David Wilkie (artist)

Source: Wikipedia, the free encyclopedia.

Self-portrait of Sir David Wilkie, aged about 20.
Sir David Wilkie by Samuel Joseph, 1842.

Sir David Wilkie RA (18 November 1785 – 1 June 1841) was a Scottish[1] painter, especially known for his genre scenes. He painted successfully in a wide variety of genres, including historical scenes, portraits, including formal royal ones, and scenes from his travels to Europe and the Middle East. His main base was in London, but he died and was buried at sea, off Gibraltar, returning from his first trip to the Middle East. He was sometimes known as the "people's painter".

He was

The Chelsea Pensioners reading the Waterloo Dispatch of 1822 in Apsley House
.

Early life

Pitlessie Fair (1804)
The Chelsea Pensioners reading the Waterloo Dispatch
, a huge success in 1822 when it was first exhibited by the Royal Academy on the 7th anniversary of the battle.
The Letter of Introduction, 1813. The painting represents the artist's own unpleasant experience of having presented a useless introduction letter to a potential patron who didn't receive it well.[4]

David Wilkie was born in

David Allan
, two Scottish painters of scenes from humble life.

Among his pictures of this period might be mentioned a subject from

Allan Ramsay, and a sketch from Hector Macneill
's ballad Scotland's Skaith, afterwards developed into the well-known Village Politicians.

In 1804, Wilkie left the

Royal Academy. One of his first patrons in London was Robert Stodart, a pianoforte maker, a distant connection of the Wilkie family, who commissioned his portrait and other works and introduced the young artist to the dowager countess of Mansfield.[a] This lady's son was the purchaser of the Village Politicians,[b] which attracted great attention when it was exhibited in the Royal Academy of 1806, where it was followed in the succeeding year by The Blind Fiddler
, a commission from the painter's lifelong friend Sir George Beaumont.

Historical scenes

Wilkie now turned to historical scenes, and painted his Alfred in the Neatherd's Cottage, for the gallery illustrative of English history which was being formed by Alexander Davison. After its completion he returned to genre-painting, producing the Card-Players and the admirable picture of the Rent Day which was composed during recovery from a fever contracted in 1807 while on a visit to his native village. His next great work was the Ale-House Door, afterwards entitled The Village Festival (now in the

the Prince Regent
, to which a companion picture, the Penny Wedding, was added in 1818.

Honours

In November 1809 he was elected an associate of the

Royal Academy, when he had hardly attained the age prescribed by its laws, and in February 1811 he became a full Academician. In 1812 he opened an exhibition of his collected works in Pall Mall
, but the experiment was financially unsuccessful.

Travels on the Continent

The Highland Family, 1824
Visit of King George IV to Scotland
, with lighting chosen to tone down the brightness of his kilt and his knees shown bare, without the pink tights he wore at the event.
The Rent Day by Abraham Raimbach after Sir David Wilkie (1817)
The Rent Day 1817

In 1814 he executed the Letter of Introduction, one of the most delicately finished and perfect of his

Sir Adam Ferguson, during a visit to Abbotsford.[10][11]

The visit of King George IV to Scotland

In 1822 Wilkie visited

Visit of King George IV to Scotland a fitting subject for a picture. The Reception of the King at the Entrance of Holyrood Palace was the incident ultimately chosen; and in the following year, when the artist, upon the death of Raeburn, had been appointed Royal Limner for Scotland
, he received sittings from the monarch, and began to work diligently upon the subject. But several years elapsed before its completion; for, like all such ceremonial works, it proved a harassing commission, uncongenial to the painter while in progress and unsatisfactory when finished. His health suffered from the strain to which he was subjected, and his condition was aggravated by heavy domestic trials and responsibilities.

Three more years of foreign travel

In 1825 he sought relief in foreign travel: after visiting Paris, he went to Italy,[12] where, in Rome, he received the news of fresh disasters through the failure of his publishers. A residence at Toplitz and Carlsbad was tried in 1826, with little good result, and then Wilkie returned to Italy, to Venice and Florence. The summer of 1827 was spent in Geneva, where he had sufficiently recovered to paint his Princess Doria Washing the Pilgrims' Feet, a work which, like several small pictures executed in Rome, was strongly influenced by the Italian art by which the painter had been surrounded. In October he passed into Spain, whence he returned to Britain in June 1828.

It is impossible to overestimate the influence upon Wilkie's art of these three years of foreign travel. It amounts to nothing short of a complete change of style. Up to the period of his leaving Britain he had been mainly influenced by the Dutch genre-painters, whose technique he had carefully studied, whose works he frequently kept beside him in his studio for reference as he painted, and whose method he applied to the rendering of those scenes of English and Scottish life of which he was so close and faithful an observer.

Teniers, in particular, appears to have been his chief master; and in his earlier productions we find the sharp, precise, spirited touch, the rather subdued colouring, and the clear, silvery grey tone which distinguish this master; while in his subjects of a slightly later period – those, such as the Chelsea Pensioners, the Highland Whisky Still and the Rabbit on the Wall, executed in what Burnet styles his second manner, which, however, may be regarded as only the development and maturity of his first – he begins to unite to the qualities of Teniers that greater richness and fulness of effect which are characteristic of Ostade. But now he experienced the spell of the Italian masters, and of Diego Velázquez
and the great Spaniards.

