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The Furrowed Face: the Depiction of the Elderly in Painting, England and the United States, 1870 - 1910

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The Furrowed Face: the Depiction of the Elderly in Painting, England and the United States, 1870 - 1910 The Furrowed Face: the Depiction of the Elderly in Painting, England and the United States, 1870 - 1910 Mary Elizabeth Thompson a thesis submitted in partial fulfilment of the requirements of the award of Doctor of Philosophy by Oxford Brookes University March 2017 ACKNOWLEDGEMENTS My thanks are due to: • the staff of the many libraries and art galleries I visited and had contact with during this study. They were unfailingly helpful and sympathetic, and they, and their work, still shine like 'good deeds in a naughty world.' • the administrators and other workers at Oxford Brookes University, who provide the necessary organisational structure for studies to take place. • the supportive and helpful opinions given by Dr Matthew Craske Most of all, however, I must thank my main supervisor, Professor Christiana Payne, for her excellent, able, resolute and civilised guidance throughout the course of this study. ABSTRACT Old age has always evoked diametrically opposed opinions. On the one hand, the elderly are respected, regarded as benevolent repositories of wisdom and comfort; on the other, they are considered as decrepit vestiges of life, who pointlessly linger on, wasting the world for the vibrant and useful. These views were particularly topical in the last decades of the nineteenth/first decade of the twentieth centuries, when there was increasing concern in many countries about the aged and their vulnerability. In England and Wales this resulted in the 1908 provision by the government of an old age pension. In the United States, however, provision of support from the state was introduced significantly later, in the 1930s. How, if at all, was this variation in view reflected in the painting of the elderly in the two countries? This study addresses this question by firstly considering how the elderly are portrayed in genre painting in each country. It then moves on to the world of portraits, looking in more detail at the work of individual artists, both American and English, including Thomas Eakins, John Singer Sargent and Hubert Herkomer. In England it emerged that the elderly were often shown as happy if shabby, with a more submissive attitude to fate; there was also a significant segment of painting which recorded the poverty and difficulties which may face the old. In contrast, in the United States the elderly were shown as vibrant, assertive and materially better off, with few indications of the troubles they may undergo. In both countries, however, it became clear that the elderly were regarded in a positive way by artists, who delighted in the excellent practice of artistic skills provided by the time-ravaged faces and features of the old. CONTENTS LIST Acknowledgements Abstract Contents List List of Illustrations 1 – 14 Introduction 15 – 30 Chapter One The Elderly in Painting Before 1870 31 - 46 Chapter Two The Old in English Genre Painting, 1870 – 1910 47 – 67 Chapter Three The Old in the United States Genre Painting, 1870 – 1910 68 - 88 Chapter Four Thomas Eakins and his painting of the elderly 89 – 110 Chapter Five John Singer Sargent and his painting of the elderly 111 – 130 Chapter Six Portraits; England 1870 – 1910 131 – 147 Conclusion 148 – 156 Bibliography 157 – 179 Appendices 180 – 183 Illustrations 184 – 261 LIST OF ILLUSTRATIONS CHAPTER ONE Figure 1:1 Diego Velazquez, The Water Seller of Seville, c1620, Oil on canvas, 42.4 x 32“/107.7 x 81.3cm, Apsley House, London. Figure 1:2 Jusepe de Ribera (Lo Spagnoleto), An Old Man, c1635, Oil on canvas, 21.5 x 19”/54.6 x 48.3, Detroit Institute of Arts. Acquired 1889. Figure 1:3 Rembrandt van Rijn, Portrait of Aechje Claesdr, 1634, Oil on oak, 27.9 x 22“/71.1 x 55.9cm, National Gallery, London. Acquired 1867. Figure 1:4 Anthony Van Dyck, Cornelis van der Geest, c1620, Oil on oak, 14.76 x 12.79“/37.5 x 32.5 cm, National Gallery, London. Acquired 1824. Figure 1:5 Domenico Ghirlandaio, Portrait of an Old Man and a Boy, c1480s, Oil on panel, 24.68 x 18.22“/62.7 x 46.3cm, Louvre, Paris. Acquired 1880. Figure 1:6 Bartomolé Esteban Murillo, La Toilette Domestique, 1670-75, Oil on canvas, 5.79 x 4.44”/14.7 x 11.3cm, Alte Pinakothek, Munich. Figure 1:7 Giorgione, The Three Ages of Man, c1500, Oil on panel, 30.51 x 24.4“/77.5 