Abraham Solomon (1824-1862) was a significant, albeit sometimes overlooked, English painter of the Victorian era. His relatively short life was marked by considerable artistic achievement, a keen eye for narrative detail, and a dedication to capturing the nuances of contemporary society as well as scenes drawn from literature and history. His work, often characterized by its dramatic compositions and meticulous attention to costume and social mores, provides a fascinating window into the artistic and cultural landscape of mid-19th century Britain. Emerging from a talented artistic family, Solomon carved his own niche, contributing to the popular genre of narrative painting that so captivated the Victorian public.
Early Life and Artistic Inclinations
Born in Bishopsgate, London, in 1824, Abraham Solomon was one of eight children in an artistically inclined Jewish family. His father, Meyer Solomon, was a prosperous Leghorn hat manufacturer and notably one of the first Jews to be granted the Freedom of the City of London, a significant social milestone. This background provided a degree of stability and likely fostered an environment where artistic pursuits were encouraged. Abraham was not the only Solomon child to pursue art; his younger sister, Rebecca Solomon, and younger brother, Simeon Solomon, would also become recognized painters, forming a notable artistic triumvirate within the family.
Abraham's formal artistic education began at a young age. At thirteen, in 1837, he enrolled at Sass's Academy in Bloomsbury. Henry Sass's establishment was a well-regarded preparatory school for aspiring artists, many of whom went on to study at the prestigious Royal Academy of Arts. Sass's provided foundational training in drawing, particularly from casts of classical sculpture, which was considered essential for any serious artist of the period. Figures like Sir John Everett Millais, a leading Pre-Raphaelite, also attended Sass's, highlighting its importance in the London art scene.
The Royal Academy Schools and Early Recognition
Following his studies at Sass's, Abraham Solomon gained admission to the Royal Academy Schools on December 10, 1838, officially beginning his studies there in 1839. The Royal Academy was the preeminent art institution in Britain, and its schools offered rigorous training. Here, Solomon distinguished himself early on. In 1840, he was awarded a silver medal from the Society of Arts (often referred to as the Isis Silver Medal) for a drawing from a statue, and in the same year, another silver medal from the Royal Academy for a drawing from the antique.
His talent continued to blossom, and he began exhibiting at the Royal Academy in 1841 with the painting "My Grandmother," a work that likely showcased his burgeoning skill in portraiture and intimate genre scenes. This was soon followed by "A Rabbi Expounding the Scriptures" (1842), a subject that perhaps drew on his own cultural heritage and demonstrated an early interest in historical and character-driven narratives. In 1843, he received another silver medal from the Royal Academy, this time for a drawing from life, indicating his proficiency in capturing the human form with accuracy and sensitivity.
Developing a Narrative Style: Literary and Historical Themes
Throughout the 1840s and early 1850s, Abraham Solomon developed a reputation for his skillful genre paintings, often drawing inspiration from literature, history, and contemporary life. His works were characterized by their clear storytelling, careful composition, and detailed rendering of costumes and settings, appealing to the Victorian taste for narrative art that was both morally instructive and emotionally engaging.
He frequently turned to popular literary sources. For instance, he painted scenes inspired by Oliver Goldsmith’s "The Vicar of Wakefield," such as "The Vicar of Wakefield Taking Leave of His Family" (exhibited RA 1842) and "The Breakfast Table" (1845), which depicted a scene from the novel. He also found inspiration in the works of Molière, producing paintings like "Le Malade Imaginaire" and "Le Bourgeois Gentilhomme" (both 1846). Sir Walter Scott’s historical novels provided another rich vein of subject matter, as seen in "Peveril of the Peak" (1845). These literary paintings allowed Solomon to explore dramatic situations and character interactions, often with a touch of humor or pathos.
His historical genre scenes were also popular. "A Ball Room in the Year 1760" (exhibited RA 1848) and "An Academy for the Instruction of Youth in the Discipline of the Fan, 1711" (exhibited RA 1849) showcased his ability to recreate the atmosphere and fashions of earlier periods with meticulous detail. These works often highlighted social customs and manners, providing a nostalgic or sometimes gently satirical look at the past. His attention to costume detail was particularly noted by critics and appreciated by the public. Artists like Charles Robert Leslie and Daniel Maclise were also known for their historical and literary subjects, and Solomon's work can be seen as part of this broader trend in Victorian art.
