Bernard Benedict Hemy stands as a significant, albeit sometimes overshadowed, figure in the rich tradition of British marine painting. Active during the late Victorian and Edwardian eras, he dedicated his artistic life primarily to capturing the maritime world of England's northeast coast. His watercolours, known for their detail and atmospheric truthfulness, provide a valuable visual record of the shipping, fishing, and coastal life centred around the River Tyne during a period of considerable industrial and social change.
Early Life and Artistic Beginnings
Bernard Benedict Hemy was born in 1855, reportedly in Australia, although his family's roots lay firmly in England. The Hemy family relocated to Newcastle upon Tyne in 1852, a bustling port city that would become the backdrop and inspiration for much of Bernard's artistic output. He grew up in an environment steeped in art; his older brothers, Charles Napier Hemy (1841-1917) and Thomas Marie Madawaska Hemy (1852-1937), were also destined to become notable marine artists.
While concrete documentation is scarce, it is highly probable that Bernard received formal art training, possibly alongside his brothers at the Newcastle Government School of Design (later known as the Newcastle School of Art). This institution played a crucial role in nurturing artistic talent in the region. Regardless of the specifics of his training, the environment of Newcastle, with its busy river traffic, shipyards, and proximity to the fishing communities of North and South Shields, provided an immersive, real-world education in maritime subjects.
The Hemy Artistic Dynasty
Bernard was part of a remarkable artistic family. His eldest brother, Charles Napier Hemy, achieved considerable fame, becoming a Royal Academician (RA) and one of the most celebrated marine painters of his generation. Charles's work often featured dramatic seascapes and meticulously rendered vessels, gaining widespread recognition. Thomas Hemy also pursued marine themes, often with a focus on historical or narrative subjects related to the sea.
Bernard Benedict Hemy operated within this familial context, sharing the common interest in marine subjects. However, his career path and perhaps his temperament led him to focus more consistently on the everyday realities of the local coastline. While Charles Napier Hemy achieved national renown, Bernard remained more closely associated with the North East, developing a distinct niche capturing the specific character and atmosphere of the Tyne estuary and its environs. He settled in North Shields, living and working there for much of his adult life until his death in 1913.
Subject Matter: The Lifeblood of the Tyne
Hemy's primary subject was the maritime life he observed daily. His work forms a fascinating chronicle of the River Tyne and the adjacent coastline from roughly 1875 until his death. He was drawn to the bustling activity of the port: the movement of steamships, tugboats, keelboats, and smaller fishing vessels like the distinctive local cobles. He painted the harbours of North and South Shields, capturing the docks, piers (such as the Groyne at South Shields), and the interplay of boats against the backdrop of the coastal towns.
His focus was often on the working life of the sea. Fishermen mending nets, boats setting out at dawn or returning with their catch, vessels navigating the river currents – these were the scenes that Hemy rendered with quiet authenticity. He wasn't typically drawn to the high drama of shipwrecks or naval battles favoured by some marine artists, but rather to the consistent, enduring rhythms of coastal existence. His paintings offer a glimpse into the world of the Tyneside maritime community in the late 19th and early 20th centuries.
Artistic Style and Technique
Bernard Benedict Hemy worked predominantly in watercolour, a medium well-suited to capturing the fleeting effects of light, water, and atmosphere. His style is best described as realistic, characterized by careful observation and a high degree of detail. He paid close attention to the accurate rendering of different types of vessels, their rigging, and the specific conditions of the sea and sky. This commitment to accuracy aligns with the broader Victorian taste for realism and detailed representation, seen also in the work of artists like John Brett, who applied Pre-Raphaelite principles of "truth to nature" to coastal scenes.
While detail was important, Hemy's watercolours are not merely topographical records. He possessed a sensitivity to atmosphere, effectively conveying the hazy light of dawn over the river, the dampness of a misty day, or the choppy texture of the North Sea. His palette often reflects the sometimes-muted tones of the northern English coast, but he could also capture the brilliance of sunlight on water. Although primarily a watercolourist, he did occasionally work in oils, as evidenced by a known pair of paintings depicting the Newcastle lifeboat "Rowboat No.12". His technique generally involved precise drawing overlaid with controlled washes of colour, building up form and texture.
Representative Works
Several works exemplify Bernard Benedict Hemy's typical subjects and style. *Low Light North Shields* captures the atmosphere of the harbour entrance, likely depicting the distinctive lighthouses guiding ships into the Tyne. Such scenes allowed him to explore the interplay of natural and man-made structures against the backdrop of the sea and sky.
