Victorian painting refers to the distinctive styles of painting in the United Kingdom during the reign of Queen Victoria (1837–1901). Victoria's early reign was characterised by rapid industrial development and social and political change, which made the United Kingdom one of the most powerful and advanced nations in the world. Painting in the early years of her reign was dominated by the Royal Academy of Arts and by the theories of its first president, Joshua Reynolds. Reynolds and the academy were strongly influenced by the Italian Renaissance painter Raphael, and believed that it was the role of an artist to make the subject of their work appear as noble and idealised as possible. This had proved a successful approach for artists in the pre-industrial period, where the main subjects of artistic commissions were portraits of the nobility and military and historical scenes. By the time of Victoria's accession to the throne, this approach was coming to be seen as stale and outdated. The rise of the wealthy middle class had changed the art market, and a generation who had grown up in an industrial age believed in the importance of accuracy and attention to detail, and that the role of art was to reflect the world, not to idealise it.
In the late 1840s and early 50s, a group of young art students formed the Pre-Raphaelite Brotherhood as a reaction against the teaching of the Royal Academy. Their works were based on painting as accurately as possible from nature when able, and when painting imaginary scenes to ensure they showed as closely as possible the scene as it would have appeared, rather than distorting the subject of the painting to make it appear noble. They also felt that it was the role of the artist to tell moral lessons, and chose subjects which would have been understood as morality tales by the audiences of the time. They were particularly fascinated by recent scientific advances which appeared to disprove the Biblical chronology, as they related to the scientists' attention to detail and willingness to challenge their own existing beliefs. Although the Pre-Raphaelite Brotherhood was relatively short-lived, their ideas were highly influential.
The Franco-Prussian War of 1870 led to a number of influential French Impressionist artists moving to London, bringing with them new styles of painting. At the same time, a severe economic depression and the increasing spread of mechanisation made British cities an increasingly unpleasant place to live, and artists turned against the emphasis on reflecting reality. A new generation of painters and writers known as the aesthetic movement felt that the domination of art buying by the poorly educated middle class, and the Pre-Raphaelite emphasis on reflecting the reality of an ugly world, was leading to a decline in the quality of painting. The aesthetic movement concentrated on creating works depicting beauty and noble deeds, as a distraction from the unpleasantness of reality. As the quality of life in Britain continued to deteriorate, many artists turned to painting scenes from the pre-industrial past, while many artists within the aesthetic movement, regardless of their own religious beliefs, painted religious art as it gave them a reason to paint idealised scenes and portraits and to ignore the ugliness and uncertainty of reality.
The Victorian age ended in 1901, by which time many of the most prominent Victorian artists had already died. In the early 20th century, the Victorian attitudes and arts became extremely unpopular. The modernist movement, which came to dominate British art, was drawn from European traditions and had little connection with 19th-century British works. Because Victorian painters had generally been extremely hostile towards these European traditions, they were mocked or ignored by modernist painters and critics in the first half of the 20th century. In the 1960s, some Pre-Raphaelite works came back into fashion amongst elements of the 1960s counterculture, who saw them as a predecessor of 1960s trends. A series of exhibitions in the 1960s and 1970s further restored their reputation, and a major exhibit of Pre-Raphaelite work in 1984 was one of the most commercially successful exhibitions in the Tate Gallery's history. While Pre-Raphaelite art enjoyed a return to popularity, non-Pre-Raphaelite Victorian painting remains generally unfashionable, and the lack of any significant collections in the United States has restricted wider knowledge of it.
Background
When the 18-year-old Alexandrina Victoria inherited the throne of the United Kingdom of Great Britain and Ireland as Queen Victoria in 1837, the country had enjoyed unbroken peace since the final victory over Napoleon in 1815. In 1832 the Representation of the People Act (commonly known as the Reform Act) and its equivalents in Scotland and Ireland had abolished many of the corrupt practices of the British political system, giving the country a stable and relatively representative government. The Industrial Revolution was underway, and in 1838 the London and Birmingham Railway opened, linking the industrial north of England to the cities and ports of the south; by 1850 over 6,200 miles (10,000 km) of railways were in place and Britain's transformation into an industrial superpower was complete. The perceived triumph of technology, progress and peaceful trade was celebrated in the 1851 Great Exhibition, organised by Victoria's husband Albert, which attracted over 40,000 visitors per day to view the over 100,000 exhibits of manufacturing, farming and engineering on display.
