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Military Themes in British Painting 1815 - 1914

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Military Themes in British Painting 1815 - 1914 / Military Themes in British Painting 1815 - 1914. Joan Winifred Martin Hichberger. Submission fcr PhD. University College, London. 1985 1 Abstract. Joan Winifred Martin Hichberger. Military Themes in British Painting 1815-1914. This thesis examines the treatment of the Bzitish Army and military themes, in painting, during the period 1815- 1914. All the works discussed were exhibited at the Royal Academy, which, although it underwent modifications in status, remained the nearest equivalent to a State Institution for Art in Britain. All the paintings shown there were painted with the knowledge that they were to be seen by the controllers of the Academy and the dominant classes of society. It will be inferred then, that the paintings shown there may be taken to have been acceptable to ruling class ideologies, and are therefore instructive of "official" attitudes to military art. Representations of the contemporary Army, in this period, fell into two main catagories - battle paintings and genre depictions of soldiers. Chapters one to three survey battle paintings; studying the relation of this genre to the Academy; the relative popularity of the genre and the career patterns of its practioners. The critical reception of battle pictures at the Academy and certain important public competitions will be noted and considered in the context of contemporary ideologies about art and about the Army and its men. Chapter four discusses the vital concept of "heroism" and its treatment in English military art. In particular, the reasons for the popularity of certain military figures above their peers, in academic art, will be explored. It will be argued that the process of "hero-making" in art was not determined by professional success alone, but was often the result of the intervention of patrons, publicists and pressure groups. It wilF be shown that contemporary ideologies of heroism and art-historical convention precluded innovation in representation to correspond with technological developments in warfare. Battle paintings of heroes remained rooted in the conventions of "chivalry" until the end of the First World War. Chapters five and six study genre representations of the soldier. Paintings of the "recruit", the "veteran" and the soldier and the family are discussed in relation to contemporary ideologies of the soldier held by the dominant classes. This thesis seeks to show that the military genre pictures, exhibited at the Royal Academy, are significantly related to developments in ideas about the Army and society, and that the uncertain status of battle painting was reflective of the equivocal attitude towards the Army and the Empire in this period. 2 Table of contents. Abstract .1.2 Table of Contents . .1.3 List of illustrations ..................................4 Acknowledgements .......................................8 Introduction...........................................9 Chapter One. Battle painting 1815-1854. .............I9 Chapter Two. Battle painting 1854 - 1874 ..............78 Chapter Three. Battle painting 1874 - 1914 ............117 Chapter Four. Images cf Hercisro in nineteenth century military painting......................186 Chapter Five. Genre paintings of soldiers. ...........240 Chapter Six. Domestic paintings of soldiers. ..........297 Notes .................................................332 Appendix A: Check list of military paintings exhibited at the Poyal Academy 1815 - 1914 ......................356 Appendix B: Biographical index of battle painters exhibiting at the Royal Academy 1815 - 1914 ...........370 Bibliography..........................................380 Graph A "Percentages of battle and military pictures of total exhibited at the Royal Academy, l8l5-l9l4"...384 Graph B " Military paintings exhibited at the Royal Acay .................................... 385 3 ILLUSTRATIONS - 1. Denis Dighton, The Battle of Waterloo, 1816, (The National Trust. Plas Newydd, Anglsea) 2. George Jones, The Battle of Waterloo, 1820 (Royal Military Hospital, Chelsea) 3. James Ward, The Battle of Waterloo, an allegory, (Royal Military Hospital Chelsea), ph. Witt Library. 4. Luke Clennell, Sauve qj peut, engraving (British Museum) 5. Abraham Cooper, The Battle of Bosworth, ph. Witt Lib. 6. J.M.W.Turner, The Field of Waterloo, (Tate Gallery). 7. Edward Armitage, The Battle of Meeanee, (Coll. Her Majesty the Queen), ph. Witt Lib. 8. William Allan, The Battle of Waterloo, from the English side, (Royal Military Academy, Sandhurst). 9. Thomas Sydney Cooper, Battle of Waterloo, Kellerman's Brigade, (Williamson Art Gallery, Birkenhead). 10. Thomas Jones Barker, Duke of Wellington at Sorauren, (Strathfield Saye) 11. Thomas Jones Barker, Return through the Valley of Death ph. Witt Library. 