The 18th century witnessed a burgeoning appreciation for the natural world in Britain, a sentiment that found eloquent expression in the arts. Landscape painting, once considered a lesser genre, began to flourish, capturing the idyllic countryside, the grandeur of estates, and the burgeoning interest in picturesque scenery. Among the artists contributing to this evolving tradition was Anthony Devis (1729-1817), a painter and draughtsman whose diligent work provides a valuable window into the English landscape of his time. Though perhaps not as revolutionary as some of his contemporaries, Devis carved a niche for himself with his refined watercolours and oil paintings, leaving behind a legacy of charming and topographically informative works.
Early Life and Artistic Formation
Anthony Devis was born in Preston, Lancashire, in 1729, into a family with artistic inclinations. His father, also named Anthony Devis, was a painter and a town councillor in Preston. More notably, his elder half-brother was Arthur Devis (1712-1787), who would become well-known for his distinctive "conversation pieces" – small-scale group portraits often set in domestic or landscape settings. This familial environment likely fostered Anthony's early interest in art.
By the age of thirteen, around 1742, young Anthony had reportedly moved to London to pursue a career as a painter. London, at this time, was the undisputed centre of the British art world, offering opportunities for training, patronage, and exhibition. While specific details of his early training are somewhat scarce, it is understood that he developed his skills in both oil and watercolour, with a particular leaning towards landscape subjects. Unlike his half-brother Arthur, who is known to have studied under the Flemish painter Peter Tillemans, Anthony's direct tutelage is less clearly documented, but he would have been exposed to the prevailing artistic currents and the works of established masters.
The artistic milieu in London during the mid-18th century was vibrant. The influence of earlier European landscape traditions was strong. The idealized, classical landscapes of French artists like Claude Lorrain and Nicolas Poussin were highly esteemed and collected. Simultaneously, the more naturalistic and detailed approach of 17th-century Dutch painters such as Jacob van Ruisdael and Meindert Hobbema also found favour and provided an alternative model for depicting local scenery. British artists were beginning to synthesize these influences while increasingly turning their attention to the native landscape.
Development of an Artistic Style
Anthony Devis developed a style characterized by its delicacy, careful observation, and often, a gentle, poetic sensibility. He worked proficiently in both oil and watercolour, and also utilized pastels. His landscapes often depicted specific locations, reflecting the growing demand for topographical views of country estates, parks, and notable natural features. These works served not only as artistic representations but also as records of land ownership and the cultivated beauty of the British countryside.
His approach was generally more aligned with the picturesque tradition, which valued variety, irregularity, and interesting textures in landscape, rather than the sublime grandeur sought by some of his contemporaries. His compositions are typically well-ordered, with a clear delineation of space and an attention to atmospheric effects. He was adept at capturing the gentle light and verdant character of the English countryside.
The influence of Dutch landscape painting can be discerned in the careful rendering of trees, foliage, and the play of light and shadow in his works. There's also a hint of the Italianate tradition, perhaps absorbed through prints or the works of other artists, in the occasional inclusion of classical ruins or a certain Arcadian mood, though his primary focus remained on British scenery. He was less an innovator of grand, imaginative landscapes like Richard Wilson, who was pioneering a British school of classical landscape, and more a faithful interpreter of the scenes before him.
Mediums and Techniques
Anthony Devis was versatile in his choice of mediums. His oil paintings often possess a smooth finish and a careful application of paint, allowing for detailed representation. However, it is perhaps in his watercolours that his delicate touch is most apparent. The 18th century was a crucial period for the development of watercolour painting in Britain, with artists like Paul Sandby, often called the "father of English watercolour," elevating the medium beyond mere tinting for topographical records.
Devis contributed to this evolving tradition. His watercolours often feature a subtle palette, with washes of colour laid down to build up form and atmosphere. He would frequently use pen and ink to outline details, a common practice at the time, which provided structure and clarity to his watercolour washes. He is known to have produced many finished watercolours, intended as independent works of art rather than just preparatory sketches. This reflects the growing status of watercolour as a respected medium in its own right. He also worked with pastels, a medium that allows for a soft, blended effect and rich colour, though his works in this medium are perhaps less numerous than his oils and watercolours.
