Theodore Robinson. Part 2 – Naturalism, Realism and Giverny

Theodore Robinson

……………………Theodore Robinson returned with some of his fellow students to the Fontainebleu Forest in the summer of 1878 to carry on with their en plein air painting but probably the highlight for Robinson that September was his trip to Italy with his fellow École des Beaux-Arts student Kenyon Cox.  They visited Turin, Milan, Verona and Bologna on their way to Venice.  In his 1986 book, An American Art Student in Paris, The Letters of Kenyon Cox 1877-1882, H.Wayne Morgan quotes from a letter Cox sent to his family after he had returned to France on December 15th 1878 and from it we have an insight into the physical health of his erstwhile fellow traveller, Robinson.  Cox wrote:

“…Robinson has come back from Venice very much used up.  He caught some sort of fever there and was sick for some days in a little German hotel, waiting for money to leave with, confined to his bed, unable to eat anything…….and almost afraid he should get out alive.   He is very thin and feeble, but I hope if he takes care of himself and lives better he will come around…”

Suzette (Peasant Girl) by Theodore Robinson (1879)

Robinson left Europe and returned to New York in late 1879 and rented a studio on Broadway hoping to establish himself as a professional artist but his financial situation became dire and he had to close his studio and return to his family in Evansville where he would paint local scenes but also dabbled with illustrative work.  One such illustration, Suzette, appeared in the August 31st 1880 issue of the Harper’s Young People magazine  in conjunction with a children’s story Viola’s Sketch.   The original black chalk drawing with white heightening, on grayish blue paper, mounted on board can be found at the Chrysler Museum of Art in Norfolk, Va.   It depicts an outdoor scene with a young girl, turned to the right, in a humble frock intent on sewing.  Her hair is styled in a long braid and she stands in wooden shoes, looking downward wistfully at her work.  The simple depiction of this guileless peasant girl probably harks back at Robinson’s academic training in Paris and the rustic genre imagery we have seen in the works of Jean-François Millet

However, Robinson’s life was at a low point, both physically and mentally as indicated in letters he sent to his friends.  One such friend was Will Low a fellow student at Carolus-Duran’s atelier in Paris.  In his 1908 book, A Chronicle of Friendship, Low wrote that on hearing of his friend’s predicament he had to:

“…extricate Robinson from the surroundings where….he was fast relapsing into a vegetable state…”

And so, Low arranged for Robinson to take a teaching position in New York at Mrs Sylvanus Reed’s Boarding and Day School for Young Ladies, a latter day finishing school for young women.  In May 1881 Robinson was elected to the Society of American Artists and following the short spell of teaching he began to work for the muralist and stained-glass window maker John La Farge.  He and his friend Will Lowe worked on a La Farge commission from Cornelius Vanderbilt to decorate his New York 5th Avenue home and following this they worked on Vanderbilt’s Tarrytown residence on the Hudson River.  Robinson then went on to work for the decorative painting company run by Prentice Treadwell and he works on architectural decorations in Boston, Albany and on decorations for the Metropolitan Opera House in New York as well as commissions for the well-heeled nouveau-riche industrialists.

Daisy Field, Nantucket by Theodore Robinson (1882)

In May 1881 Robinson’s mother died and he returned briefly to Evansville to be with his family but returned to New York that August.   During these periods of employment Robinson still carried on with his own paintings and spent time in the summer travelling around New York State, Vermont and made painting trips to Nantucket with fellow artists in the summer of 1882 painting local island life.

Nantucket by Theodore Robinson (1882)

Theodore Robinson spent the summer of 1882 on Nantucket Island and produced several paintings based on local scenes, including the one above.  The depiction of the rider and his mount at rest under the tree is a depiction of tranquillity and serenity.  In the distance, on the horizon, we can just make out the sea which lends itself to the belief that the setting was somewhere on the New England coast, probably Nantucket Island.  The painting can now be found at the Columbus Museum in Columbus, Georgia.

Flower of Memory by Theodore Robinson (1881)

He completed a beautiful work in 1881 entitled Flower of Memory which is a romantic (if somewhat schmaltzy) depiction of a young lady in an Empire dress, standing alone in a garden.  This sort of depiction was very popular with folk in America at this time and could well have epitomised the figures he was painting as a decorative artist for the La Farge and Treadwell commissions.

A Poacher by Theodore Robinson (1884)

However, Robinson’s art was not dominated by cloying sentimentality in his depictions as he was very much a believer in the realism portrayed in works such as those by Winslow Homer on of his favourite painters.  This is borne out when we look at his 1984 work, The Poacher.

French Impressionism had permeated towards America and Impressionist paintings had started to become sought-after items.  The influential Parisian art dealer, Paul Durand-Ruel had organised a large exhibition of works of Manet, Monet, Pissaro  and Renoir in Boston in September 1883.  So just as Impressionism was arriving on the American shores in the Spring of 1884, Theodore Robinson, who had saved enough money to buy himself a sea passage, left the country to return to France where he would remain for the next eight years with just the occasional visits back to New York.  During his stay in France he would also make trips Belgium and Holland where he would take in the Flemish and Dutch art scene.