The Railway Paintings: Modern Life Narratives
Perhaps Abraham Solomon’s most famous and innovative works are his pair of railway carriage paintings: "First Class – The Meeting… And at First Meeting Loved" (exhibited RA 1854) and "Second Class – The Parting… Thus Part We Rich in Sorrow, Parting Poor" (exhibited RA 1854, later reworked and exhibited as "Third Class – The Parting" in 1855). These paintings marked a significant engagement with contemporary life, capturing the relatively new phenomenon of railway travel and its social implications.
"First Class" depicts a charming scene: a young officer and a beautiful young woman are chaperoned by an elderly gentleman (likely her father) in a comfortable first-class carriage. The young couple is clearly engaged in a budding romance, their eyes meeting with affection. The painting is a delightful portrayal of courtship and Victorian propriety.
In stark contrast, the companion piece, originally "Second Class" and then revised to "Third Class," presents a more poignant scene. A young man, possibly an emigrant or a recruit, is bidding a sorrowful farewell to his mother and perhaps a younger sibling or his own child. The atmosphere is one of grief and uncertainty, highlighting the hardships faced by the less affluent. The change from "Second Class" to "Third Class" was reportedly made after criticism that the original setting was too comfortable for the level of distress depicted, demonstrating Solomon's responsiveness to public and critical opinion.
These railway paintings were highly successful and widely reproduced as engravings, making them accessible to a broad audience. They tapped into the Victorian fascination with modern technology and its impact on human lives, offering a narrative diptych that explored themes of love, loss, social class, and the passage of time. William Powell Frith’s "The Railway Station" (1862) would later explore a similar theme on a much grander scale, but Solomon’s more intimate carriage scenes were pioneering in their focus on the human dramas unfolding within the new mode of transport. Augustus Egg's triptych "Past and Present" (1858) also used a multi-part narrative to explore contemporary social issues, a common Victorian artistic strategy.
The Solomon Siblings: An Artistic Family
Abraham Solomon was not the only artist in his family. His sister, Rebecca Solomon (1832-1886), and his brother, Simeon Solomon (1840-1905), were also accomplished painters, and their careers were intertwined. Rebecca often worked as a studio assistant to Abraham and later to John Everett Millais. She exhibited regularly at the Royal Academy and other London venues, producing genre scenes, historical subjects, and portraits. Her work often engaged with themes of social justice and gender inequality, such as "The Governess."
Simeon Solomon became associated with the later phase of the Pre-Raphaelite movement and the Aesthetic Movement. He was a prodigious talent, known for his sensitive and often androgynous depictions of biblical, classical, and allegorical figures. His early work showed the influence of artists like Dante Gabriel Rossetti, Edward Burne-Jones, and Frederic Leighton. Simeon’s close friendships with figures like Algernon Charles Swinburne placed him at the heart of avant-garde artistic and literary circles.
The Solomon siblings often shared studio space and likely influenced each other’s work. Abraham, as the eldest and initially most established, may have provided guidance and support to his younger siblings. Their collective presence in the London art world was notable, representing a significant Jewish contribution to Victorian art.
Later Career, Recognition, and Controversy
Abraham Solomon continued to exhibit regularly and successfully throughout the 1850s. His works like "A Contrast" (1855), "The Bride" (1856), and "Doubtful Fortune" (1856) further cemented his reputation as a skilled narrative painter. He also painted "Waiting for the Verdict" (1857) and its sequel "Not Guilty" (1859), a pair of legal dramas that captivated audiences with their suspense and emotional intensity. These works demonstrated his ability to create compelling narratives that resonated with contemporary concerns about justice and social order.
His painting "The Acquittal" (a version of "Not Guilty") was particularly praised and was purchased for the National Gallery under the terms of the Chantrey Bequest, a significant honor. He was a popular artist, and his works were often engraved, ensuring wide circulation.
However, his career was not without its challenges or controversies, some of which were tinged with the anti-Semitic prejudices prevalent in some quarters of Victorian society. For example, a painting exhibited in 1861, reportedly depicting a French servant girl, drew criticism from some reviewers who used derogatory, racially charged language. While Solomon's Jewish identity was a part of his background, and he did paint some subjects related to Jewish life (like "Rabbi Expounding the Scriptures"), the reception of his work could sometimes be filtered through the lens of societal biases. This was a challenge faced by other Jewish artists of the period as well.
Despite such undercurrents, Solomon's artistic merit was increasingly recognized by his peers. In 1862, he was elected an Associate of the Royal Academy (ARA), a significant step towards full Academician status. This honor acknowledged his consistent contributions and the high quality of his work.
Personal Life and Premature Death
In 1860, Abraham Solomon married Ella Hart, the sister of Dr. Edward Hart. Their marriage took place on October 10, 1860. Unfortunately, their time together was to be tragically short.
