Arthur John Strutt stands as a fascinating figure in the landscape of 19th-century art, a British artist who carved his niche not in the bustling art scene of London, but under the sun-drenched skies of Italy. A painter, engraver, writer, and archaeologist, Strutt’s life and work offer a rich tapestry woven with threads of artistic exploration, adventurous travel, and a deep appreciation for the natural and historical beauty of his adopted homeland. His legacy is primarily tied to his evocative depictions of the Roman Campagna and Southern Italy, capturing a world that was rapidly changing, yet still deeply connected to its ancient past.
Early Life and Artistic Foundations
Born in Chelmsford, Essex, England, in 1819 (some sources suggest 1818, but 1819 is more commonly cited), Arthur John Strutt was immersed in art from his earliest years. He was the son of Jacob George Strutt (1784–1867), a respected landscape painter and etcher known for his detailed studies of trees and forest scenery, particularly in works like "Sylva Britannica" (1822) and "Deliciae Sylvarum" (1828). This paternal influence was undoubtedly profound, shaping Arthur's early artistic inclinations and providing him with his initial training. The elder Strutt's meticulous attention to botanical detail and his romantic sensibility towards nature would echo in his son's later work.
The Strutt family's artistic pursuits led them to travel. Around 1831, Arthur accompanied his father to the continent, a journey that would prove transformative. They travelled through France and Switzerland before eventually making their way to Italy. For a young, aspiring artist, Italy, and particularly Rome, was the ultimate destination. It was the cradle of classical antiquity, the heart of the Renaissance, and a landscape that had inspired artists for centuries, from Claude Lorrain and Nicolas Poussin in the 17th century to more recent British luminaries like Richard Wilson and J.M.W. Turner.
By the late 1830s, Arthur John Strutt had established himself in Rome, a city that would become his permanent home and the primary wellspring of his artistic inspiration. He fully embraced the life of an expatriate artist, joining a diverse community of international painters, sculptors, and writers drawn to the city's unique atmosphere and artistic heritage.
An Englishman in Rome: Artistic Development and Themes
Rome in the mid-19th century was a vibrant, if somewhat anachronistic, hub. While political and social changes were stirring across Europe, Rome, under Papal rule, still retained much of its old-world charm and picturesque decay. This environment provided endless subject matter for Strutt. He became particularly renowned for his depictions of the Roman Campagna, the vast, undulating plains surrounding the city, dotted with ancient ruins, rustic farmhouses, and herds of long-horned cattle.
Strutt’s paintings of this era often feature peasants in traditional costume, shepherds with their flocks, and travellers on ancient roads, all set against the backdrop of the distinctive Italian landscape. He sought to capture what he termed the "poetic and scenic" qualities of Rome and its environs. His approach was characterized by a keen eye for detail, a strong sense of composition, and a vibrant palette that conveyed the clarity and warmth of the Mediterranean light. This was a departure from some of the more sombre tones often found in British landscape painting of the period, aligning him more with the bright, clear light favoured by many continental artists working in Italy, such as the Danish Golden Age painter Christoffer Wilhelm Eckersberg or German artists like Joseph Anton Koch, who had earlier established a tradition of heroic Roman landscapes.
His work also included genre scenes, depicting the daily life and customs of the local people. These were not merely picturesque observations but often imbued with a sense of empathy and an interest in the human element within the landscape. He was, in essence, a visual chronicler of a way of life that was beginning to fade even in his own time.
Artistic Style and Techniques
Arthur John Strutt was a versatile artist, proficient in several mediums. While he is perhaps best known for his oil paintings, he was also an accomplished watercolourist and a skilled engraver. His training under his father, Jacob George Strutt, who was himself a notable etcher, likely provided a strong foundation in printmaking techniques.
His oil paintings are characterized by their clarity of light and colour. He had a particular ability to render the textures of ancient stone, the foliage of Mediterranean trees like stone pines and cypresses, and the distinctive atmosphere of the Italian countryside. His compositions are generally well-balanced, often leading the eye through a series of planes from a detailed foreground to a more atmospheric distance, a technique honed by landscape painters since the time of Claude Lorrain.
In his engravings and drawings, particularly his studies of trees, Strutt displayed a meticulousness that bordered on the scientific, yet always retained an artistic sensibility. These works show an affinity with the detailed naturalism of artists like John Sell Cotman or the earlier botanical illustrators, but Strutt’s primary aim was always the picturesque and the evocative. His line work in his engravings was precise and expressive, capable of conveying both the ruggedness of bark and the delicacy of leaves.
His style, while rooted in the British landscape tradition, absorbed Italianate influences. The bright, often warm, colour palette and the emphasis on clear, defined forms show a kinship with some contemporary Italian painters, though he largely remained distinct from specific Italian schools like the Macchiaioli, who were experimenting with a more radical approach to light and form (e.g., Giovanni Fattori, Telemaco Signorini). Strutt's work was more aligned with the international community of landscape and genre painters active in Rome, who catered to a market of Grand Tourists and foreign residents.