By the end of the 1870’s the leading exponent of the style of art known as Naturalism, which is the depiction of realistic objects in a natural setting, was Jules Bastien-Lepage.  When Robinson arrived in France in 1884 the popularity and standing of Lepage was escalating, and his works of art were in great demand, a fact that Robinson must have been well aware of and there is no doubt that Lepage’s works influenced Robinson.   Lepage’s popularity and the sale of his artwork increased even more in December 1884 when he tragically died of stomach cancer at the young age of forty-four and this adulation culminated in 1885 with a retrospective of his paintings at the Hotel de Chimay in Paris which proved to be a runaway success.

Le petit Colporteur endormi (The little sleeping pedlar) by Bastien-LePage

Often Lepage’s works depicted rural peasants and urban labourers  and these detailed portrayals lacked sentimentality and yet brought home to the observer an honest if somewhat blunt snapshot of the life of the less well-off. Such was their popularity they appeared regularly at the Salon  exhibitions.

In 1886 Robinson’s good friend Will Low along with his wife arrived in Paris and Robinson was there to greet them as they alighted from the train at Gare St. Lazaire.  Such was his friendship with Low that for the next twelve months he lived with them at their rented accommodation on Rue Vernier in the Paris suburb of Neuilly-sur-Seine.   Robinson’s work during his time in France was diverse.  There was the sentimentality of works like Flower of Memory which as I said earlier probably originated from his time of painting mural decorations for La Farge and Treadwell.  There was his landscape work which derived from his en plein air painting at the Fontainebleau Forest during his summer breaks from the Paris Academy and finally there was his interest in genre painting and the depiction of peasants and urban dwellers at work or at home which he became interested in during his trips to Flanders and the Netherlands.

A Cobbler of Old Paris by Theodore Robinson (1885)

His 1885 painting A Cobbler in Old Paris is a prime example of Robinson’s look at urban life.  The focal point for the work is the woman who leans in through the open window to talk to the cobbler.  One should almost look at this work as a part still life painting with the cobblers workbench littered with still life objects, the tools of his trade, as is the wall in the background filled with the racks of shoes.  This type of scene of tranquil everyday life was popular in Victorian times and Robinson completed many similar works.

Young Girl with Dog by Theodore Robinson (1886)

In his 1886 painting, Young Girl with Dog, Robinson has preserved Bastien-Lepage’s method of honestly and frankly portraying an un-idealized figure seen in a landscape.   There is also an American source of inspiration that would have been well-known to Robinson. This small vertical format containing the standing figure illuminated under a dappled light is evocative of a series of watercolours produced by Winslow Homer in the summer of 1878 when he was invited to stay at Houghton Farm in upstate New York, the home of his patron Lawson Valentine.

Weary by Winslow Homer (1878)

One such work by Homer was entitled Weary.  Robinson was not only an early admirer of Homer’s watercolours, but it is rumoured that he purchased one of the watercolours in 1894.  Robinson first visited Giverny, a small Norman village, which was situated on the banks of the River Seine halfway between Paris and Rouen in 1885 when he and a friend of Claude Monet, Monsieur De Conchy visited the French painter. Claude Monet had moved there in 1883 with his two young sons Jean and Michel.   Pierre Toulgouat who was a descendent of Monet, wrote of the time in his 1948 book, Skylights in Normandy:

“…in 1885, his [Monet’s] friend, De Conchy came to visit him, accompanied by the young American painter, Theodore Robinson – and Robinson, particularly, was to remain a faithful Givernois, until his death, painting there when he could and writing longingly of it when he had to be away…”

In June of 1886 Robinson was in Paris and managed to visit Monet’s work at the Fifth International Exhibition of the Impressionists at the Galerie Georges Petit and came away captivated by Monet’s works especially their colour and luminosity

Portrait of Madame Baudy by Theodore Robinson (1888)

In June 1887 Robinson moved out of Paris and went to live in Giverny. He moved into rooms at the newly-opened Hotel Baudy, which lay in the centre of the village and was run by Angélina Baudy.  Giverny and the surrounding area, for Theodore Robinson, was all about the simplicity of the landscape, the colours and the light and he would love to go off and explore and paint.  He loved everything about the area.  He loved the hills and fields, the old buildings, the people and the animals and would immerse himself in the area painting as much as he could in the ever changing conditions of light and weather.

Valley of the Seine, Giverny by Theodore Robinson (1887)

A fine example of this is his 1887 painting Valley of the Seine in which we see a minute figure in white which somehow secures a pattern of one horizontal and several diagonals that contain and depict several hillside swaths of yellow and grey, and a triangle of blue sky. For his portrayal of the countryside Robinson has used muted earthen colours, ones that he would use in many of his later paintings.

La Vachère (The Cowherd) by Theodore Robinson (1888)

During his stay around the Giverny area Robinson depicted many of the residents of the area.  Most of his paintings featured women at work, sometimes seen gathering wood and fruit sometimes tending the farm animals or doing the laundry.  An example of this is his large 1888 painting entitled La Vachère (The Cowherd) 219 x 152cms (86 x 60 ins) which is housed in the Baltimore Museum of Art.  Before us we see a young woman and a cow both surrounded by foliage that glistens in the reflected light.  Look how Robinson has cleverly left an opening between the trees in way of the girl’s head.  It enhances the young woman’s profile and frames her face as well as adding depth to the depiction.  The addition of the cow into the depiction is almost as if the animal is vying for supremacy in the painting but it is completely ignored by the girl.