While Britain's economy had traditionally been dominated by the landowning aristocracy of the countryside, the Industrial Revolution and political reforms had greatly reduced their influence, and created a booming middle class of merchants, manufacturers and engineers in London and the industrial cities of the north. The newly rich were generally keen to show off their affluence through the display of art, and rich enough to pay high prices for art works, but generally had little interest in the old masters, preferring modern works by local artists. In 1844 Parliament ruled art unions legal, which commissioned artworks by famous artists, paying for them by means of a lottery in which the finished artwork was the prize; this not only offered an entrance to the art world for people who may not have been able to afford to buy a significant painting, but stimulated a growing market for prints.
Reynolds and the Royal Academy
British painting had been strongly influenced by Joshua Reynolds (1723–1792), the first president of the Royal Academy of Arts, who believed that the purpose of art was "to conceive and represent their subjects in a poetical manner, not confined to mere matter of fact", and that artists should aspire to emulate the Italian Renaissance painter Raphael in making their subjects appear as close to perfection as possible.
By the time of Victoria's accession the Royal Academy dominated British art, with the annual Royal Academy Summer Exhibition the most important event in the arts world. The Royal Academy also controlled the prestigious Royal Academy art schools, which taught with a very narrow focus on approved techniques. Painting in Raphael's style had proved commercially successful for artists serving a nobility primarily interested in family portraiture, military scenes and scenes from history, religion and classical mythology, but by the time of Victoria's accession was coming to be seen as a dead end. The destruction of the Houses of Parliament in late 1834, and the subsequent competitions to select artists to decorate its replacement, threw into sharp focus the lack of competent British artists able to paint historic and literary topics, which at the time were considered the most important form of painting. From 1841 the new, and highly influential, satirical magazine Punch increasingly ridiculed the Royal Academy and contemporary British artists.
John Ruskin's seminal Modern Painters, the first volume of which was published in 1843, argued that it was the purpose of art to represent the world and allow the viewer to form their own opinions of the subject, not to idealise it. Ruskin believed that only by representing nature as accurately as possible could the artist reflect the divine qualities within the natural world. An upcoming generation of young artists, the first to have grown up in an industrial age in which the accurate representation of technical detail was considered a virtue and a necessity, came to agree with this view. In 1837 Charles Dickens began to publish novels attempting to reflect the reality of the problems of the present day, rather than the past or an idealised present; his writings were greatly admired by many of the rising generation of artists.
In 1837 painter Richard Dadd and a group of friends formed The Clique, a group of artists rejecting the Academy's tradition of historical subjects and portraiture in favour of populist genre painting. While the majority of The Clique returned to the Royal Academy in the 1840s, after the incarceration of Dadd following his 1843 murder of his father, they were the first group of significant artists to challenge the positions of the Royal Academy.
J. M. W. Turner
At the time of Victoria's accession, the most significant living British artist was J. M. W. Turner. Turner had made his name in the late 18th century with a series of well-regarded landscape watercolours, and exhibited his first oil painting in 1796. A staunch ally of the Royal Academy throughout his life, he was elected a full Royal Academician in 1802 at the age of 27. In 1837 he resigned from his post as professor of perspective at the Royal Academy, and in 1840 first met John Ruskin. The first volume of Ruskin's Modern Painters was a defence of Turner, arguing that Turner's greatness had developed despite, not because of, the influence of Reynolds and a consequent desire to idealise the subjects of his paintings.
By the 1840s, Turner was drifting out of fashion. Despite Ruskin's defence of his work as being ultimately "an entire transcript of the whole system of nature", Turner (who by 1845 had become the eldest Academician and deputy president of the Royal Academy) had come to be seen by younger artists to embody bombast and wilfulness, and to be a product of an earlier, Romantic period out of touch with the modern age.
Pre-Raphaelite Brotherhood
In 1848 three young students at the Royal Academy art schools, William Holman Hunt, John Everett Millais and Dante Gabriel Rossetti, formed the Pre-Raphaelite Brotherhood (PRB). The PRB rejected the ideas of Joshua Reynolds, and had a philosophy based on working from nature as accurately as possible wherever possible, and when it was necessary to paint from imagination to strive to show the event as it most likely would have happened, not in the way that would appear most attractive or noble.
