John Russellf 1745-1806) and the Impact of Evangelicalism and Natural Theology on Artistic Practice Thesis submitted for the degree of Doctor of Philosophy by Antje Matthews Department of History of Art and Film University of Leicester 2005 UMI Number: U6012B1 All rights reserved INFORMATION TO ALL USERS The quality of this reproduction is dependent upon the quality of the copy submitted. In the unlikely event that the author did not send a complete manuscript and there are missing pages, these will be noted. Also, if material had to be removed, a note will indicate the deletion. Dissertation Publishing UMI U601231 Published by ProQuest LLC 2013. Copyright in the Dissertation held by the Author. Microform Edition © ProQuest LLC. All rights reserved. This work is protected against unauthorized copying under Title 17, United States Code. ProQuest LLC 789 East Eisenhower Parkway P.O. Box 1346 Ann Arbor, Ml 48106-1346 Abstract John Russell (1745-1806) and the Impact of Evangelicalism and Natural Theology on Artistic Practice Antje Matthews During his lifetime, John Russell’s (1745-1806) pastel portraits and fancy pictures were exceedingly popular with his London clientele. However, this contemporary popularity contrasts with the pronounced lack of interest in Russell’s work as an art historical subject. This failure to recognise the contemporary importance of Russell’s paintings is due firstly to the prejudice displayed by some researchers towards Russell’s convicted Methodism and, secondly, to their dismissal of his work as over-emotional, low art. Equally, the more private part of Russell’s work, his astronomical studies and moon pastels, have not been considered by art historians before. This thesis attempts to reconstruct why and how Russell’s images were so successful with late eighteenth-century British society. In order to do this, the seemingly unconnected aspects of the painter’s oeuvre are considered in their entirety for the first time. This approach further draws on previously ignored private sources, such as the artist’s diaries, which reveal the central role of Methodism in his work. The thesis is based on an extensive review of the painter’s place among Evangelicals and of the role which Evangelical culture played within society. It is shown that Russell’s Methodism, far from being socially unacceptable, was reconcilable with conservatism and aided the painter’s integration. The influence of Evangelical thought on his oeuvre is investigated through fancy pictures, portraits, and his images of natural philosophy, all of which reflect the painter’s conviction that God was visible in every object. Russell’s art, therefore, can be seen as one continuous act of devotion. 2 Acknowledgements This thesis owes a great deal to Matthew Craske, who navigated me through a most challenging but also most rewarding research project. Carol and Holly’s calming influence made the bureaucratic setbacks bearable, and without Miriam Gill the argument regarding religious influence on Russell’s life and work would not have been nearly as rich or interesting. Many thanks also to my sister-in-arms Cristina, who shared with me the draughty aspects of PhD life. During my research I met with numerous individuals and institutions, who shared my enthusiasm for the subject and assisted my research where they could. I am grateful to Geoff Quilley and Alison Yarrington for their guidance, to Peter Forsaith for selflessly sharing his immense knowledge, to Roberta Olson, Jay Pasachoff, Nigel Aston, Alex Keller, Alan Mills, and Stan Cowley for their enlightening comments on questions of nonconformist religion and astronomy. I also thank Gillian Forrester for her encouragement. Thanks to Leicester and Cambridge University Libraries, the National Art Library, London, and especially the British Library for enlightening me. I was kindly given access to original materials at the Science Museum, London, where special thanks go to Kevin Johnson for leading me to the globes. Tessa Sidey (Birmingham Museums and Gallery), Shona Marran (Museum of the History of Science, Oxford), John Seydl (Paul Getty Museum, Los Angeles), the Paul Mellon Centre, London, and the Royal Academy provided further pieces of the Russell puzzle. At London’s National Portrait Gallery I was fortunate to become acquainted with John Ingamells, and received invaluable, enthusiastic help from Tim Moreton. I was inspired by Peter Hingley, who not only guided me to the treasures of the Royal Astronomical Society, but furthered my thinking through long conversations and his own unfailing knowledge. Matthew Alexander and Tracey Mardles from Guildford Museum and Art Gallery also deserve special mention for acquainting me with Russell’s paintings and Guildford’s hospitality. 