Samuel Redgrave

“ A succession of native artists, many of whose works exist, and are prized, may be traced from the time of Henry VII.; while of the artists themselves, the few facts which in some cases have been preserved, are beyond the reach of ordinary means of reference. The collected art-biographies we possess are general, and the notices of our countrymen which are included in them seem rather the result of chance than of any effort to attain completeness. ”

“ At that time, beyond attendance at lectures, and the use of the library, there was little direct architectural teaching (a want since largely remedied) , but his studentship brought him into connexion with art and artists, who, to the end of his life, formed his chief companions and friends.
It must not be supposed that these varied labours and studies withdrew his attention from his official duties—far from it. When he obtained an assured place in the Home Office, he at once began to consider how the work confided to him could be improved, or more complete information afforded. ”

“ KENT, William, architect and painter. He was born of poor parents in Yorkshire, in 1685. After receiving the rudiments of a common education, he was apprenticed to a coach-painter, but ran away from his master and came to London about 1704. He had at least learnt the use of his colours, and tried to support himself as a portrait painter, making some attempts at history. It is said his genius gained him friends, who made a purse and sent him to Rome in 1710. There he studied painting, and gained a second-class medal. ”

“ At the age of 20, he left Geneva, and after working a while at Dijon, where he found employment in art as a painter of small ornamental portraits for jewellers, encouraged by his success, he went to Paris, where he commenced practice as a miniature painter, and, patronised by the Duke of Orleans, gained a great reputation. In 1721 he came to London, and met with much encouragement. He painted the Princess of Wales, afterwards Queen Caroline, and several of the nobility. But he went back to Paris, and after a time, having amassed money, retired to Geneva, where he died May 25, 1743. ”

“ KING, John, history and portrait painter. Was born at Dartmouth in 1788, and showing talent for drawing, he came to London at the age of 20 and gained admission to the schools of the Academy. He first exhibited at the Royal Academy in 1817. He aimed to excel in history, and under much difficulty and discouragement painted several pictures—'Christ in the Garden,' 'Christ Bound,' 'Abraham and Isaac,' 'Lear and Cordelia,' 'Ferdinand and Miranda,' but be met with no encouragement. About 1826 he tried portrait, and might have succeeded better, but he disliked this branch of art. ”

“ FISHER, Edward, mezzo-tint engraver. Born in Ireland in 1730; he was originally apprenticed to the trade of a hatter. He then took to engraving, and was distinguished by his plates, after Reynolds, which were brilliant, and the expression well rendered. Some of his best are Lady Elizabeth Keppel, Lady Sarah Bunbury, and Lord Ligonier. His works are distinguished by great breadth and delicacy of finish. Reynolds said of him that he was 'injudiciously exact,' and wasted as much time in giving the precise shape to every leaf as he bestowed on the features of a portrait. ”

“ He had, however, a taste for literature, and when about 15 years of age contributed two papers to Hone's 'Every Day Book.' He then tried art, and commenced his career as a teacher of drawing, also gaining some employment in scene painting. He was next engaged in book illustration, and made some of the designs for the 'Pictorial Bible,' 'Palestine,' 'The History of England,' and an edition of Shakespeare. From 1839 he was engaged as an antiquarian draftsman, and is better known as an antiquary than as an artist. ”

“ He was associated with Arthur Pond in engraving and publishing engravings from the drawings of eminent masters. At Hampton Court there is a large and pretentious group by him of the family of Frederick, Prince of Wales. The widowed princess forms the centre, with the child born after its father's death in her lap, surrounded by her four other daughters and four sons, and in the background a full-length portrait of her late husband. All the figures are life-size and in action, the portraits, dresses, and draperies carefully painted, and every part defined with a scrupulous care that defied art. ”

“ The limitation to the Artists of the English School has not heen followed so strictly as to include only those born in this country. Many foreign artists who came to England in their youth, learnt their art here, practised it here, and died here, could not be omitted; nor could, indeed, some others whose title to insertion may not be so clear. But in every case foreign artists who held any public appointment or employment here, or who have been connected with the art institutions of the country, have been included ”

“ He first found employment in translating, occasionally making some designs for book illustration, and then accepted the office of tutor to travel with a nobleman's son, for which he was little suited, and soon resigned.
On his return to England in 1767, intending to devote himself to literature, he gained an introduction to Sir Joshua Reynolds; whose warm appreciation of his drawings induced him to devote himself at once to art. He was now nearly 26 years of age. He had not attained even the rudiments of his adopted profession, which require great application ”

“ Samuel shewed much taste, careful execution, and love for the art, which he continued to practice for his amusement and solace until late in life. On leaving school at an early age, the brothers entered a night class for the study of architecture, where they continued to practice for some years, and thus obtained a thorough knowledge of architectural drawing, perspective, construction, and design. ”

“ Continuing to devote himself to his studies, his first resources became exhausted, and one of his countrymen allowed him 40l. a year for seven years. Afterwards he gained the notice of Lord Burlington, who assisted and patronised him. He returned to England for a short time and made a second journey to Rome, and then coming back in 1719 he settled in London, and had an apartment in Lord Burlington's house. He first, through his patron's influence, found employment as a portrait painter, but his likenesses had no individuality, and were in every respect meretricious. ”

