Aaron Edwin Penley (1806/1807 – 15 January 1870) stands as a notable figure in the landscape of 19th-century British art. Primarily celebrated as a watercolour painter, Penley's career was multifaceted, encompassing roles as a prolific artist, an influential art educator, and a published author on artistic techniques. His work, initially focused on portraiture, evolved to embrace the picturesque landscapes of Britain, earning him recognition and a lasting place in the annals of art history. His dedication to the medium of watercolour, coupled with his commitment to teaching, ensured his influence extended beyond his lifetime, shaping the practice and appreciation of art in Victorian England.
Early Life and Artistic Emergence
Born in either 1806 or 1807, Aaron Edwin Penley emerged into a Britain that was witnessing a flourishing of the arts, particularly in the realm of watercolour painting. The early 19th century saw artists like J.M.W. Turner and John Constable revolutionizing landscape painting, while the tradition of portraiture remained strong. Penley's own artistic journey began with a focus on portraits. His talents were recognized early, leading to his first exhibition at the prestigious Royal Academy of Arts in London in 1835. During these initial years, his submissions primarily consisted of portrait miniatures and likenesses, a common path for aspiring artists seeking patronage and public acknowledgment.
The Penley family itself had connections to the arts and potentially to courtly circles. It is noted that his father, William Penley, served as a court painter to King William IV. This connection likely provided young Aaron with exposure to the art world and perhaps even early opportunities. Indeed, Aaron Edwin Penley himself would later receive royal patronage, being appointed watercolour painter to King William IV and Queen Adelaide, a testament to his skill in capturing the likeness and character of his sitters. This royal endorsement undoubtedly enhanced his reputation and visibility in a competitive artistic environment.
The Transition to Landscape and Rustic Scenes
While Penley initially gained recognition for his portraiture, his artistic passion gradually shifted towards landscape painting and the depiction of rustic figures. This transition mirrored a broader trend in British art, where the natural beauty of the British Isles and the charm of rural life became increasingly popular subjects. Artists like David Cox, Peter De Wint, and Samuel Prout were contemporaries who excelled in capturing the varied topographies and atmospheric conditions of the British landscape, as well as picturesque continental scenes. Penley's work in this genre demonstrated a keen eye for detail, a subtle understanding of light and colour, and an ability to evoke the tranquil, sometimes rugged, beauty of nature.
His landscapes often featured idyllic pastoral scenes, tranquil lakes, rolling hills, and architectural elements such as watermills or ancient abbeys. These subjects were not merely topographical records but were imbued with a romantic sensibility, reflecting the era's appreciation for the sublime and the picturesque. His depictions of rustic figures within these landscapes added a human element, often conveying a sense of timelessness and connection to the land. This focus on landscape painting would come to define the latter part of his career and solidify his reputation among his peers and the art-buying public.
A Dedicated Educator and Prolific Author
Beyond his own artistic output, Aaron Edwin Penley made significant contributions to art education. He held several distinguished teaching positions, imparting his knowledge and skills to a new generation of artists and military cadets. From 1851 to 1861, he served as the drawing and sketching master at the Addiscombe Military Seminary (also known as the East India Company's Military Seminary). This institution trained officers for service in India, and instruction in drawing and topographical sketching was considered a valuable skill for military purposes, aiding in reconnaissance and record-keeping.
Penley also held the post of Professor of Drawing at the Royal Military Academy, Woolwich, another key institution for officer training. Furthermore, he was appointed Professor of Painting at Warwick College. These roles underscore his standing as a respected authority on artistic practice. His commitment to education extended to authorship. Penley penned several influential instructional books on art, which were widely used and helped to codify and disseminate techniques in watercolour painting and perspective.
His notable publications include:
A System of Water-Colour Painting (first published around 1850, with subsequent editions): This manual provided practical guidance on the techniques and materials of watercolour painting, catering to both amateurs and aspiring professionals. It likely covered aspects such as colour mixing, brushwork, and composition, reflecting the methods of the "English school" of watercolour.
The Elements of Perspective (published in various editions, including one by Winsor & Newton in 1863 and another listed as Perspective elements in 1874): This work addressed the fundamental principles of perspective, a crucial aspect of realistic depiction in art. Such books were invaluable for students learning to create convincing spatial illusions in their drawings and paintings.
