Victorian and Edwardian Art

History painting is defined by its subject matter, rather than artistic style.  Typically these paintings depict a moment of action in a narrative story, rather than a static subject such is found in portraiture.  History paintings often show moments in religious narratives, scenes from mythology and allegorical scenes. This painting is by Frank Moss Bennett and is entitled 'Conscience', oil on canvas, 1909.  The work depicts two central figures one in a torn shirt and trousers, hands bound and rope tied round his neck.  He is being restrained by a soldier who is pointing to a large stone sculpture in the trees.  The word 'Conscience' can just be read on the base of the plinth. 

Portrait of John Veitch, English School, oil on canvas, 1909. Portraiture was a side line for most Victorian painters.  The Royal Academy and the views of Joshua Reynolds its first president dominated the painting scene.   Influenced by the work of the Italian Renaissance painter Raphael they believed that the role of the artist was to make their subject and work appear as idealised as possible.  This view became outdated when Queen Victoria came to the throne.  The rise of the wealthy middle classes changed the art market and accuracy and attention to detail became important.  The role of art was to reflect the world not to idealise it.

The 1870s saw the emergence of Impressionism.  This sought to capture effect or the impression made by  a subject on the eye of the painter.  There was only a small handful of British Impressionists, however the work of the French Impressionists was widely available in England. Impressionism played a major role in undermining the dominance of Classicism in the Victorian period.  'The Bison Hunters' by Nathaniel Hughes John Baird, oil on canvas, about 1905 is an example of an Impressionist work in RAMM's collection.

This period was characterised by its own architectural style, fashion and life style.  Artists were influenced particularly by the development of the automobile, electricity and a greater awareness of human rights.  In 1910 Roger Fry organised an exhibition of Manet and the Post Impressionists at the Grafton Galleries, London bringing their art to the public. 'The Park Bench' by Malcom Drummond (1880-1945), oil on canvas, about 1910 is representative of the work of the Camden Town artists.  Small in scale, showing everyday surroundings and the daily pursuits of lower middle and working class people. His work was based on truthful observation of urban life.

The Edwardian period is strongly associated with opulence and luxuriance.  An idyll of long summer days playing tennis and cricket, before the outbreak of the First World War.  The reality was very different, it was a time of militancy with the suffragettes, trade unionists and the Irish Home Rulers.  However, this turbulence was not reflected in the art of the period which was for the main part staid and academic with only the artists of the Camden Town Group pushing boundaries. 'Portrait of Richard Carter, Father of the Artist' by Sydney Carter (1874-1945), oil on canvas, about 1900-1910 is very traditional. It provides both a likeness and a revelation about the character of the sitter.  However, his other work shows his versatility; he painted pictures of fairies and goblins reminiscent of Arthur Rackham as well as paintings in the Pre-Raphaelite style.  It was landscapes and portraits for which he won many awards.