“ ARNALD, George, A.R.A., landscape painter. Born in Berkshire in 1763. he began life as a domestic servant to a lady who, noticing his great ability in drawing, obtained for him some instruction. He became a pupil of William Pether, and first appears as an exhibitor at the Academy in 1788; and was from that time, with few exceptions, a regular contributor. He painted moonlights, storms, effects of light, the sun breaking through a fog, classical landscapes, architectural compositions; and later in his career, marines and sea-fights. In 1810 he was elected an Associate of the Academy. ”

“ He was afterwards appointed the architect of the South Kensington Museum, and built the fine picture galleries, which are admirably constructed with regard to light and convenience; the great north court, whose wide-spread roof is suspended without support from the floor; and the south court, with its elegant metal galleries. He was also the architect of the National Gallery of Ireland (interior) , a work most pure and unpretentious in its style, and of the Edinburgh Museum of Science and Art. ”

“ FORREST, Robert, sculptor. Born in Lanarkshire, and bred a stonemason in the Clydesdale quarries. He was self-taught in art. In 1817 he cut a statue of Wallace, and was subsequently employed to cut a colossal figure of Lord Melville for the pillar in St. Andrew's Square, Edinburgh. He also executed the 'John Knox' in the Glasgow Necropolis, and in 1843 completed a good portrait statue of Mr. Ferguson, of Raith. He does not appear to have exhibited in London; but in 1832 he opened an exhibition of about 30 groups, executed by himself, which attracted much notice. ”

“ He was the son of a solicitor, and followed his father's profession. In early life he was a pupil of Lambert and from 1769 to 1775 was a yearly exhibitor of tinted drawings at the Royal Academy, views of buildings and landscapes, with one or two attempts at classic subjects, but he is distinguished as one of the party who left a record of their 'Five Days' Peregrinations,' with illustrations by Hogarth. He was wealthy, was a member of the Beef-steak Club, and universally known by the artists of his day—a jovial companion, who wrote and sang his own songs. ”

“ His own portrait of himself at Queen's College is a vulgar painting of a vulgar man, but not wanting in power and rich in colour. He etched a set of prints from his own designs, which have little merit. He died in Bloomsbury Square, July 17, 1672. He left a son, who was brought up to his art, and was clever but idle, and died young. ”

“ In the same year he illustrated by engravings an edition of the 'Gentle Shepherd,' and in 1798 he etched some characteristic designs, small oval size, for the 'Songs of the Lowlands of Scotland.' He also amused himself with etching, sometimes combined with mezzo-tint, chiefly scenes from cottage life. He was admired for the natural truth of his works and the character and expression of his subjects from low life. His art did not aim at either beauty or grace. ”

“ His landscapes were chiefly compositions, palaces, gardens, and stately terraces, painted in the early pure manner, but laboured in their execution and following too much the style of Barret. His love of twilight and moonlight scenes, in which he excelled, was acquired by his rambles when a young man, frequently extended through the night, with some fellow-student, sketch-book in hand. He exhibited at the Water-Colour Society from 1820 till his death; but between 1817 and 1828 he was also an occasional exhibitor at the Royal Academy. He died August 27, 1862, after a lengthened illness. ”

“ Was the son of a builder, and educated as a surveyor. In the early part of his career he found employment in measuring builders' work and settling their accounts, and later in life was much engaged in valuations. When, following the peace of 1815, some impetus was given to Metropolitan architecture, he was engaged as an architect, and his works, if not of great architectural merit, showed a fitness of character and adaptation of material. ”

“ The present work appears to be the first to combine, in a dictionary form, some account of the Artists of the English School exclusively, and to include the Painters, Sculptors, Architects, Engravers, and Ornamentists; and the number who have been thought deserving a place is probably ten times greater than will be found in any other work. ”

“ His works are somewhat larger in scale than those of his predecessors, and he used more body colour. They are a little after Cooper's manner, but deficient in his refinement of drawing expression, and finish, and are greatly behind him in grace, though they are far from wanting in merit, and are highly esteemed. Some portraits in oil by him also exist. They are pleasing in colour, well painted, with no appearance of littleness in manner. He was also a poet, and a small volume of 'Poems and Songs' by him, published in 1674, reached a third edition in 1688. ”

“ He was a contributor to the Academy Exhibitions from 1833, when he sent 'Charade en Action '—exhibiting for the last time, in 1838, 'A Garden Scene' and 'The First Music Lesson.' He had talent and might have acquired reputation, but he fell into the hands of unscrupulous dealers, made copies of Watteau — not sold as copies — and subjects in the style of Watteau, and his art became degraded. ”

“ Wanting in elementary knowledge and the proper training of his profession, he has no refinement or accuracy in drawing, and in some cases his attitudes are impossible. He is equally defective with regard to the laws of colour and the processes of painting, and many of his works are fast going to decay. ”