The English School of Painting in Water-Colours: Its Theory and Practice, with the Several Stages of Progression: This comprehensive treatise further elaborated on watercolour techniques, likely offering advanced instruction and insights into the stylistic characteristics of contemporary British watercolourists.
These publications were significant for their clarity and practical approach. They contributed to the standardization of art instruction and made artistic knowledge more accessible. Penley's writings, therefore, played a vital role in shaping the understanding and practice of watercolour painting in the Victorian era, influencing countless students and artists. His methodical approach to teaching, as reflected in his books, would have been appreciated by students seeking structured learning.
Involvement with Artistic Societies and Exhibitions
An artist's career in the 19th century was often intertwined with membership in artistic societies and regular participation in exhibitions. These venues provided platforms for showcasing work, gaining critical recognition, and securing sales. Aaron Edwin Penley was an active participant in this aspect of the art world.
He became a member of the New Society of Painters in Water Colours in 1838. This society, founded in 1807 (and later becoming the Royal Institute of Painters in Water Colours), was a key institution for watercolourists, providing an alternative exhibition venue to the Royal Academy, which sometimes gave precedence to oil paintings. Penley's membership signifies his standing within the community of watercolour specialists. Interestingly, his relationship with the society was not without its complexities. It is recorded that he resigned in 1856 due to dissatisfaction with certain exhibition arrangements or policies, a bold move for an established artist. However, his value to the society was evidently recognized, as he was re-elected or readmitted in 1859.
Throughout his career, Penley continued to exhibit his works at the Royal Academy, from his debut in 1835 until as late as 1869, the year before his death. He also showed his paintings at other venues, such as the British Institution (B.I.) and the Society of British Artists (S.B.A.), Suffolk Street. This consistent presence in major exhibitions ensured that his work remained visible to the public and to critics, contributing to his sustained reputation. The breadth of his exhibition record indicates a prolific output and a desire to engage with diverse audiences.
Notable Works and Artistic Style
Aaron Edwin Penley's oeuvre includes a range of subjects, but his landscapes and specific commissioned portraits are among his most recognized works.
One of his significant portraits is Queen Victoria (circa 1840). This work, now housed in the National Portrait Gallery, London, captures the young queen and is indicative of his skill in portraiture and his connections to royal circles. Creating a portrait of the reigning monarch was a prestigious commission, reflecting the artist's standing.
His landscape works are numerous and varied. Titles such as Loch Venner, Scotland (1862) suggest his travels and his interest in the dramatic scenery of the British Isles, a popular theme among Romantic and Victorian artists. Scottish landscapes, with their rugged mountains and atmospheric lochs, offered rich material for watercolourists.
Watermill and Waterfalls (1862), held by the Yale Center for British Art, is another example of his landscape work. Watermills were a recurring motif in 19th-century landscape painting, symbolizing a picturesque harmony between human industry and nature, often tinged with nostalgia as industrialization advanced. Penley's treatment of such subjects would have involved careful attention to the textures of stone and wood, the movement of water, and the play of light and shadow.
A work titled Melrose Abbey from the Banks of the River Tweed, Scotland, often dated to 1873 (though this is posthumous and may refer to an exhibition or publication date of an earlier piece), exemplifies his interest in historical and romantic sites. Melrose Abbey, a ruin with strong historical and literary associations (notably through Sir Walter Scott), was a magnet for artists.
Lakeside with Cattle, sometimes dated to 1874 (also posthumous), and Figures Conversing near a Mill (date unknown), further illustrate his focus on pastoral and rustic scenes. These works likely showcased his ability to create serene and balanced compositions, populated with figures that animate the landscape.
Penley's artistic style in watercolour was characterized by meticulous detail and a refined technique. He was adept at capturing atmospheric effects and the nuances of natural light. His instructional writings suggest a methodical approach, and this is often reflected in the careful execution of his paintings. He was known to use materials like "Megilp" (a painting medium) to control the flow of watercolour pigments, allowing for precise application and layering. His handling of foliage, water, and architectural elements was typically skillful and descriptive.