x 62cm, Palazzo Pitti, Florence. Figure 1:8 Bernardino Luini, Christ Among the Doctors , c1515-30, Oil on poplar, 28.5 x 33.74“/72.4 x 85.7cm, National Gallery, London. Acquired: Holwell Carr Bequest 1831. Figure 1:9 Giovanni Bellini, Doge Leonardo Loredan, 1501, Oil on poplar, 24.25 x 17.75“/61.6 x 45.1cm, National Gallery, London. Acquired 1844. Figure 1:10 Jan Van Eyck, Portrait of a Man, 1433, Oil on oak, 10.23 x 7.48“/26 x 19cm. National Gallery, London. Acquired 1851. Figure 1:11 Annibale Carracci, Silenius gathering grapes, 1597-1600, Oil and egg on wood, 21.45 x 34.84“/54.5 x 88.5cm, National Gallery, London. Acquired: Holwell Carr Bequest 1831. Figure 1:12 Bronzino, An Allegory with Venus and Cupid, c1645, Oil on wood, 57.51 x 45.74“/146.1 x 116.2, National Gallery, London. Acquired 1860. Figure 1:13 Michelangelo, The Creation of Man, c1511, Fresco, 189 x 326.81“/480.1 x 830.1, Sistine Chapel Roof, Rome. 1 Figure 1:14a Peter Paul Rubens, The Holy Family with St Francis, St Ann and the Infant John the Baptist, c1630, Oil on canvas, 69.5 x 82.5”/ 176.5 x 209.6cm, Metropolitan Museum, New York, acquired 1902. Figure 1:14b Close up of Figure 14a, showing heads of St Anne, Mary, Jesus. Figure 1:15 Guido Reni, St Jerome, c1624/25, Oil on canvas, 44.01 x 34.01“/111.8 x 86.4cm, National Gallery, London. Holwell Carr Bequest, 1834. Figure 1:16 Rembrandt H Van Rijn, An Old Woman; the artist’s mother, c1629, Oil on panel, 24.12x 18.65”/ 61.3 x 47.3, Royal Collection, Windsor. Figure 1:17 Balthasar Denner, Portrait of an Old Man, c1720s, Oil on canvas, Size not given, Hamburger Kunsthalle, Hamburg. Figure 1:18 John Joseph Achermann, Head of an Old Woman with a Bonnet and Fur Collar, c1837, Oil on canvas, 18.11 x 14.56“/46 x 37cm, Louvre, Paris. Forgery purporting to be a work by Balthasar Denner Figure 1:19 Raphael, Pope Julius II, 1511/12, Oil on poplar, 42.79 x 31.88“/108.7 x 81cm, National Gallery, London. Acquired 1824. Figure 1:20 Thomas Lawrence, Pope Pius VII, 1819, Oil on canvas, 105.98 x 70.03“/269.2 x 177.9cm, Royal Collection, Windsor. Figure 1:21 Gilbert Stuart, George Washington, 1796, Oil on poplar, 24.25 x 17.75“/61.6 x 45.1cm, Pennsylvania Academy of Fine Arts, Philadelphia. Figure 1:22 David Teniers the Younger, A Man Holding a Glass and an Old Woman Lighting a Pipe, c1645, Oil on oak, 9.37 x 13.50“/23.8 x 34.3cm, National Gallery, London. Acquired 1838. Figure 1:23 Gerrit Dou, A Poulterer’s Shop, c1670, Oil on oak, 22.83 x 18.11“/58 x 46cm, National Gallery, London. Acquired 1871. Figure 1:24 Jan Steen, Celebrating the Birth, 1664, Oil on canvas, 34.52 x 42.12“/87.7 x 107cm, Wallace Collection, London. Figure 1:25 Thomas Webster, The Village Choir, 1847, Oil on panel, 24” x 36“/61 x 91.4cm, V&A Museum, London. Figure 1:26 Richard Caton Woodville, Politics in an Oyster House, 1848, Oil on fabric, 15.98 x 12.99”/40.6 x 33cm, Walters Art Museum, Baltimore. 2 Figure 1:27 William Sidney Mount, Bargaining for a Horse, 1835, Oil on canvas, 24 x 30”/61 x 76.2cm, Collection of the New York Historical Society. Figure 1:28 Nicholas Neufchatel, Johann Neudorfer and his son, 1561, Oil on canvas, 35.6 x 33.5”/90.3 x 85cm, Alte Pinakothek, Munich. Figure 1:29 Marinus van Reymerswaele, Two Tax Gatherers, 1540, Oil on oak, 36.3 x 29.2”/92.1 x 74.3cm, National Gallery, London. Acquired 1876. Figure 1:30 Giorgione, La Vecchia (The Old Woman), c1500/10, Oil on canvas, 26.8x 23.2”/68 x 59cm, Accademia, Venice. CHAPTER TWO Figure 2:1 James Hayllar, Study of a Man’s Head, December 1885, Oil on paper, 10.03 x 8.07“/25.5cm x 20.5cm, Royal Institution of Cornwall. Figure 2:2 Frederick George Cotman, The Dame School, 1887, Oil on canvas, 14.17 x 19.76 “/36 x 50.2cm, Colchester & Ipswich Museums. Figure 2:3 Frederick D. Hardy, The Dame School, 1899, Dimensions not given, Josef Mensing Gallery, Hamm Ryhnern, Germany. Figure 2:4 Ralph Hedley, The Village School, 1912, Oil on canvas, 40.35 x 34.44”/ 102.5 x 87.5cm, Laing Art Gallery, Newcastle. Figure 2:5 Ralph Hedley, Threshing the Gleanings, 1899, Oil on canvas, 41.29 x 35.74“/104.9 x 90.8cm, Laing Art Gallery, Newcastle. Figure 2:6 Ralph Hedley, Blind Beggar, 1897, Oil on canvas, 22.12 x 16.06“/56.2 x 40.8cm, Laing Art Gallery, Newcastle. Figure 2:7 Ralph Hedley, Parish Registrar of Births and Deaths, 1892, Oil on canvas, 51.69 x 59.92”/131.3 x 152.2cm, Private Collection. Figure 2:8 Ralph Hedley, Going Home, 1888, Oil on canvas, 30.11 x 22.07“/76.5 x 55.9cm, Laing Art Gallery, Newcastle.
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