William Henry Hunt (painter)
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![](http://upload.wikimedia.org/wikipedia/commons/thumb/1/10/Portrait_of_the_painter_William_Henry_Hunt_%281790-1864%29.png/220px-Portrait_of_the_painter_William_Henry_Hunt_%281790-1864%29.png)
William Henry Hunt (
Early life
Hunt was born at 8 Old Belton Street, now 7 Endell Street, near Covent Garden.[3] His father, John Hunt, was a tin-plate worker, making and selling small containers, such as canisters and boxes, which he also decorated.[4] Hunt's uncle, a butcher, is recorded as having said of the artist, "He was always a poor cripple, and as he was fit for nothing, they made an artist of him." This is at least partially true, as Hunt had deformed legs that hampered his movement and may well have contributed to his eventual abandonment of landscape work in favor of still life and figures.[5]
In 1806 Hunt persuaded his father to allow him to train as an artist,
Through Varley,
Royal Watercolour Society
By 1822 Hunt was living independently of his family. From 1822 to 1825 he again exhibited at the Royal Academy, after which he ceased entirely.[13] This may be because on 9 April 1824 he was elected an associate member of the Society of Painters in Watercolours (later the Royal Watercolour Society), becoming a full member two years later, in June 1826.[14] From his earliest contributions until 1864, the year he died, Hunt was a prolific exhibitor at the society's annual exhibitions, contributing a total of 765 works in all.[15]
Painting style
Hunt's early work shows the influence of his teacher, John Varley, as well as his patron, Dr. Thomas Munro and Henry Edridge, a close associate of Munro. Architectural subjects and country landscapes dominated his early work. Loose drawing in pencil or pen and fluid, clear color washes are the hallmarks. His subjects, especially those of his later life, are often simple; but, considered technically, his works exhibit all the resources of the watercolour painter's craft, from the purest transparent tinting to the boldest use of gouache, stippling on prepared opaque grounds, use of rough paper, and scraping for highlights and texture. His sense of colour is perhaps as true as that of any English artist. He was, says John Ruskin, all in all, the finest ever painter of still life. Several characteristic examples of Hunt's work, as the Boy with a Goat, A Brown Study, Plums, and Primroses and Birds' Nests are in the Victoria and Albert Museum.[16]
According to the Redgraves, "The works of Hunt differ widely from his contemporaries: they have a character of their own, and many qualities which place him as an artist, in his somewhat narrow range, on a level with the highest.".[17]
![](http://upload.wikimedia.org/wikipedia/commons/thumb/5/54/Grave_of_William_Henry_Hunt_%28painter%29_in_Highgate_Cemetery.jpg/220px-Grave_of_William_Henry_Hunt_%28painter%29_in_Highgate_Cemetery.jpg)
Death
Hunt died of apoplexy on 10 February 1864. He was buried on the western side of Highgate Cemetery on 15 February 1864, attended to the grave by a number of artist colleagues. The Reader (27 February 1864) opined "we were but faintly beginning to appreciate and understand his genius when he was taken from us--one the greatest artists of the Century."[18]
Collections
Examples of Hunt's work are held in a number of public collections, including the
Gallery
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Lobster, Crab, and a Cucumber by Hunt (1826 or 1827)
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Chaffinch Nest and May Blossom, c.1845
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Exhibited by the artist at the 1834 Spring Exhibition of the Society of Painters in Water-Colours under the title, The Father's Boots (in later years came to be known as Grandfather's Boots).
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Le Malade Imaginaire, watercolor painting of the artist posing as a hypochondriac, exhibited at the 1855 Spring Exhibition of the Society of Painters in Water-Colours
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Old William Hunt/The pet of the village (inscribed on label attached to the backboard)
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Probably exhibited by William Henry Hunt at the 1833 Spring Exhibition of the Society of Painters in Water-Colours under the title A Young Negro.
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Anticipation, 1830
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William Henry Hunt, Bushey Churchyard, c. 1822, Watercolor, pen and brown ink, and graphite
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Grandfather's Boots, c. 1836–37
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The Green Drawing Room of the Earl of Essex at Cassiobury, 1823
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A Dead Dove, Aberdeen Archives, Gallery & Museums Collection
References and sources
- References
- ^ Monkhouse, William Cosmo (1891). . In Lee, Sidney (ed.). Dictionary of National Biography. Vol. 28. London: Smith, Elder & Co. pp. 281–283.
- ISBN 9781911300236.
- ISBN 9781108028066..
- ISBN 0091466903.
- ISBN 0713407182.
- ^ Witt p.32
- ISBN 0801492173.
- ^ Witt, p. 35
- ^ Witt, p. 35
- ^ Redgrave p. 443
- ^ Hardie, p.105
- ^ Selborne and Payne, p. 9
- ^ Witt, p. 41
- ^ Witt, p. 42
- ^ Witt, pp. 219-228
- ^ "William Henry Hunt Chaffinch Nest and May Blossom Oil Painting". Master Works Art Gallery. Archived from the original on 16 July 2012. Retrieved 23 December 2012.
- ^ Redgraves, p.445
- ISBN 08390-0290-4.
- Sources
- public domain: Chisholm, Hugh, ed. (1911). "Hunt, William Henry". Encyclopædia Britannica (11th ed.). Cambridge University Press. This article incorporates text from a publication now in the
External links
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