like this, the judges might unexpectedly view it favorably.’

Theo glanced at the miner’s portrait once more and hoped that it would be selected as a winning entry.

◈ Royal Academy of Arts, London, Special Exhibition Hall.

A few days later, the winners of the portrait competition held at the Royal Academy of Arts were announced.

As an official sponsor, Theo was invited to the awards ceremony and was given the honor of presenting the award plaque to the runner-up winner.

“The grand prize goes to… Edwin Boyd!”

Wow- clap clap clap.

Contrary to the competition’s aim of supporting young, talented, but financially disadvantaged artists, many of the winners seemed to come from wealthy gentry or aristocratic families.

And the miner’s portrait, which he had hoped would win, was ultimately not among the winners.

‘It’s a shame. It’s rare to see so much emotion conveyed in a painting like that…’

*

After attending the dinner with the competition winners, Theo left the special exhibition hall of the Royal Academy of Arts with a heavy heart.

Dusk was already settling in.

The outcome was somewhat disappointing, considering the good intentions with which he had sponsored the event. Still, he decided to take solace in the fact that he might have identified some talented but impoverished artists.

Toc. Toc. Toc.

As he descended the stairs and hurried towards the waiting carriage, someone caught his eye.

‘Is that a homeless person? No, it looks like a child?’

A young boy, appearing to be just over ten years old, was huddled in the corner of the exhibition hall stairs, his head buried between his legs.

There were many impoverished children in London, but for some reason, this particular boy caught Theo’s attention.

‘It’s getting dark soon, and this is a very dangerous area for a child to be alone.’

This area was particularly dangerous at night due to the presence of numerous homeless individuals who were often drunk or under the influence of drugs.

Moreover, the night air in London in early March was quite chilly.

As it was an era known as the Little Ice Age, the average temperature was significantly lower than in modern times.

If a young boy spent the night outside in just a thin piece of clothing, his life could be at risk due to hypothermia.

Theo instructed the coachman to wait for a moment and walked towards the crouching boy.

However, the boy he saw up close didn’t appear to be a beggar.

Judging by the soot smeared on the boy’s thin shirt and the long, rolled-up pine [bundle of kindling] next to him, he seemed to be a child who worked as a chimney sweep.

Perhaps he had come straight from work, as he still smelled of smoke, but for some reason, the child was shivering in the cold and sobbing sadly.

‘He doesn’t seem to be a street urchin… Why isn’t he going home and crying here alone?’

Feeling sympathy for him being in such a predicament, he approached him, intending to offer him a few coins.

However, a painting placed between the child’s legs caught Theo’s eye.

‘…!’

The painting looked familiar.

‘No, that painting…?’

It was the portrait of the miner that had touched Theo’s heart a few days earlier.

‘Could it be that… this young child drew the portrait?’

Theo had assumed it was painted by someone at least twenty years old.

He couldn’t imagine that such a young child could create a portrait with such profound emotion.

‘Eh-. Yeah, that can’t be. That’s nonsense. He must have come to collect the painting on behalf of his older brother or father who submitted it.’

Even though he tried to dismiss the thought, Theo couldn’t suppress his curiosity and unconsciously approached the boy.

“Hey, why are you crying here in the cold? Are you alright? Aren’t you going home?”

The crying boy lifted his head sharply and looked up at Theo.