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George Morland and the Making of the Modern Artist Francesca Bove

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George Morland and the Making of the Modern Artist Francesca Bove Nurturing Genius in a Pigsty: George Morland and the Making of the Modern Artist Francesca Bove Volume I: Text Thesis submitted for the Degree of Doctor of Philosophy in the History of Art University of East Anglia School of Art, Media and American Studies May 2018 This copy of the thesis has been supplied on condition that anyone who consults it is understood to recognise that its copyright rests with the author and that use of any information derived therefrom must be in accordance with current UK Copyright Law. In addition, any quotation or extract must include full attribution. Abstract This thesis reassesses the artistic oeuvre, practice and identity of the painter George Morland (1763-1804), who last received sustained monographic attention over forty years ago despite being an important figure in the history of eighteenth-century British art. Informed by the recent scholarship in that field as well as sociological theories on art, this thesis interprets Morland’s characteristic rustic imagery as the product of artistic, commercial and exhibition strategies, including strategies for self-definition within the crowded London art world. These included ‘the myth of Morland’, an identifiably modern yet historically-grounded paradigm of the quasi-bohemian artistic persona and biography which previous work on the artist has tended to take at face value. Instead, this thesis argues that Morland’s persona was shaped by the artist in collaboration with dealers, publishers and writers, the result of a shrewd mutual engagement with the possibilities offered by commerce for the reconfiguration of artistic values, during Morland’s lifetime and beyond. Morland’s persona is therefore described as part of his creative practice alongside his artistic oeuvre, which is here reassessed in light of extensive immersion in Morland’s known output, contemporary criticism and unpublished archival material. The thesis therefore identifies four types of artworks as most central to Morland’s practice: his animal paintings, his drawings, their printed reproduction and his self-portraits (as well as portraits by others). Across its four main chapters, the thesis analyses the varied form and significance of each of these types of artwork in turn, considering their distinct role in changing notions of art, aesthetic experience, and artistic practice and identity. As such, this thesis describes Morland’s art and persona as participating alike in a quintessentially modern project of resituating both the artist and the artwork beyond the pale of modernity itself. 3 4 To the dear memory of my beloved mum Filomena D’Aiello, My first and best Art History teacher 5 6 Table of Contents Volume I Acknowledgements ....................................................................................... 9 Introduction ................................................................................................. 13 Chapter 1. George Morland’s “Minor Tribe”: Art, Animals and Audiences ................................................................................................................... ..35 Chapter 2. Drawing on ‘Genius’: Morland’s Sketches and Their Diffusion .................................................................................................................. ...79 Chapter 3. Bringing His Pigs “to an Excellent Market”: Morland Between Art and Commerce .......................................................................................... 133 Chapter 4. In the Image of an Old Master: George Morland, Art History and the Making of a Modern Myth .................................................................. 183 Conclusion ................................................................................................. 229 Appendix 1. Timeline of independent exhibitions and publications of George Morland’s works, 1792-99 ........................................................... 233 Bibliography ............................................................................................... 