Key Themes and Subjects
The primary focus of Anthony Devis's oeuvre was the English landscape. He painted numerous views of country estates, often commissioned by their owners. These paintings would typically showcase the main house, the surrounding parkland, perhaps a lake or river, and carefully arranged trees and gardens. Such works were a testament to the owner's status and their cultivated taste in landscape design, which was itself a significant art form in 18th-century England, with figures like Lancelot "Capability" Brown reshaping the English countryside.
Beyond private estates, Devis also depicted more general picturesque scenery – rolling hills, wooded valleys, meandering rivers, and charming villages. His works often include small figures, which serve to animate the scene and provide a sense of scale, a common convention in landscape painting derived from artists like Claude Lorrain. These figures are usually incidental, part of the overall harmony of the landscape rather than the primary subject.
The inclusion of ruins, whether ancient or medieval, was a popular theme in picturesque art, evoking a sense of history and romantic melancholy. Devis, too, occasionally incorporated such elements into his compositions, tapping into this contemporary fascination. His work, therefore, aligns with the broader cultural trends of the period, which saw an increasing interest in Britain's own history and natural heritage.
Notable Works
Attributing and dating all of Anthony Devis's works precisely can be challenging, as is common with many artists of this period. However, several paintings are consistently associated with him and exemplify his style.
_Park with House and Cottage_ (also cited as Park Scene with House and Cottage), dated to 1762, is a representative example of his estate views. One would expect such a work to depict a carefully manicured landscape, with the main residence prominently featured, perhaps with ancillary buildings like a cottage adding to the picturesque charm. The composition would likely emphasize the harmonious relationship between architecture and nature, a hallmark of the English country estate ideal.
_A VIEW OF ST MARY'S CHURCH AND THE MANOR OF PUNCKNOWLE, DORSET FROM THE NORTH_, also dated to 1762, showcases his skill in topographical representation. This painting would meticulously record the architectural features of the church and manor house, as well as the surrounding landscape of Dorset. Such views were valued for their accuracy as well as their aesthetic appeal, providing a visual record of a specific place at a specific time.
_Among the Ruins_ (or Amongst the Ruins) is another title associated with Devis. While one source provided a clearly erroneous 20th-century date, the theme itself is entirely consistent with 18th-century picturesque sensibilities. A work with this title would likely feature classical or gothic ruins integrated into a landscape, perhaps with figures contemplating the scene, evoking reflections on transience and the passage of time. The treatment would be expected to be delicate and atmospheric, in line with his known style.
His body of work also includes numerous other landscapes, often untitled or generically titled (e.g., A Wooded Landscape with Figures), which nonetheless demonstrate his consistent approach to capturing the nuances of the English countryside. These works are found in various public and private collections, and occasionally appear at auction, allowing for ongoing study and appreciation.
Exhibitions and Recognition
Anthony Devis sought to bring his work before the public through the exhibition societies that were becoming increasingly important in the London art world. He exhibited with the Free Society of Artists between 1761 and 1782, and also showed works at the prestigious Royal Academy of Arts. The Royal Academy, founded in 1768 with Sir Joshua Reynolds as its first president, quickly became the dominant art institution in Britain, and exhibiting there was crucial for an artist's reputation and commercial success.
While Devis exhibited regularly, he did not achieve the same level of fame or institutional prominence as some of his contemporaries like Reynolds, Thomas Gainsborough (who was also a brilliant landscape painter alongside his portraiture), or Richard Wilson. His work was perhaps seen as less ambitious or innovative than theirs. However, his consistent output and participation in exhibitions indicate that he was a recognized and respected member of the artistic community. His patrons were likely country gentry and landowners who appreciated his ability to create pleasing and accurate representations of their properties and favourite views.