In The Grove by Theodore Robinson (c.1888)

One strange thing about this painting is that shortly after he completed the work Robinson painted the same woman in the same setting but without the cow!  Maybe he thought the animal detracted from the beauty of the female. The picture, which is much smaller, is entitled In the Grove and is also part of the Baltimore Museum of Art’s collection.

In my final look at Theodore Robinson’s life in the next blog, I will look closer at his relationship with Claude Monet and showcase more of his later works.

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Sir George Clausen. Part 2 – More rural works and the War artist

Sir George Clausen       1852 - 1944
Sir George Clausen
1852 – 1944

In this concluding part looking at the life and works of George Clausen, later Sir George Clausen, I will focus on his love of depicting workers labouring in the fields in a genre of art which was often referred to as rustic naturalism and have a look at a couple of works he completed whilst he was employed as a war artist.

Agnes Mary Webster by George Clausen (1882)
Agnes Mary Webster by George Clausen (1882)

In 1881 George Clausen married Agnes Mary Webster of Kings Lynn and they went on to have three sons and a daughter.  Clausen had met her brother, Alfred, at South Kensington Art School where he was also studying art.  The following year Clausen painted his wife’s portrait.

Henry La Thangue, an English landscape painter, who had visited Brittany to paint and was a friend of Stanhope Forbes, another landscape artist, persuaded Clausen to take a trip there to discover the countryside and light the French area had to offer.  And so, in 1882, Clausen sett off for Brittany with his wife and visited the artist colony at Quimperlé, a small town, fifteen kilometres east of the other popular haven for artist, Pont Aven.   Here they met up with the Dublin-born artist, Stanhope Forbes who, two years later, moved to Newlyn in Cornwall and became a leading figure in that growing colony of artists.  Stanhope Forbes was excited that Clausen was to join him at Quimperlé writing to his mother in September 1882:

“…Thangue tells me he is sending G.Clausen the painter and his wife.  Very glad as he is a really good painter in fact belongs to the sacred band whom even I admire…”

 It was whilst here that Clausen produced a number of wonderful paintings depicting local peasant farm workers and their families.

Peasant Girl Carrying a Jar, Quimperlé by George Clausen (1882)
Peasant Girl Carrying a Jar, Quimperlé by George Clausen (1882)

One such work was entitled Peasant Girl Carrying a Jar, Quimperlé which he completed in 1882.  This is a portrait of a young girl seen standing in a field, hand on hip, holding an earthenware pot.  She is dressed in a peasant costume, the quality of which indicates that she is from a family of limited means.  She is surrounded by tall spherical flowering onion plants. It is interesting to look closely at the way Clausen has depicted the pose of the young girl.   This is not the pose of a professional model.  This is a peasant girl displaying the uncomfortable pose of a young child, which makes the image of her appear so realistic.  There is no harshness about the way Clausen has depicted her facial expression.  It is a face that exudes gentleness.  What must be going through the child’s mind as she poses for this foreigner, the artist?

The Return to the Fields by George Clausen (1882)
The Return to the Fields by George Clausen (1882)

The next featured work of Clausen is a small watercolour (35 x 26 cms) which he again completed in 1882.   The painting, entitled The Return from the Fields depicts two young workers carrying bundles of brushwood which had been obtained by thinning out the copses.  This brushwood was used for hedging, or as beating implements used for fire fighting or sometimes used to construct sheep hurdles.  That year, the painting was exhibited at Institute of Painters in Watercolours, in London, under the title of Boy and Man and the art reviewer of the Magazine of Art commented favourably on the work:

“… the most artistic work on the walls……a small drawing, but it is so strong, and at the same time so tender and full of feeling, that it arrests attention more powerfully than the other pictures together.  It is evidently inspired by Millet…….he has struck the right road…”

Head of a Peasant Woman by George Clausen (1882)
Head of a Peasant Woman by George Clausen (1882)

Clausen painted two close-up portraits of peasant labourers.  The first was entitled Head of a Peasant Woman which he completed in 1882.   This is a wonderful portrait.  It is a triumph of realism as Clausen has depicted the woman, “warts and all”.  We see her weather beaten face caused by the many days and weeks of working the fields and her wrinkled bow is testament that she has endured a hard and worrisome life.  She doesn’t look directly at us as she rests her hands on a long stick.  The ring on her wedding finger glints in the sunlight.