The PRB took their inspiration from scientific exhibitions, and felt this scientific approach was in itself an instrument of moral good. The intensely laboured detail and attention to accuracy showed that hard work and dedication had gone into their paintings, and thus illustrated the virtue of work, as contrasted to the "loose, irresponsible handling" of the Old Masters' techniques or the "defiant indolence" of Impressionism. As well as this, they felt it was the duty of the artist to choose subjects which illustrated moral lessons of some kind. Early PRB works were noted for their inclusion of flowers, which suited their purpose well. Flowers could be used in almost any scene, they could be used to convey messages in the then-popular language of flowers, and accurately illustrating them showed the artist's dedication to scientific accuracy.
The Victorian age was characterised by rapid scientific advance, and by rapidly changing attitudes to religion as advances in geology, astronomy and chemistry disproved the biblical chronology. The PRB found these advances fascinating, based as they were in attention to detail and a willingness to challenge existing beliefs on the basis of observed fact. PRB founder William Holman Hunt led a revolution in English religious art, visiting the Holy Land and studying archaeological evidence and the clothing and appearance of local people to paint biblical scenes as accurately as possible.
By 1854 the PRB had collapsed as an organisation, but their style continued to dominate British painting. An exhibit of Pre-Raphaelite works at the 1855 Paris Exposition Universelle was well received. The 1857 Art Treasures Exhibition in Manchester, which exhibited the works of contemporary artists alongside 2000 works by European masters saw 1,300,000 visitors, further increasing awareness of modern painting styles. In 1856 art collector John Sheepshanks presented his collection of modern paintings to the nation, which together with the exhibits from the Great Exhibition formed the South Kensington Museum in June 1857 (later divided into the Victoria and Albert Museum of visual arts and the Science Museum of engineering and manufacturing technology).
Painting remained a field dominated by male artists at this time. In 1859 a petition by 38 female artists was circulated to all Royal Academicians requesting the opening of the Academy to women. Later that year Laura Herford submitted a qualifying drawing to the Academy signed simply "A. L. Herford"; when the Academy accepted it, the Academy accepted her as its first female student in 1860. The Slade School of Fine Art, founded in 1871, actively recruited female students.
Love, lust and beauty
In the 1860s, the Pre-Raphaelite movement splintered, with some of its adherents abandoning strict realism in favour of poetry and attractiveness. Particularly in the case of Rossetti, this tended to be embodied in paintings of women. As with many other artists and writers of the time, as his religious faith waned Rossetti increasingly saw love as the most important subject.
This move towards depicting the effects of love became explicit in Venus Verticordia ("Venus the turner of hearts"), painted by Rossetti in the mid-1860s. The title and subject come from John Lemprière's Bibliotheca Classica, and refers to a prayer to Venus to turn the hearts of Roman women away from debauchery and lust and back towards modesty and virtue. Surrounding Venus, roses represent love, honeysuckle represents lust, and the bird represents the shortness of human life. She holds the Golden Apple of Discord and Cupid's arrow, thought to be a reference to the Trojan War and the destructiveness of love.
John Ruskin disliked the painting intensely. While it is now thought that his dislike of the painting was due to a dislike of the representation of the naked female form, he claimed his issues with the painting were with the depiction of the flowers, writing to Rossetti to advise him that "They were wonderful to me, in their realism; awful—I can use no other word—in their coarseness: showing enormous power, showing certain conditions of non-sentiment which underlie all you are doing now". Ruskin's hostility towards the painting led to a quarrel between Ruskin and Rossetti, and Rossetti drifted away from Pre-Raphaelite thinkings and towards the new doctrine of art for art's sake expounded by Algernon Charles Swinburne.
Animal painting
Since the time of George Stubbs (1724–1806), Britain has had a strong tradition of animal painting, a field which had gained respect owing to James Ward's highly proficient animal paintings of the early 19th century. Selective breeding of livestock, particularly dogs, had become highly popular, leading to a lucrative market in drawings and paintings of prize-winning animals. In the early 19th century the Scottish Highlands experienced a dramatic upsurge in popularity among the wealthy of Britain, particularly for the opportunities they offered for hunting. One painter in particular, Edwin Landseer (1802–1873), took the opportunity offered by the boom in Scottish travel, travelling to Scotland for the first time in 1824 and returning each year to hunt, shoot, fish and sketch.