Key Themes and Subjects
The Roman Campagna was arguably Strutt's most beloved and frequently depicted subject. He captured its sweeping vistas, its ancient aqueducts snaking across the plains, its rustic charm, and the unique quality of its light at different times of day. Works like "La Via’Appia - campagna romana" (The Appian Way - Roman Campagna) and "Viandanti sull'Appia Antica" (Wayfarers on the Appian Way) exemplify this focus, blending historical resonance with contemporary rural life. The Appian Way, with its ancient paving stones and roadside tombs, was a particularly potent symbol of Rome's enduring past.
His fascination with trees, inherited from his father, continued throughout his career. He produced numerous studies and finished works focusing on the characteristic trees of the Italian landscape – the umbrella-like stone pines, the dark, columnar cypresses, and the gnarled olive trees. These were not just botanical specimens but integral elements of the landscape's character, often imbued with a sense of age and endurance.
Beyond the immediate vicinity of Rome, Strutt also explored other parts of Italy. His travels, particularly in Southern Italy, provided fresh inspiration and subject matter, leading to works that depicted the landscapes and people of regions less frequented by foreign artists at the time.
Notable Works: A Closer Look
Several works stand out in Arthur John Strutt's oeuvre, showcasing his skill and thematic concerns.
"An Italian Vettura" (also referred to as "A Roman Vettura"), painted in 1839 and now in the collection of Tate Britain, is an early but significant work. A "vettura" is a type of horse-drawn carriage, and the painting likely depicts a scene of travel, a common experience for both locals and the increasing number of tourists in Italy. Such a subject allowed Strutt to combine landscape, figures, and a narrative element, typical of the genre scenes popular at the time. The attention to the details of the carriage, the horses, and the attire of the figures would have appealed to contemporary audiences.
"The Bay of Pozzuoli" is another important painting. Pozzuoli, near Naples, is rich in Roman ruins and boasts a stunning coastal setting. Strutt's depiction would have combined these elements, showcasing the interplay of history and nature. The Roman ruins, perhaps including the famous Serapeum or amphitheatre, would be set against the backdrop of the bay, with the characteristic Mediterranean vegetation in the foreground. The painting would likely be suffused with the warm light and vibrant colours typical of Southern Italy, reflecting the influence of the Neapolitan school of landscape painting, which included artists like Anton Sminck Pitloo and later the Posillipo School.
His depictions of the Appian Way, such as "Viandanti sull'Appia Antica," are quintessential Strutt. These works often show travellers, peasants, or herdsmen moving along the ancient road, flanked by umbrella pines and crumbling tombs, under a vast Italian sky. They evoke a sense of timelessness, where the present moment is deeply intertwined with millennia of history.
While specific details of every painting are not always readily available without direct visual analysis, the titles and general descriptions point to a consistent engagement with the Italian scene, rendered with a blend of topographical accuracy and romantic sensibility. His works were popular with the expatriate community and tourists, who sought mementos of their Italian sojourn.
Archaeological Pursuits and Scholarly Interests
Arthur John Strutt was not solely an artist; he possessed a keen intellect and a scholarly interest in the history and archaeology of his adopted country. This was not uncommon among educated individuals in the 19th century, when archaeology was developing as a more formal discipline, and the classical past held immense fascination. His long residence in Italy and his travels through regions rich in ancient remains provided ample opportunity to indulge this passion.
His archaeological work gained formal recognition in 1881 when he was appointed Honorary Inspector of Antiquities (or honorary archaeologist) for the district of Lanuvium (modern Lanuvio), an ancient Latin town in the Alban Hills southeast of Rome. In this capacity, he was involved in the study and preservation of local antiquities, with a particular focus on the interpretation and translation of Latin inscriptions. This role underscores his deep integration into Italian cultural life and his respected standing as a knowledgeable individual in matters of antiquity.
His archaeological interests undoubtedly informed his art. His paintings of Roman ruins were not just picturesque backdrops but were rendered with an understanding of their historical significance. This added a layer of intellectual depth to his work that would have been appreciated by his more educated patrons.
Travels in Southern Italy and "A Pedestrian Tour"
One of the most adventurous and notable episodes in Strutt's life was his extensive walking tour through Southern Italy in the company of the poet William Jackson (1815-1866). In 1838, the two men embarked on a journey on foot from Calabria, through the rugged landscapes of Southern Italy, and across to Sicily. This was a challenging undertaking at the time, as these regions were considered remote, somewhat lawless, and lacked the developed infrastructure for tourism found further north.
Their journey was a rich source of observation and experience. They documented the natural scenery, the ancient ruins, and, importantly, the lives, customs, and traditions of the local people. This expedition resulted in a collaborative publication, "A Pedestrian Tour in Calabria and Sicily," which appeared in 1842. Strutt provided the illustrations for the book, which would have been based on sketches made during their travels. These illustrations, likely engravings, would have brought the landscapes and people of these less-explored regions to a wider British audience.