Labourers after Dinner by George Clausen (c.1882)
Labourers after Dinner by George Clausen (c.1882)

The second portrait was an oil and canvas study of a young boy who was to figure in a work entitled Labourers after Dinner.  This painting is held in a private collection in Australia and I have not been able to find a colour copy of it so have just scanned a black and white version which I found in a magazine.   The painting was the first indication that Clausen was moving away from the emotional depiction of peasant pictures which had been popularised in England and France by Jules Bastien-Lepage.  Clausen veered towards more naturalistic, if brutal, genre subjects. This work was one of the most studied of Clausen’s early compositions.   It is a depiction of a boy sitting between his mother and father who were taking a rest from their work in the fields.  The controversial Irish novelist and art critic, George Moore, on seeing the painting, wrote scathingly about the group depicted in the painting in his 1893 book entitled Modern Painting. In it he commented on the depiction of the boy’s mother and father:

“…the middle aged man and woman who live in mute stupidity – they have known nothing but the daily hardship of living and the vacuous face of their son tells how completely the life of his forefathers has descended upon him…”

Head of a Peasant Boy by George Clausen (1884)
Head of a Peasant Boy by George Clausen (1884)

A “vacuous face” wrote Moore.  I will let you decide as the oil sketch Clausen made prior to the large scale painting, entitled Head of a Peasant Boy is awash with detail.  George Moore was not a lover of realism in art as in the same book he condemned it saying:

“…Realism, that is to say the desire to compete with nature, to be nature, is the disease from which art has suffered most in the last twenty years.  The disease is now at wane, and when we happen upon a canvas of the period like Labourers after Dinner, we cry out, ‘What madness! Were we ever as mad as that?”…”

Harsh words indeed and yet I like this painting.

The Shepherdess by George Clausen (1885)
The Shepherdess by George Clausen (1885)

Clausen was a founder member of the New English Art Club (NEAC) of London which was set up in 1885 in competition with the Royal Academy.  It was a club which attracted many young inspiring artists who were returning to England after their artistic studies in Paris.  One of Clausen’s first paintings to be exhibited at an NEAC exhibition was The Shepherdess which he completed in the Spring of 1885 and which is now art of the National Museums, Liverpool collection.   Clausen had sold the painting to John Maddocks an artist and art collector, and borrowed it back to show at the exhibition.  The orchard in which the young girl stands was to feature in a number of Clausen’s works.  In 1891, the art critic of The Magazine of Art, Butler Wood, commented on the work:

“…admirable specimen of Mr Clausen’s best manner, and displays feeling and atmosphere.  His colour scheme is simple, yet satisfactory and skilfully elaborated.  The girl’s figure is modelled with almost sculpturesque strength and the face painted with that ruddy glow of health which he is so clever at rendering…”

In 1891 Clausen moved from the Berkshire village of Cookham Dean and went to live in Widdington, a small picturesque village in the county of Essex.  He had been exhibiting most of his works at the New Gallery and the NEAC but as his paintings became larger in size they were not easily accommodated at these venues and so he had to once again look at exhibiting his larger works at the Royal Academy in London.  Clausen had fallen out with the Royal Academy years earlier over their teaching methods and their strict and antiquated rules but now, with an ever expanding family, he needed the support of the Academy if he was to sell his larger works.  In 1895, Clausen was elected an Associate of the Royal Academy.  The art world noted his election to an establishment he had once roundly criticised but many saw Clausen as an excellent addition to the RA.  The scholar and prolific art critic of the time, often referred to as “one of the most powerful figures in the late Victorian art world”, Marion Spielmann, wrote about Clausen’s appointment in the February 1895 edition of weekly illustrated newspaper, The Graphic:

“…Mr Clausen was…… a signatory of the open letter which years ago set fire to the inflammable material which we young hot-bloods had….pile up  against the door of the Academy…. much amelioration has been brought since then;  the girls may now study from the semi-nude; then standard of probationership has been raised….”

Clausen now worked within the Academy system, a system which he had once heavily criticised.   He gave up his time, a couple of months each year, to teach students at the Royal Academy Life School Between 1904 and 1906 and in that year he became Professor of Painting at the Academy and, because of the large number of students who attended his lectures, was regarded as one of the most popular professors since Joshua Reynolds.

Bird Scaring by George Clausen (1896)
Bird Scaring by George Clausen (1896)

One of the works Clausen completed in 1896 was entitled Bird Scaring: March, and which is housed in the Harris Museum and Art Gallery, Preston.  In Victorian days bird scarers were employed by farmers to act as human scarecrows. Their task was simple; they just had to position themselves in the farmer’s field and scare off the birds which swoop down to eat the farmer’s crops.  This onerous job was for very young children who had to be working in the fields, dawn to dusk, no matter what the weather was like.  In the painting we can see the young boy who, despite the cold weather, wears only sack-cloth.  A small fire has been lit on the ground to keep him warm.  The blue/grey smoke from the fire wafts behind him giving us the sense that it is not only cold but also windy.  He is energetically swinging around, holding a wooden clapper in his right hand which made sufficient noise to deter birds from landing nearby.

Youth Mourning by George Clausen (1916)
Youth Mourning by George Clausen (1916)

For my next two featured works by Clausen you will notice a complete change of style.  The first one was completed in 1916 and entitled Youth Mourning.  The work you see is not the original version but one altered on the request of the purchaser.  Clausen, who was sixty-four when he painted this work was too old for military service in the First World War, however he was not untouched by the many tragedies of the Great War for his son-in-law, the husband of his daughter Kitty, was killed in battle in 1915 and it was that sad event which moved him to paint this work.  It was his personal expression of grief for the thousands who perished during the conflict.  This was an artistic departure of his favoured rustic naturalism style and more towards the French Symbolist genre.