Later years

Josephine and the Fortune-Teller (1837)
Sir David Wilkie's residence in Kensington London, by William Collins 1841 (painted just after Wilkie's death)

In the works which Wilkie produced in his final period he exchanged the detailed handling, the delicate finish and the reticent hues of his earlier works for a style distinguished by breadth of touch, largeness of effect, richness of tone and full force of melting and powerful colour. His subjects, too, were no longer the homely things of the genre-painter: with his broader method he attempted the portrayal of scenes from history, suggested for the most part by the associations of his foreign travel. His change of style and change of subject were severely criticized at the time; to some extent he lost his hold upon the public, who regretted the familiar subjects and the interest and pathos of his earlier productions, and were less ready to follow him into the historic scenes towards which this final phase of his art sought to lead them. The popular verdict had in it a basis of truth: Wilkie was indeed greatest as a genre-painter. But on technical grounds his change of style was criticized with undue severity. While his later works are admittedly more frequently faulty in form and draftsmanship than those of his earlier period, some of them at least (The Bride at her Toilet, 1838, for instance) show a true gain and development in power of handling, and in mastery over complex and forcible colour harmonies. Most of Wilkie's foreign subjects – the Pifferari, Princess Doria, the Maid of Saragossa, the Spanish Podado, a Guerilla Council of War, the Guerilla Taking Leave of his Family and the Guerilla's Return to his Family – passed into the English royal collection; but the dramatic Two Spanish Monks of Toledo, also entitled the Confessor Confessing, became the property of the Marquess of Lansdowne.

On his return to the UK Wilkie completed the Reception of the King at the Entrance of Holyrood Palace – a curious example of a union of his earlier and later styles, a "mixture" which was very justly pronounced by Haydon to be "like oil and water". His Preaching of John Knox before the Lords of the Congregation had also been begun before he left for abroad; but it was painted throughout in the later style, and consequently presents a more satisfactory unity and harmony of treatment and handling. It was one of the most successful pictures of the artist's later period.

In the beginning of 1830 Wilkie was appointed to succeed

Pius VII at Fontainebleau (1836); Empress Josephine and the Fortune-Teller (1837); Queen Victoria Presiding at her First Council (exhibited 1838); and General Sir David Baird Discovering the Body of Sultan Tippoo Sahib (completed 1839). His time was also much occupied with portraiture, many of his works of this class being royal commissions. His portraits are pictorial and excellent in general distribution, but the faces are frequently wanting in drawing and character. He seldom succeeded in showing his sitters at their best, and his female portraits, in particular, rarely gave satisfaction. A favourable example of his cabinet-sized portraits is that of Sir Robert Liston; his likeness of W. Esdaile is an admirable three-quarter length; and one of his finest full-lengths is the gallery portrait of Lord Kellie, in the town hall of Cupar
.

In the autumn of 1840 Wilkie resolved on a voyage to the East. Passing through the Netherlands and Germany, he reached Constantinople, where, while detained by the war in Syria, he painted a portrait of the young sultan. He then sailed for

Joseph Mallord William Turner in the oil painting titled Peace – Burial at Sea
.

Achievements

Memorial to Wilkie, erected by his sister in the church at his birthplace in Fife

An elaborate Life of Sir David Wilkie, by

David Laing
catalogued and published the complete series of his etchings and dry-points, supplying the place of a few copper-plates that had been lost by reproductions, in his Etchings of David Wilkie and Andrew Geddes.

Legacy

Wilkie stood as godfather to the son of his fellow Academician William Collins. The boy was named after both men, and achieved fame as the novelist Wilkie Collins.

In fiction

A painting which might be a real Wilkie or only a copy (the question is only resolved in the latter half of the book) plays a role in the novel Winter Solstice by Rosamunde Pilcher.

See also

Notes

  1. ^ the Honourable Louisa Cathcart, daughter of Charles Cathcart, 9th Lord Cathcart
  2. ^ hanging in the Long Gallery of the Murray seat, Scone Palace, Scotland[8]

References

  1. ^ "Sir David Wilkie". Biography. National Galleries Scotland. Retrieved 22 April 2023.
  2. A. Fullarton & Co.
    p. 641. Retrieved 22 April 2023.
  3. ISBN 978-0-7486-3084-4
    .
  4. ^ "Sir David Wilkie: The Letter of Introduction". National Galleries Scotland. Retrieved 22 April 2023.
  5. ^ Day, Melvin N. "Chevalier, Caroline and Chevalier, Nicholas". Dictionary of New Zealand Biography. Ministry for Culture and Heritage. Retrieved 22 April 2023.
  6. ^ Pinnington, Edward (1900). "Chapter IV: Education in Art". Sir David Wilkie and the Scots School of Painters. Famous Scots Series. Edinburgh: Oliphant, Anderson and Ferrier. p. 32. Retrieved 22 April 2023 – via Internet Archive.
  7. ^ a b "Purchasing Power of British Pounds from 1270 to Present". MeasuringWorth. Retrieved 22 April 2023.
  8. ISBN 978-2067243095
    .
  9. ^ "Sir David Wilkie: The Abbotsford family". National Galleries Scotland. Retrieved 22 April 2023.
  10. ^ "Abbotsford: The Home of Sir Walter Scott". Retrieved 22 April 2023.
  11. ^ "Records of the clan and name of Fergusson, Ferguson and Fergus". National Library of Scotland. Retrieved 22 April 2023.
  12. Gentleman's Magazine
    . 1855. p. 539. Retrieved 22 April 2023.

 This article incorporates text from a publication now in the public domain: Chisholm, Hugh, ed. (1911). "Wilkie, Sir David". Encyclopædia Britannica. Vol. 28 (11th ed.). Cambridge University Press. p. 644–645.

Further reading

External links

Wikimedia Commons has media related to David Wilkie.
Court offices
Preceded by
Sir Thomas Lawrence
 Principal Painter in Ordinary
1830–1841 		Succeeded by
Sir George Hayter
Retrieved from "https://en.wikipedia.org/w/index.php?title=David_Wilkie_(artist)&oldid=1217861020"