12. Thomas Jones Barker, General Williams Leaving Kars, (National Army Museum, London). 13. Thomas Jones Barker, Riderless Horse after the Battle of Sedan, (Southampton Art Gallery). 14. Edward Armitage, Battle of Inkerrnann, (private coll.) 15. George Jones, The Relief of Lucknow, (Tate Gallery). 16. Edward Armitage, Retribution, (Leeds Town Hall), ph. after engraving Witt Lib. 17. Louis William Desanges, Major Gough winning the VC, (Royal Military Academy, Sandhurst), ph. National Army Museum, London. 18. Louis William Desanges, Private Sims winning the 'IC, (Royal Military Academy, Sandhurst), ph. National Army Museum, London. 19. Elizabeth Thompson, (Lady Butler) Calling the Roll after an Engagement, Crimea, (Coll. Her Majesty the Queen). 20. Elizabeth Thompson, The Battle of Balaclava, (City Art Gallery, Manchester). 4 21. John Chariton, After the Battle, Sedan, ph. Witt Lib. 22. Elizabeth Thompson, Scotland Forever!, (Leeds City Art Gallery). 23. Elizabeth Thompson, The Dawn of Waterloo, (private collection). 24. Richard Caton Woodville, H.R.H. the Duke of Connaught at the Battle of Tel-el-Kebir, (Coil. Her Majesty the Queen). ph. Witt Lib. 25. George Douglas Giles, The Battle of Tamaai, 13 March 1884, (National Army Museum, London). 26. George Douglas Giles, The Battle of Tamaai, 14 March 1884, (National Army Museum, Chelsea) 27. Robert Gibb, The Thin Red Line, (Dewars Whiskey Ltd.) ph. Witt Lib. 28. Walter Calcott Horsley, The French in Cairo, ph. Witt Lib. 29. Walter Calcott Horsley, A Friendly Power in Egypt, ph. Witt Lib. 30. John Chariron, Routed! Boers Retreating ph. Witt Lib. 31. John Charlton, Saving the Guns at Maiwand, (Laing Art Gallery, Newcastle). 32. Richard Caton Woodville, Charge of the Light Brigade, ph. Witt Lib. 33. Elizabeth Thompson, The Defence of Rorkes Drift, (Coil. Her Majesty the Queen). 34. Charles Edward Fripp, The Battle of Ishandlhwana, (National Army Museum, London). 35. William Barnes Wollen, Last Stand of the 44th at Gundamuck, ph. Witt Lib. 36. Benjamin Robert Haydon, Napoleon on St. Helena, (Coil. Duke of Devonshire, Chatsworth), ph. Witt Lib. 37. Marcus Stone, On the Road from Waterloo to Paris (Guildhall, London). 38. George Harvey, An Incident in the Life of Napoleon ph. Witt Lib. 39. George William Joy, Wellington at Angers, ph. Witt Lib. 40. George Jones, The Battle of Meeanee, (National Army Museum, London) 41. George Jones, Truckee, (National Army Museum, London). 5 42. G. F. De Prades, Lord Cardigan at Balaclava, (Deene Park, Corby). 43. Frederick Goodall, Gordons Last Messenger, (Gordon School, Woking). 44. George William Joy, The Death of General Gordon, (Gordon School, Woking). 45. Vereker M. Hamilton, The Attack on the Peiwar Kotal, (location unknown). 46. Edward Rippingille, The Recruiting Party, (City of Bristol Art Gallery & Museum). 47. Henry Liverseege, The Recruit, (National Army Museum, London). 48. W. H. Gore, 'Listed, (Guildhall, London). 49. Elizabeth Thompson, 'Listed for the Connaught Rangers, (Location unknwon). 50. Henry Collins, In Close Persuit of a Deserter, (Smith Gallery, Stirling). 51. J.H.Henshall, A Deserter, ph. Witt Lib. 52. J.E. Millais, The Peace Concluded, (private coil.) 53. David Wilkie, Chelsea Pensioner receiving the London Gazette Extraordinary of 22nd June 1815, announcing the Battle of Waterloo, (Apsley House, London). 54. Hubert Herkomer, The Last Muster, (Lady Lever Gallery, Port Sunlight). 55. P.R. Morris, Peaceful Days, ph. Witt Lib. 56. Henry Stacy Marks, The Ornithologist, ph. Witt Lib. 57. Thomas Faed, From Hand to Mouth, (private coil), ph. after engraving Witt Lib. 58. John Faed, A Wappanschaw, (Scottish National Portrait Gallery). 59. J.C.Horsiey, Pride of the Village, (Tate Gallery). 60. Thomas Webster, Returning from the Fair, ph. Witt Lib. 61. Frank Dadd, Gold Lace has a Charm for the Fair, (Tate Gallery). 62. John Faed, In Time of War, (Walker Art Gallery, Liverpool) 63. Frederick Goodall, A Letter from Papa, (Tunbridge Wells Museum and Art Gallery). 64. Henry Nelson ONeil, Eastward Ho! (Private Coil) 6 65. Frank Hoil, Ordered to the Front, (location unknown), ph. Witt Lib. 66. Henry Nelson O'Neil, Home Again!, (Private Coil.) 67. J Noel Paton, Home!, (Coil. Her Majesty the Queen). ph. Witt Lib. 68. J.E.Miliais, The Black Brunswicker, (Lady Lever Gallery, Port Sunlight). 69. J.D.Luard, Nearing Home, (Location unknown) ph. Witt Lib. 70. J.W.?Ar4, In Memoriam, (location unknown), ph. Witt Lib. 71. William Muiready, The Convalescent from Waterloo, (Victoria and Albert Museum). 72. W. Caideron, A Son of the Empire, ph. Witt Lib. 73. Phil Morris, Sons of the Brave, ph. Witt Lib. 74. Frank Holi, Did ever kill anybody, Father?, ph. Witt Lib. 75. Lucy Kemp-Welch, In sight! Lord Dundonald's Dash on Ladysmith, (Royal Albert Memorial Museum, Exeter).
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