In the original work there were three white crosses in the ground just behind the female and further in the background many more white crosses could be seen.  When the owner of the work, a Mr C.N.Luxmoore, who bought this and many other paintings from Clausen presented it to the Nation in 1929 the crosses had been painted out just leaving a barren shell-holed hillside.  We have no definitive reason why the owner got Clausen to re-paint part of the work.   The resulting work has a powerful symbolic aura of anguish and sorrow captured by the nude female figure hunched over in the foetal position.  The finality of death is depicted by the barrenness of the landscape where nothing lives.

In the Gun Factory at Woolwich Arsenal, 1918 by George Clausen (1918)
In the Gun Factory at Woolwich Arsenal, 1918 by George Clausen (1918)

George Clausen was later appointed an official war artist and took part in the ambitious British War Memorials Committee art scheme in 1918. He produced a large 183 x 318cms oil on canvas work in 1918 entitled In the Gun Factory at Woolwich Arsenal, 1918.  This urban scene once again is huge shift away from rustic idylls of the countryside we saw in his earlier works.  The painting was a commission Clausen received from The Ministry of Information who said they wanted a “Uccello” sized work of art which would be exhibited in the Hall of Remembrance.  Clausen visited the gun factory on a number of occasions and had originally intended that the painting would be in an upright format but eventually realised that it had to be of a horizontal format.  The work was finally completed in December 1918 and was first exhibited at the Royal Academy Winter Exhibition of 1919-20.  Critics believed it was one of the best works on display.  In 1926, due to his successful war commission he was commissioned to paint murals, notably Wycliffe’s English Bible for the Houses of Parliament and on completion of this task he was knighted.  He continued to regularly exhibit work at the Royal Academy during the 1930’s.

My Back Garden by George Clausen (1940)
My Back Garden by George Clausen (1940)

One of last paintings by Sir George Clausen was one he completed in 1940 entitled My Back Garden.  It was a depiction of the back garden of his house at 61 Carlton Hill, London.  He was eighty-eight years of age when he painted this picture.  It was almost a farewell painting as a year later; he had left his beloved house and garden because of the almost continuous bombing of London by the Nazis.  He decided that he and his wife should move to Cold Ash, a Berkshire village some two miles from the town of Newbury and seventy miles west of London.  Clausen continued to sketch and complete watercolours which he sent off for inclusion in the Royal Academy Summer Exhibitions of 1942 and 1943.   Clausen’s wife’s health had deteriorated in 1939 and she remained poorly until her death in March 1944.  Sir George Clausen died eight months later in November 1944, aged 92.   In June 1944, just five months before Clausen’s death, he was approached by Kenneth Clark, the Director of the National Gallery, proposing a retrospective exhibition of his work at the National Gallery.  Clausen was delighted with the proposal and wrote back to Clark:

“… I think such an exhibition as you suggest would be more appropriate when I am dead and indifferent to praise or censure !   However I will help you all I can…”

Sadly the exhibition never took place.

Sir George Clausen. Part 1. Rustic Naturalism and the influence of Jules Bastien-Lepage

Sir George Clausen       (Self Portrait)
Sir George Clausen
(Self Portrait)

There is something very intriguing about “–isms” when talking about genres in art.  We are all aware of them common ones such as realism, impressionism, cubism, etc.  In fact I have an art history book about “-isms”.  Today I want to introduce you to another “-ism” which is not mentioned in the knowledgeable tome.  It is ruralism, often referred to as Rural Naturalism, an art genre through which artists pictorially champion life away from the grime of cities and, through their paintings, exalts life in the countryside.   One of the great exponents of ruralism is the subject of my next two blogs, the English painter, Sir George Clausen.

George Clausen was born 8 William Street, Regents Park, London in April 1852, the son of Jorgen Johnsen and Elizabeth Clausen.  His father, an artist and interior decorator, was of Danish extraction and his mother was of Scottish descent.  Up until the age of fourteen and a half, George attended St Mark’s School in Kings Road Chelsea.  In 1867, three months before his fifteenth birthday he started a five year apprenticeship in the Chelsea drawing office of Messrs. Trollope, a firm of interior decorators.  During this period he was trained in drawing by John Cleghorn, whose job title was a copyist and limner, an old term for a painter of ornamental decoration, a book illustrator or somebody who illuminates manuscripts.  Cleghorn had an artistic background having studied at The Royal Academy Schools.  George Clausen had a thirst for artistic knowledge and to supplement Cleghorn’s tuition, also attended evening classes at the National Art Training School, South Kensington, which in 1896, would become the Royal College of Art.  One of the jobs Clausen was involved in was to decorate the home of the English genre, history, biblical and portrait painter, Edwin Long.  Clausen’s boss, an Irish man called Brophy, gave Clausen the task to paint some lilies on the panels of a door in Edwin Long’s house.  Clausen remembered this time and it must have made an impression on him, for sixty years later in his Autobiographical Notes which appeared in the Spring 1931 edition of the Artwork magazine he recalled the time:

“…Long looked at my work and said ‘May I see your sketchbook?’   He gave it back to me and said ‘Did you ever think of becoming an artist?’  I said ‘Yes, but I saw no opportunity of getting the training.’  Long said ‘I think you’d have a chance. And if I were you I’d try for a scholarship at South Kensington.’  Brophy readily agreed.  I had already taken medals in design, and I was worked up in my spare time, and obtained a two years’ scholarship in decorative painting at £50 a year!…”

Clausen was not enamoured by the training he received during the two year course at South Kensington School of Art.  He believed that there was not enough teaching and lacked structure as students were left to get on with things themselves.