235 Volume II 7 8 Acknowledgements 9 10 11 12 Introduction Celebrated as the painter of native rural scenes par excellence, his works widely collected, reproduced and copied during his lifetime and since, George Morland (1763– 1804) nevertheless occupies an ambiguous place in the history of British art, a figure at once ubiquitous, familiar and obscure. Many of Morland’s works are held in UK museum collections, but they are nevertheless mostly confined to storage rooms, with only a few examples considered significant and outstanding enough to be exhibited to public view. An eBay search for George Morland’s works can give as many as 850 results at any one time, from cheap vintage postcards and posters to fine art engravings and oil paintings (copies, or canvases attributed to his circle, even purportedly works by Morland himself), all priced between £0.40 and £35,000. These results reveal not only the extent to which Morland’s output has been imitated, reproduced and commercialized, but also how much it has been understood as embodying a particularly nostalgic idea of English rural life (rustic scenes seem to constitute the majority of his works on sale). Indeed, the commercial diffusion of Morland’s images has few comparisons in the history of British art, and extends beyond his works to include lifetime and posthumous portraits of the artist himself, not least the likeness (in red coat and tricorn hat, with a palette and maulstick in one hand and a pint of beer in the other) which became the trademark of the British beer company Morland following its rebranding in 1944, a false but effective claim of connection with the painter, known for his bucolic rural imagery and fondness for alcohol.1 Accounts focusing on Morland’s famously dissolute lifestyle have been published and republished; despite writers’ frequent claims to be dealing with a largely neglected figure, this vision of George Morland has never completely disappeared from standard accounts of the history of British art, and publications perpetuating his myth continue 1 See “Edward Robert Smythe, George Morland at His Easel”, East Anglian View sale, 5 October 2005, lot 92, Bonhams, https://www.bonhams.com/auctions/12085/lot/92/?page_lots=2; attributed to George Morland, My Wedding Day September 22nd 1786, private collection; “The Morland Brewery”, Abingdon- On-Thames, Abingdon Area Archaeological and Historical Society, http://www.abingdon.gov.uk/feature- articles/morland-brewery. 13 to appear today.2 Nevertheless, the full character and complexity of Morland’s art, as well as his persona, has rarely been addressed. Morland’s cumbersome biography has famously hindered attempts at serious analysis and discouraged full scholarly engagement both with his figure as an artist and with his works as works of art, reducing his position and role in specialist publications on eighteenth-century British art to that of a minor character.3 The last book-length monographic work on Morland was David Winter’s unpublished PhD dissertation, now forty years old, and the most original critical contribution on his art remains John Barrell’s essay in The Dark Side of the Landscape (1980).4 Morland’s uncertain position in the history of British art is somewhat ironic given that Morland was keenly aware of the utility of art-historical references for artists like himself who needed to establish their careers in an increasingly crowded art world. Morland shrewdly used art history at multiple levels of his artistic practice: he deployed the appeal of paintings and drawings by the Old Masters (which were then flooding the London art market as a consequence of revolutionary upheavals on the Continent) as well as the fascination with their apparently exceptional lives, to carve out an individual artistic style and a persona suitable for the modern era.5 2 On Morland’s apparently forgotten status, see: Roger Fry, Reflections on English Painting (London: Faber, 1934), p. 80; Ann Wyburn-Powell, “George Morland, 1763-1804: Beyond Barrell, Re-examining Textual and Visual Sources”, The British Art Journal 7, no. 1 (2006): pp. 55-64; Karen Junod, ‘Writing the Lives of Painters’: Biography and Artistic Identity in Britain, 1760-1810 (Oxford: Oxford University Press, 2011), p. 176. For examples of recently published works on Morland’s myth, see: Marian Kamlish, George Morland: A London Artist in Eighteenth-Century Camden (London: Camden History Society, 2008); Vic Gatrell, The First Bohemians: Life and Art in London’s Golden Age (London: Penguin Books, 2014), pp. 46, 61-62, 140, 151, 156-165, 322, 368, 384-5; Roy Heron, George Morland, 1763-1804: A Flawed Genius (Newmarket: British Sporting Art Trust, 2015), pp. 1-11. 3 David Winter addresses the limiting effect of biographical cliché upon the deeper examination of Morland and his work in “George Morland (1763-1804)” (PhD. diss., Stanford University, 1977), p. 3. 4 See Winter, “George Morland (1763-1804)”; John Barrell, The Dark Side of the Landscape: The Rural Poor in English Painting, 1730-1840 (Cambridge: Cambridge University Press, 1980), pp. 89-129. 5 Although the full English translations of Giorgio Vasari’s Lives (1568) and Arnold Houbraken’s The Great Theatre of Dutch Painters (1718-20) had yet to be published, excerpts from them had appeared in other English-language texts, including Henry Peacham, The Compleat Gentleman. Fashioning Him Absolute in the Most Necessary and Commendable Qualities Concerning Minde or Bodie That May Be Required in a Noble Gentleman (sic)
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