*A Fishing Village on the East Coast* (exhibited 1875) points to his interest in the broader coastal life beyond the main river traffic. These works often depicted fishermen, their cottages, and boats drawn up on the beach, reflecting a way of life intrinsically linked to the sea.
His painting *South Shields with The Groyne in the Distance* showcases a specific local landmark, demonstrating his focus on the particular geography of his chosen region. Similarly, *Highland Coastal View with Pebbled Beach and Boats*, although depicting a different location (possibly from travels), shows his consistent interest in coastal scenery and maritime elements.
The pair of oil paintings featuring "Rowboat No.12" highlights his ability to work in another medium and his interest in specific, notable vessels associated with the Tyne's maritime safety and community. Works like *Dawn Break* further emphasize his skill in capturing specific times of day and their associated atmospheric effects on the water.
Exhibitions and Recognition
Bernard Benedict Hemy achieved a degree of recognition during his lifetime, exhibiting his work beyond his local region. Notably, he showed paintings at the prestigious Suffolk Street Gallery in London, home to the Royal Society of British Artists, in 1875 and 1877. He also participated in other exhibitions within the UK, bringing his depictions of the Northumbrian coast to a wider audience.
While he may not have reached the same level of fame or critical acclaim as his brother Charles Napier Hemy, Bernard's work was respected for its skill and authenticity. His paintings found a market among those who appreciated marine subjects and accurate depictions of familiar locales. The continued appearance of his works at auction houses like Tennants and Anderson & Garland, often fetching respectable prices, demonstrates an enduring interest in his art. His paintings are valued both as aesthetically pleasing marine watercolours and as historical documents of a specific place and time.
Context within British Marine Painting
Hemy worked within a strong and evolving tradition of British marine art. He followed in the wake of giants like J.M.W. Turner, who had revolutionized the depiction of the sea with dramatic light and atmosphere, and Clarkson Stanfield, known for his accurate and often theatrical maritime scenes. Hemy's generation saw a continued fascination with the sea, fuelled by Britain's maritime power, trade, and the romanticism associated with coastal life.
His contemporaries included not only his brothers but also prominent figures like William Lionel Wyllie, renowned for his depictions of the Thames and naval subjects, often with a more impressionistic touch. John Brett brought a Pre-Raphaelite intensity to coastal landscapes, while Henry Moore (the marine painter, 1831-1895, not the later sculptor) was known for his powerful open-sea studies. Other notable marine artists of the period included Arthur Briscoe, famous for his etchings and paintings of sailing ships, and later, Norman Wilkinson, who excelled in maritime posters and wartime camouflage (dazzle painting) as well as fine art.
Compared to some of these contemporaries, Hemy's focus was perhaps more localized and his style more consistently grounded in detailed realism. He shared with artists like Myles Birket Foster (though Foster focused on rural idylls) a Victorian appreciation for meticulous rendering, particularly in watercolour. Hemy's contribution lies in his dedicated portrayal of the working maritime world of the North East, a specific niche within the broader genre. He captured the transition from sail to steam and documented the everyday appearance of a coastline undergoing industrialization, providing a counterpoint to the more overtly romantic or dramatic marine paintings of some peers like E.W. Cooke or Samuel Prout from slightly earlier generations.
Later Life and Legacy
Bernard Benedict Hemy continued to paint the scenes he knew and loved around the Tyne estuary throughout his later years. He remained based in North Shields, immersed in the environment that provided his constant inspiration. He passed away in 1913, leaving behind a substantial body of work dedicated to the Northumbrian coast.
His legacy is that of a skilled and diligent chronicler. While perhaps lacking the innovative flair or national profile of his brother Charles, Bernard Benedict Hemy produced work of consistent quality and considerable charm. His paintings offer an invaluable window into the maritime heritage of North East England during a key period. They are appreciated for their technical accomplishment in watercolour, their atmospheric fidelity, and their detailed documentation of the ships, harbours, and coastal activities that defined the region. He remains an important figure for collectors of marine art and for those interested in the social and visual history of Tyneside.
Conclusion
Bernard Benedict Hemy carved out a distinct identity within the Hemy artistic family and the wider world of British marine painting. His lifelong dedication to depicting the coastal and riverine life of North East England resulted in a body of work characterized by realism, detail, and a deep understanding of his subject matter. Through his predominantly watercolour paintings, he captured the everyday workings of the Tyne estuary – the ships, the fishermen, the harbours – preserving a visual record of a specific maritime world. Though perhaps less celebrated than some of his contemporaries, Hemy's art endures, valued for its quiet authenticity, atmospheric sensitivity, and its role as a faithful chronicle of the Northumbrian coast.