The Baylonian Marriage Market by Edwin Long (1875)
The Baylonian Marriage Market by Edwin Long (1875)

He did however keep in contact with Edwin Long and did a lot of research work for him with regards some of Long’s large biblical paintings.  Long would pay Clausen for his help and also tutored him.  Long realised that Clausen’s artistic ability needed to be carefully nurtured and believed, for Clausen to receive the best artistic tuition, he needed to leave England and move to Antwerp and attend the Antwerp Academy of Art.

George Clausen accepted the advice and travelled to Holland and Belgium and for a short period enrolled at the Antwerp Academy where he studied under the tutelage of Professor Joseph van Lerius.  His sketches and paintings around this time were heavily influenced by Dutch subjects such as the coastal fishing villages and he exhibited a number of these at the Dudley Gallery, which was originally located in the Egyptian Hall, Piccadilly, London.   It  was completed in 1812 and financed by Earl of Dudley to house his valuable collection of pictures during the erection of his own gallery at Dudley House in Park Lane. It was known for its promotion of French and Dutch artists.

High Mass at a Fishing Village on the Zuyder Zee, Holland by George Clausen (
High Mass at a Fishing Village on the Zuyder Zee, Holland by George Clausen (1876)

One example of Clausen’s “Dutch period” was his small (47 x 84 cms) oil on canvas painting entitled High Mass at a Fishing Village on the Zuider Zee, which he completed in 1876 and is part of the Nottingham Castle Museum collection.  The work was the result of a summer holiday Clausen had taken to the island of Marken, in the Zuider Zee, with his friend and fellow artist Dewey Bates.  They had visited the village of Volendam on a Sunday, where there was a celebration of a High Mass.  The mass was so well attended that the church was full and many parishioners were left outside.  In the painting we see into the fully occupied church as well as a group of fishermen with their wives and children kneeling on the cobbled street outside the main entrance door.

The painting was exhibited at the Royal Academy, the first work he had ever submitted to the prestigious establishment, and the art critic of The Times, seeing the work of art and Clausen’s name immediately believed he was a Dutch artist painting a scene from his homeland and wrote :

“…a very clever Dutch painter, hitherto only known in this country by two drawings exhibited at the Dudley Gallery…”

The art critic of the Spectator was full of praise writing:

“…a quiet thoughtful picture, in every sense of the word. A work of true art and deep feeling…”

Whilst in Europe George Clausen made many visits to Paris.  His paintings around this time showed that he had been influenced by the likes of Whistler and William Quiller Orchardson, a well loved Scottish portraitist and painter of domestic and historical subjects.  He was also very interested in the rustic natural depictions of the Scottish artist John Robertson Reid and Léon Augustine Lhermitte, a French realist painter, whose primary subject matter was of rural scenes depicting the peasant worker.

La Pensée by George Clausen (1880)
La Pensée by George Clausen (1880)

In 1880 Clausen exhibited his work La Pensée at the Grosvenor Gallery in London.  It was a difficult depiction for an artist with the model seated in an interior.  The figure is not seated parallel to the plane of the picture and the rear wall.  It is a work of art full of detail.  Look at the right background and you can see the edge of an elaborate chimney piece.  In the left background there is a drop leaf table and on the floor a goat skin rug.  The lady sits upright in the chair looking out at us whilst grasping a knot of violets in her right hand which rests in her lap.  This is the key to the title of the painting (Thought).  Here is a lady lost in thought about her lost love.

Spring Morning, Haverstock Hill by George Clausen (1881)
Spring Morning, Haverstock Hill by George Clausen (1881)

Clausen often used this model for his paintings and one I particularly like featuring her was completed in 1881 and entitled a Spring Morning, Haverstock Hill.  It was exhibited at that year’s Royal Academy exhibition.  This London street scene was an ambitious work featuring not just the main female model, who walks along the street accompanied by a small child, but a number of other characters some at rest, some at work, including labourers digging up the cobbles in the road and, directly behind the main character, a flower seller.