The art market of the time was diverse. While grand history painting was theoretically held as the highest genre, portraiture was the most lucrative, and landscape painting was steadily gaining in popularity and commercial viability. Artists like Devis catered to this growing market for landscape views, both in oil and the increasingly popular medium of watercolour.
Later Life and Artistic Environment
In his later years, Anthony Devis resided at Albury House, near Guildford in Surrey. This area, known for its picturesque beauty, would have provided ample subject matter for his art. He continued to paint the surrounding landscapes, maintaining his characteristic style. He passed away in 1817, having lived through a period of significant transformation in British art and society.
The late 18th and early 19th centuries saw the rise of Romanticism, which brought new emotional intensity and imaginative power to landscape painting. Artists like J.M.W. Turner and John Constable, who were younger contemporaries of Devis in his later years, would take British landscape painting in revolutionary new directions. Turner explored the sublime and the dramatic power of nature, while Constable focused on a deeply personal and naturalistic depiction of the English countryside.
Compared to these towering figures, Devis's art might seem more modest and traditional. His style, rooted in the mid-18th-century picturesque, may have appeared somewhat dated by the early 19th century. However, this does not diminish the value or charm of his work. He represents an important strand in the development of British landscape painting – the careful, topographical tradition that documented the appearance of the country and catered to the tastes of the landed gentry.
Other landscape painters active during parts of Devis's career, who contributed to the rich tapestry of the genre, include Alexander Cozens and his son John Robert Cozens, known for their evocative and often monochromatic watercolour landscapes that pushed the boundaries of the medium. Francis Towne developed a highly individual style of watercolour painting characterized by strong outlines and flat washes of colour. William Marlow was known for his views of London, country houses, and Italian scenes, while George Lambert was an earlier figure important in establishing landscape as an independent genre in Britain. Even artists primarily known for other specialities, like the animal painter Sawrey Gilpin, often incorporated detailed landscape settings into their works. Joseph Wright of Derby, famed for his scenes of industry and scientific experiments, also produced sensitive landscapes.
Anthony Devis in the Context of 18th-Century British Art
Anthony Devis's position in art history is that of a competent and often charming landscape painter who worked within the established conventions of his time. He was not a radical innovator, but he produced a significant body of work that reflects the aesthetic preferences and social conditions of 18th-century Britain.
His topographical views of country estates are valuable historical documents, offering insights into land use, garden design, and the lifestyle of the gentry. His more generalized picturesque landscapes contribute to our understanding of how the British countryside was perceived and valued during this period. The "polite tour" within Britain was becoming popular, and artists like Devis provided visual souvenirs and representations of the nation's scenic beauty.
His work can be seen as part of a broader movement that saw British artists increasingly turn to their own environment for inspiration, rather than relying solely on classical or Italianate models. While influenced by continental traditions, Devis and his contemporaries helped to forge a distinctly British school of landscape painting.
The distinction between his work and that of his half-brother Arthur Devis is important. Arthur's fame rests on his conversation pieces and portraits, which, while often set in landscapes, focus primarily on the human figures and their social interactions. Anthony, by contrast, was dedicated to landscape as his principal subject. While both brothers operated within the 18th-century art world, their specializations and perhaps their temperaments led them down different artistic paths.
Legacy and Conclusion
Anthony Devis died in 1817. His legacy is that of a skilled and diligent artist who contributed to the rich tradition of British landscape painting. His works are characterized by their careful observation, delicate execution, and pleasing compositions. While he may have been overshadowed by some of the more celebrated names of his era, his paintings and watercolours retain their appeal and provide a valuable record of the English landscape during a period of significant cultural and artistic development.
His art offers a quieter, more contemplative vision of nature compared to the dramatic or sublime landscapes that would come to dominate the Romantic era. Yet, in its own way, Devis's work celebrates the beauty and order of the cultivated English countryside, reflecting the pride and affection that Britons increasingly felt for their native land. As a chronicler of these scenes, Anthony Devis holds a secure, if modest, place in the annals of British art history. His paintings continue to be appreciated by collectors and art enthusiasts for their charm, historical interest, and skillful representation of a bygone era.