Some critics or art historians have noted that his style, at times, might have been influenced by the aesthetic of early chromolithography, which could result in a "showy" or somewhat "artificial" appearance to some eyes. However, this also points to a high degree of finish and a vibrant palette that would have appealed to Victorian tastes. His work, while rooted in the tradition of British watercolour landscape, also reflected contemporary trends and the evolving visual culture of the era. He navigated a path that balanced naturalistic observation with picturesque conventions.
Contemporaries and Artistic Context
Aaron Edwin Penley worked during a vibrant period in British art. The Victorian era saw a burgeoning art market, an increase in public exhibitions, and a diverse range of artistic styles and movements. As a watercolourist, he was part of a strong tradition that had been elevated by earlier masters like Thomas Girtin and J.M.W. Turner.
His contemporaries in the field of watercolour included artists such as David Cox, known for his vigorous and atmospheric landscapes; Peter De Wint, celebrated for his broad, tranquil views of the English countryside; and Samuel Prout, who specialized in picturesque architectural scenes, both British and Continental. William Henry Hunt was another prominent watercolourist, famous for his detailed still lifes of fruit and flowers, and his charming rustic genre scenes. The Royal Society of Painters in Water Colours, to which Penley belonged, was a hub for such artists, with figures like Copley Fielding (who served as its President for many years) playing significant roles.
The broader artistic landscape also included the influential critic John Ruskin, whose writings championed "truth to nature" and had a profound impact on artists and public taste. While Penley's style might not have aligned directly with Ruskin's most ardent enthusiasms (such as Turner or the Pre-Raphaelites), the prevailing emphasis on detailed observation of the natural world would have resonated with his practice.
The Pre-Raphaelite Brotherhood, including artists like John Everett Millais, Dante Gabriel Rossetti, and William Holman Hunt, emerged in the mid-19th century, advocating for a return to the intense colour and detailed realism of early Renaissance art. Though their stylistic aims and subject matter often differed from Penley's, they were part of the same dynamic artistic milieu. Later in Penley's career, artists like Myles Birket Foster gained immense popularity for their idyllic and sentimental watercolour depictions of rural England, continuing the tradition of picturesque landscape. Penley's father, William Penley, as a painter himself, would have been an early influence. One might also consider the broader context of Royal Academy figures, even if in different media, such as the history painter Charles Lock Eastlake, who also served as President of the Royal Academy and Director of the National Gallery.
Penley's work, therefore, should be seen within this rich and varied context. He contributed to the strength and popularity of watercolour painting, maintained a successful career as an exhibiting artist, and played a key role in art education, influencing those who came after him.
Later Life, Death, and Legacy
Aaron Edwin Penley continued to paint and exhibit into his later years. His final exhibition at the Royal Academy was in 1869. He passed away on January 15, 1870, in Lewisham, then a suburb of London. He left behind a substantial body of work and a significant legacy as an educator and author.
His paintings are held in various public collections, including the National Portrait Gallery, London, and the Yale Center for British Art, ensuring their accessibility to future generations. His instructional books remained in print for many years, guiding countless students in the principles of watercolour painting and perspective. The very existence and popularity of such manuals attest to the widespread interest in art-making during the Victorian era, an interest that Penley helped to foster and serve.
Historically, Penley is regarded as a skilled and accomplished watercolourist of the Victorian period. While perhaps not reaching the revolutionary heights of a Turner, he was a respected practitioner who excelled in capturing the characteristic beauty of British landscapes and in fulfilling the demands of portraiture. His contribution to art education is particularly noteworthy; through his teaching and his widely circulated books, he had a tangible impact on the dissemination of artistic knowledge and technique.
His work also reflects the cultural values of his time: the appreciation for the picturesque, the romantic engagement with nature, and the importance of technical skill in art. His landscapes, in particular, contributed to the shaping of a national visual identity, celebrating the diverse scenery of the British Isles. Aaron Edwin Penley, therefore, remains an important figure for understanding the practice, teaching, and appreciation of art, especially watercolour, in 19th-century Britain. His dedication to his craft and his commitment to sharing his knowledge ensure his enduring relevance.