This journey and the subsequent publication highlight Strutt's adventurous spirit and his ethnographic curiosity. He was not content to remain solely within the established artistic circuits of Rome but sought out new experiences and subjects. This pioneering spirit distinguishes him from many of his contemporaries. His depictions of Calabrian peasants or Sicilian landscapes would have offered a fresh perspective, different from the more familiar views of Rome, Florence, or Venice. This interest in remote and "unspoiled" regions was a characteristic of certain strands of Romanticism, seen also in the work of artists like Edward Lear, who also travelled extensively in Southern Italy and the Balkans, documenting his journeys in word and image.
Contemporaries, Collaborations, and Artistic Milieu
Arthur John Strutt operated within a vibrant international art scene in Rome. While he was British by birth and training, his long residence in Italy meant he was part of a cosmopolitan community. He would have known, or at least been aware of, many other foreign artists working in the city. These included fellow Britons like Penry Williams, known for his Italian genre scenes, and Thomas Uwins. The presence of artists from other nations, such as the German Nazarenes (e.g., Johann Friedrich Overbeck, Peter von Cornelius) earlier in the century, had also left a mark on the artistic atmosphere of Rome, emphasizing religious and historical themes with a certain formal clarity.
His most significant documented collaboration was with William Jackson on their Calabrian tour and book. This partnership between writer and artist was a common model for travel literature in the 19th century, allowing for a richer and more engaging account of foreign lands.
While the provided information doesn't detail specific rivalries, the art world, then as now, was competitive. Artists vied for patronage, exhibition opportunities, and critical acclaim. Strutt seems to have found a sustainable career, though perhaps not reaching the dizzying heights of fame achieved by some of his London-based contemporaries like Edwin Landseer or members of the Pre-Raphaelite Brotherhood such as Dante Gabriel Rossetti or John Everett Millais, whose styles and subjects were vastly different.
It's noted that Strutt did not exhibit at the Royal Academy in London, which was the premier venue for British artists to gain recognition and sales. Instead, he supplemented his income through teaching, a common practice for artists, especially those living abroad. His patrons were likely a mix of British and other foreign tourists and residents in Rome, as well as perhaps some Italian connoisseurs. His style, which combined topographical accuracy with picturesque charm, was well-suited to this market. He was also active in the British Academy of Arts in Rome, serving as its president for a period, indicating his respected position within the expatriate artistic community.
Legacy and Art Historical Standing
Arthur John Strutt died in Rome in 1888, having spent the majority of his adult life in Italy. He left behind a body of work that provides a valuable visual record of Italy, particularly Rome and its environs, in the mid-19th century. His paintings and engravings capture a world on the cusp of modernization, preserving images of landscapes, ruins, and ways of life that have since been profoundly altered.
In art historical terms, Strutt is considered a competent and appealing landscape and genre painter of the Victorian era. While not an innovator in the mould of Turner or John Constable, who had revolutionized British landscape painting earlier in the century, Strutt worked skillfully within established traditions, adapting them to his Italian subjects. His strength lay in his ability to combine detailed observation with a romantic sensibility, creating images that were both informative and evocative.
His work is represented in various collections, including Tate Britain, and his paintings occasionally appear at auction, where they are appreciated for their charm and historical interest. His contribution as an illustrator, particularly for "A Pedestrian Tour in Calabria and Sicily," also deserves recognition for bringing images of less-familiar parts of Italy to a wider audience.
The fact that he also pursued archaeology and was recognized for his contributions in that field adds another dimension to his profile. He was an artist-scholar, a figure more common in earlier centuries but still present in the 19th. This intellectual curiosity enriched his artistic practice, lending an air of authenticity and understanding to his depictions of historical sites.
Compared to his father, Jacob George Strutt, Arthur John developed a more international profile due to his lifelong residence in Italy. While his father's "Sylva Britannica" remains a significant work in the British context, Arthur John's legacy is more closely tied to the tradition of foreign artists in Italy, a lineage that stretches back for centuries and includes figures like the aforementioned Claude Lorrain and Nicolas Poussin, and later, artists like Jean-Baptiste-Camille Corot, who also spent formative years painting the Italian landscape.
Conclusion: A Multifaceted Victorian Abroad
Arthur John Strutt was more than just a painter of picturesque Italian scenes. He was an artist deeply engaged with his adopted country, exploring its landscapes, its people, and its rich historical layers with dedication and skill. As a travel painter, he captured the enduring allure of Italy for the Victorian imagination. As an engraver, he disseminated these images and contributed to the visual culture of his time. As a writer and collaborator, he documented regions then considered off the beaten path. And as an archaeologist, he demonstrated a scholarly commitment to understanding Italy's profound past.
His life and work offer a window into the world of 19th-century expatriate artists, the enduring appeal of Italy, and the multifaceted talents that often characterized individuals of that era. While he may not be a household name in the grand pantheon of art history, Arthur John Strutt remains a significant figure for his charming and historically valuable depictions of Italy, a testament to a life spent observing and celebrating its beauty and heritage. His art continues to resonate with those who appreciate finely rendered landscapes imbued with a sense of history and place.