Les Foins by Jules Bastien-Lepage (1877)
Les Foins by Jules Bastien-Lepage (1877)

When Clausen exhibited La Pensée at the Grosvenor Gallery amongst his fellow exhibitors was Jules Bastien-Lepage who was exhibiting nine paintings, including Les Foins (Haymaking), which depicts resting haymakers.  This painting had been exhibited at the Salon in 1878.  Clausen, like the critics, were enthralled by this work of rural or rustic naturalism.  Clausen shortly after moved to the countryside and went to live in the Hertfordshire village of Childwick Green.  He later wrote in his 1931 Autobiographical Notes about his new surroundings and the new opportunity and challenges it gave him as a painter

“…One saw people doing simple things under good conditions of lighting: and there was always a landscape.  And nothing was made easy for you: you had to dig out what you wanted…”

The Gleaners by George Clausen (1882)
The Gleaners by George Clausen (1882)

Soon his sketchbooks were full of sketches and paintings depicting workers in the countryside surrounding his house.  One of Clausen’s first works depicting labourers in the fields was completed in 1882 and was entitled The Gleaners.  The work was exhibited at the Grosvenor Gallery in 1882.  It was greeted with great acclaim by the critics and art reviewers.  In Vol. V 1881-2 of The Magazine of Art, the reviewer wrote about how Clausen sympathetically depicted the labourers:

“…He shows us a little company of the poor not in picturesque rags but in garments of fact, gleaning modern English fields…”

Pauvre Fauvette by Jules Bastien-Lepage (1881)
Pauvre Fauvette by Jules Bastien-Lepage (1881)

In 1881 Bastien-Lepage completed a work entitled Pauvre Fauvette.  He often painted the peasants from the town he was living in at the time, Damvillers which is situated in north-eastern France. In his painting we see a very small young girl, the ‘little wild girl’ of the painting’s title.  Her job is to patiently and quietly guard a cow, which we see on the other side of the tree.  In a way it is a depiction of isolation in the way the artist has depicted the small child, even dwarfed by the tall thistles.  She stands alone next to a leaf-less tree surrounded by  a very barren landscape.  It is a pitiful depiction and we note her haunted and sad eyes and the way she tries to cover herself up and keep herself warm in a threadbare blanket leads us to believe it could have been a cold winter’s day.

The Stone Pickers by George Clausen (1887)
The Stone Pickers by George Clausen (1887)

The next work I am featuring was also probably influenced by Bastien-Lepage’s work above.  It was one which Clausen began in the autumn of 1886 and completed in 1887.  It was entitled The Stone Pickers.  On completion Clausen sent it to Goupil, the art dealer and in 1887 it was exhibited at the Dudley Gallery, London and also appeared at the second New English Art Club exhibition of 1887.  It is now housed at the Laing Gallery in Newcastle upon Tyne.  The model for the painting was Polly Baldwin and the setting was at Cookham Dene.  Look how in this work the girl has sacking wrapped around her lower body to keep her warm, similar to the attire of the child in Bastien-Lepage’s painting.  Stone pickers were sent out into the fields to pick up loose stones prior to ploughing.  In Clausen’s painting we see a young girl depositing stones, which she had picked up, on to a pile.  In the background we see another woman bent down picking up stones from the field. One can only imagine what a backbreaking and tedious job the women had to endure.  Many artists of the time liked to depict hard working labourers/peasants at work in the fields,  This was the essence of rustic realism or rustic naturalism.  Look at the expression on the young girl’s face as she looks down at the pile of stones.  It is a sad and almost haunted expression.  Behind her there is a can containing water and a wicker basket containing food for her lunch.  Our eyes are drawn to this area because of the red colour of what could be a table cloth.

In my next blog I will complete Clausen’s life story and have a look at some more of his works of art.

 

The Rain It Raineth Every Day by Norman Garstin

The Rain It Raineth Every Day by Norman Garstin (1889)

Most of you, who have read my blogs, may know by now that I took early retirement and am now running a small Bed & Breakfast establishment in a Welsh coastal town.  I pride myself in trying to give my guests the best stay they could ask for and each morning cook them the best breakfast possible and I am pleased to say my small establishment has received top ratings on a certain website.  The people that stay with my wife and I are from all over the world, some coming from hot climates.  Sadly, the only thing I cannot guarantee my visitors is the weather.  My breakfast room is in the conservatory and when the heavens open, I try and convince my diners that the sound of rain on the conservatory roof is actually worse than the conditions outside.  I am not sure whether I am believed!  I actually feel guilty about the weather they have to sometimes endure!  So why do I mention this?  It is certainly not an advert for my B&B but merely a lead in to today’s featured painting which highlights the worst of the British weather.  My Daily Art Display’s featured painting today is entitled The Rain it Raineth Every Day and it was completed by the Irish artist and writer Norman Garstin in 1889.

Norman Garstin was born in Cahirconlish, in County Limerick, Southern Ireland in 1847.  His mother was Irish and his father was of Anglo-Irish descent and he was their only child.  He displayed no early interest in art and on leaving school attended the Engineering College of Cork and it was during that time when he was studying to become an engineer and draughtsman that it became apparent that he had a great aptitude for drawing.  Because of this palpable talent for drawing, he moved to London to study architecture.  It was whilst living in the capital that he heard and read about the money that was to be made in the South African diamond fields.  The lure of a possible fortune to be made was too much for him to ignore and so in 1872 he journeyed to South Africa and the diamond field centre, Kimberley, in order to make his fortune.  He remained there for four years and for some time shared a tent with Cecil Rhodes, the English-born South African who was to become the founder of the diamond company De Beers and the founder of the state of Rhodesia, which was named after him.