3 Most gratefully I acknowledge the help and encouragement which I received from the Faculty of Arts at the University of Leicester, who enabled me to present my work at the Leicester-Pisa Colloquium in 2002. The Faculty of Arts assisted me further with the award of the William Ruddick Scholarship 2003, which allowed me to participate in the truly motivating “Inspiration of Astronomical Phenomena IV” conference at Magdalene College, Oxford, 2003. My greatest gratitude is due to my parents, for their unfailing confidence in me and for their much appreciated help, to Jana and Nivien, who both led through example, and to Owen, for everything. 4 Contents List of Abbreviations 7 List of Illustrations 8 1. Introduction: Religious Art in the “Age of Reason”? 12 2. Placing Russell within Religion and Society 22 - A Life Shaped by Methodism 23 - Russell as part of The Evangelical Revival 32 - Methodists in Society: Enemies to Decency and Order? 41 - Order maintained: A Christian Philosophy of Morality and Nature 49 3. Evangelical Iconography and Sensibility: Fancy Pictures and Portraits 60 - Fancy Pictures: The Devout Delicacy of Feeling 61 - The Deserving Poor 67 - Modesty and Charitable Fame: Methodist Portraits 76 - Fancy Portraits: Happy Families 83 - “The Favourite Rabbit”: Animals and Sensibility 87 4. “To look through nature up to nature’s God” 95 - The Religious Natural Philosopher 96 - Empirical Assurance 105 - The Real Human Body 112 - The Ideal Human Body 120 - Pastel as a new Tool of Worship 126 5 5. “This Beautiful Object”: Russell’s Moon 131 - Russell as Astronomer 132 - Russell’s Mysterious Moon between Astronomy and Art 141 - The Enlightening Moon: Lunar Portraiture as Natural Theology 148 6. Conclusion: This Two-fold Capacity 160 Illustrations 164 Appendices 196 - John Russell’s maintenance instructions for his images - Pictures exhibited by John Russell at the Royal Academy Bibliography 207 6 Abbreviations A&G Astronomy and Geophysics ALBUM The complete Collection o f Russell’s Drawings from the Moon, OMS BL British Library BM British Museum BMAG Birmingham Museum and Art Gallery CAM Cambridge University Library DNB Dictionary of National Biography DSB Dictionary o f Scientific Biography EM Evangelical Magazine FD Joseph Farington’s Diary Fig./Figs. Figure/Figures GHG Guildford House Gallery HOR Letter from John Russell to Thomas Homsby, 19 February 1789, as quoted in Stone, 1895 LP Lunar Planispheres MNRAS Monthly Notices of the Royal Astronomical Society MS Manuscript NAL National Art Library, Victoria and Albert Museum, London NG National Gallery, London NMM National Maritime Museum, Greenwich NPG National Portrait Gallery, London OMS Museum of the History of Science, Oxford RD John Russell’s Diaries , NAL R.A. Royal Academy of Arts, London RAS Royal Astronomical Society RS Royal Society RSB John Russell’s Sketchbooks , BMAG SciM Science Museum, London SJH Smithsonian Journal of History 7 Illustrations 1. J. Russell: Dr. Willis, 1789, pastel, 23 % x 17 Vz in., NPG 2. J. Russell: The Prince o f Wales in the Uniform o f the Royal Kentish Bowmen, 1791, oil on canvas, 102 Vz x 71 in., Royal Collection 3. J. Russell: Martha Gunn , 1795, pastel, 35 Vz x 27 V2 in., Royal Collection 4. J. Russell: John Miles, ‘Old Smoaker’, 1791, pastel, 35 V2 X 27 V2 in., Royal Collection 5. W. Hogarth: The Sleeping Congregation, 1736, engraving 6. W. Hogarth: Enthusiasm Delineated, c.1760, engraving 7. Anon.: Dr. Squintum’s Exaltation o f the Reformation , 1763, engraving 8. Anon., after J. Russell: Jane Shore, undated engraving 9. J. Russell: Ruth and Naomi , 1788, pastel, oval, size unknown, R.A. 10. J. Russell: Girl with Cherries, R.A. 1781, pastel, 62 x 18 in., Louvre 11. T. Gainsborough: Girl with Pigs, 1782, oil on canvas, 49 V2 x 58 Vz in., Castle Howard Collection 12. J. Dean, after J. Reynolds: Cupid as a Link Boy , 1777, mezzotint 13. J. Russell: Filial Affection , 1786, pastel, 38 x 29 in., location unknown 14. W. Ward, after W. Owen: The Blind Beggar o f Bethnal Green, 1804, mezzotint 15. J. Zoffany: Beggars on the Road to Stanmore, 1771, oil on canvas, 29 x 24 Vz in., private collection 16. J. Russell: Love Songs and Matches, 1793, pastel, 35 x 26 % in., Holbume Museum, Bath 17. J. Russell: The little Lace Makers , R.A.1790, pastel, 35 Vz x 27 in., location unknown 18. J. Russell: St. Giles Songstress, 1802, pastel, 25 x 18 Vz in., location unknown 19. J. Russell: Harvest Girl, R.A.1780, pastel, 24 x 18 in., Guildford Borough Council Collection 20. J. Russell: Girl with a Basket o f Eggs, R. A. 1781, pastel, 24 x 18 in., Guildford Borough Council Collection 21. J. Russell: The Peasant’s little Maid, R.A.1788, oil on canvas, 35 Vz x 27 lA in. 22. P. Mercier: Girl with a Cat, c.1755, oil on canvas, 35 Vz x 27 % in., National Gallery of Scotland, Edinburgh 23. J.-B. Greuze: Innocence, undated oil on canvas, oval, 24 Vz x 20 Vz in., Wallace Collection, London 24. J. Russell: Jane, the Artist’s Daughter, c. 1785, pastel, size and location unknown 25.