Abraham Solomon had suffered from heart disease for some time. In 1862, seeking to improve his health, he traveled to Biarritz, a coastal town in the south of France known for its supposedly recuperative climate. However, his condition did not improve, and he died there on December 19, 1862, the very same day he had been elected an Associate of the Royal Academy. He was only 38 years old and sadly never learned of this final honor bestowed upon him by his peers. His early death cut short a promising and already distinguished career. He was buried in the Jewish cemetery at Biarritz.
The loss was keenly felt in the art world. He was a respected figure, known for his talent and his amiable personality. His death also had a profound impact on his family, particularly his artistic siblings Rebecca and Simeon, whose own lives and careers would face different challenges in the years to come.
Artistic Style and Characteristics
Abraham Solomon’s art is firmly rooted in the Victorian narrative tradition. His style can be characterized by several key features:
1. Narrative Clarity: Solomon excelled at telling a story through his paintings. His compositions are carefully arranged to guide the viewer’s eye and make the narrative legible. Characters’ expressions, gestures, and interactions are central to conveying the plot and emotional content.
2. Attention to Detail: Like many Victorian painters, Solomon paid meticulous attention to the details of costume, setting, and accessories. This not only added to the realism of his scenes but also provided important clues about the characters’ social status, profession, and the historical period depicted. This can be seen in the elaborate dresses in "A Ball Room in the Year 1760" or the distinct uniforms and civilian attire in his railway paintings.
3. Emotional Engagement: His works often aimed to evoke an emotional response from the viewer, whether it be amusement, sympathy, suspense, or romantic sentiment. He was adept at capturing a range of human emotions, from the tender affection in "First Class – The Meeting" to the profound grief in "Third Class – The Parting."
4. Social Observation: Many of Solomon’s paintings offer insights into Victorian social customs, class distinctions, and contemporary life. His railway scenes are prime examples, but even his historical pieces often reflect Victorian preoccupations when viewed through a modern lens.
5. Composition and Color: Solomon generally employed conventional but effective compositional techniques. His use of color was typically rich and harmonious, contributing to the overall mood of the painting. He was skilled in creating balanced compositions that drew the viewer into the scene. While not as radical in color theory as the Pre-Raphaelites like William Holman Hunt or Millais in their early phase, his palette was effective for his narrative aims.
His work can be compared to that of other popular Victorian genre painters such as William Powell Frith, Augustus Egg, and Thomas Webster, all of whom specialized in narrative scenes drawn from everyday life, literature, or history. However, Solomon brought his own distinct sensibility and focus to these themes.
Legacy and Re-evaluation
Following his death, Abraham Solomon’s reputation, like that of many Victorian narrative painters, somewhat declined with the rise of modern art movements in the late 19th and early 20th centuries. The taste for detailed, anecdotal painting waned as Impressionism, Post-Impressionism, and other avant-garde styles gained prominence. Artists like James McNeill Whistler, who championed "art for art's sake," represented a shift away from the narrative and moralizing tendencies of much Victorian art.
However, in more recent decades, there has been a significant re-evaluation of Victorian art, and painters like Abraham Solomon have received renewed scholarly and public attention. His railway paintings, in particular, are now recognized as iconic images of the Victorian era and important examples of the artistic engagement with modernity. They are frequently reproduced and discussed in studies of 19th-century art and culture.
His contributions to genre painting, his skillful storytelling, and his insightful observations of human nature are now more widely appreciated. Exhibitions focusing on Victorian art have brought his work to new audiences, allowing for a more nuanced understanding of his place within the broader context of 19th-century British art. His ability to capture both the intimate dramas of personal life and the larger social changes of his time makes his work enduringly relevant.
Abraham Solomon’s legacy also lies in his role within an artistic family. The Solomon siblings together represent a fascinating chapter in the history of British art and the experience of Jewish artists in Victorian England. While Abraham's career was the shortest, his early success and the quality of his output established a strong foundation.
In conclusion, Abraham Solomon was a talented and accomplished painter whose work provides valuable insights into the tastes, concerns, and social fabric of Victorian Britain. From his charming literary illustrations and historical reconstructions to his pioneering depictions of modern life in the railway age, Solomon demonstrated a keen observational skill and a gift for narrative that captivated his contemporaries and continues to engage viewers today. His premature death was a loss to the British art world, but his surviving works ensure his place as a significant chronicler of his time. His paintings are held in various public collections, including the Royal Holloway, University of London (which holds "First Class" and "Third Class"), the National Railway Museum, and the Royal Academy of Arts itself, attesting to his lasting importance.