Garstin did not make his fortune digging for diamonds and after four years he moved to Cape Town where with Frederick York St Leger, an Anglican clergyman and a fellow Limerick man he helped to edit the Cape Times newspaper.    He returned to Ireland but after a bad riding accident, in which he lost the sight of his right eye, Garstin made another career change and turned his attention to art.    He travelled to Antwerp in 1878 where he studied at the Koninklijke Academie, which had been founded two hundred years earlier by David Teniers the Younger.  It was here that Garstin studied under the Belgian painter, Charles Verlat.  From Antwerp he went to live in Paris in 1871, where he remained for three years studying at the studio of Carolus-Duran, the French painter and art teacher.  Whilst in Paris he made many friends in the artistic community, two of whom, Degas and Manet, were artists he looked upon as the greatest painters of their time.  After Paris, and influenced by the French naturalist painter, Garstin Jules Bastien-Lepage, Garstin travelled to Britanny to paint, which was a favoured place for naturalist painters at that time.   Later he travelled around the south of France, Spain, and Tangiers.  In 1885 he was in Italy and in Venice and it was during his European travels that he made friends with many artists who would later form part of the artist colony at Newlyn, which was to be his next port of call.

Garstin moved to Cornwall in 1886 and became one of the early members of the Newlyn School, an art colony situated in and around the small Cornish fishing village of Newlyn, which was situated close to the town of Penzance.  This newly found artist community was similar in nature to the Barbizon School on the outskirts of Paris, near the Fontainebleau Forest, which was established in the 1830’s.  In both cases the lure to these places was the fantastic natural light and the opportunity to paint outside, en plein air.  This opportunity to paint outside instead of in a studio was helped with the innovation of tubes of paint and the invention of the box easel with its built-in paint box, which made it much easier for artists to trek around the undulating countryside.  For Garstin, the fishing port of Newlyn had other things going for it as well.  It was cheap to live there and artists’ models were easy to come by and inexpensive.  The Newlyn School artists found the everyday life in the harbour and the nearby villages were ideal subjects for their paintings and their works often brought home the harsh conditions experienced by the fishing fraternity and the hazards and tragedies which were often associated with that profession.

It was also in 1886 that Garstin married.  The couple had two sons, one of whom was killed in the war and the other went on to be a respected writer.  In 1894, his wife, who was also a painter, gave birth to their daughter Alethea.  Garstin dedicated much time in teaching art to his daughter and she blossomed under his tutelage.  She was the youngest woman to have a painting accepted by the Royal Academy and went on to become a great en plein air artist in her own right and was once called “England’s leading Impressionist”.

Norman Garstin stayed in Newlyn for four years before moving to Wellington Terrace, Penzance in 1890.  He was not a prolific artist and so was not always able to support himself financially from the sale of his paintings.  For that reason he had to supplement his income by writing, teaching and giving lectures.  From 1899 onwards he would organize artist summer schools and led summer trips to the Continent for his students.  Garstin died in Penzance in 1926, shortly before his seventy-ninth birthday.

Today’s featured work by Garstin The Rain it Raineth Every Day derives its title from two of Shakespeare’s plays, Twelfth Night and King Lear.  In Act V, Scene I of Twelfth Night there is a soliloquy by the clown as he sings a song, the last line of each verse ends with the title of today’s painting:

When that I was a little tiny boy,
With hey, ho, the wind and the rain,
A foolish thing was but a toy,
For the rain it raineth every day.

But when I came to man’s estate,
With hey, ho, the wind and the rain,
‘Gainst knaves and thieves men shut their gate,
For the rain it raineth every day.

But when I came, alas! to wive,
With hey, ho, the wind and the rain,
By swaggering could I never thrive,
For the rain it raineth every day.

But when I came unto my beds,
With hey, ho, the wind and the rain,
With toss-pots still had drunken heads,
For the rain it raineth every day.

A great while ago the world begun,
With hey, ho, the wind and the rain,
But that’s all one, our play is done,
And we’ll strive to please you every day.

The painting depicts the promenade between Newlyn and Penzance on a windswept and rainy day, just like it is now, as I look out my window.  It was painted in 1899 and Garstin, with his hopes high, submitted it to the Royal Academy for inclusion in that year’s exhibition but the jury rejected it.  It is such a realistic painting that one can almost feel the sea spay on one’s face as one gazes at the painting.  The way Garstin has painted the scene is thought to have been influenced by works of Whistler, one of Garstin’s favourite painters.  On the left we see the Queens Hotel and further to the right we can just make out the parish church which lies behind a row of terraced houses.

The painting presently hangs in the Penlee House Gallery and Museum in Penzance.  Of all Garstin’s works, this is the one he is remembered for.

So has the setting changed much since the time of Garstin?  I have to admit I have never been to Penzance but my thanks to Jane on whose website entitled Fleur Fisher in her World, I found this picture of the present day promenade

(http://fleurfisher.wordpress.com/2009/12/27/norman-garstin-irishman-and-newlyn-artist-by-richard-pryke/

The promenade at Penzance today