The tapestry of British art in the 19th century is rich and varied, woven with the threads of innovation, tradition, and a profound connection to the natural world. Within this vibrant milieu, the art of watercolour painting held a particularly cherished position, evolving from a preparatory medium to a highly respected art form in its own right. Bernard Walter Evans (1843/1848 – 1922) was a distinguished practitioner in this field, a landscape artist whose canvases captured the subtle beauties and atmospheric nuances of the British countryside and beyond. Though perhaps not as universally recognized today as some of his towering contemporaries, Evans carved out a significant career, contributing a body of work that reflects both the prevailing artistic currents of his time and a unique personal vision.
Early Life and Artistic Genesis
Bernard Walter Evans was born in Wolverhampton, Staffordshire, into a family with artistic inclinations. Sources vary slightly on his birth year, citing either 1843 or 1848. His father, Walter Swift Evans, was an engraver, and his grandfather, also named Walter Evans, was an engraver and publisher. This familial background undoubtedly provided an early exposure to the visual arts and the technical skills associated with them. His brothers, Edmund William Evans and Wilfred Godric Evans, also became artists, indicating a shared creative environment within the family.
Growing up during the Victorian era, Evans would have witnessed a Britain undergoing immense industrial and social change. Yet, concurrently, there was a powerful Romantic sensibility that idealized nature and the pastoral landscape as a counterpoint to the burgeoning urban centers. This cultural duality likely shaped his artistic path, leading him towards landscape painting, a genre that offered both escape and a means of celebrating the enduring beauty of the natural world. He is believed to have initially studied art in Birmingham, a major industrial city but also a center with a growing artistic community.
The Golden Age of British Watercolour
To understand Bernard Walter Evans's career, it is essential to appreciate the esteemed status of watercolour painting in 19th-century Britain. The medium had been elevated by earlier masters such as J.M.W. Turner, Thomas Girtin, and John Sell Cotman. Their pioneering work demonstrated the versatility and expressive power of watercolours, capable of capturing everything from grand, atmospheric vistas to intimate, detailed studies of nature.
By the mid-Victorian period, watercolour societies like the Royal Society of Painters in Water Colours (founded in 1804, later the Royal Watercolour Society) and the New Society of Painters in Water Colours (founded in 1831, later the Royal Institute of Painters in Water Colours, or RI) were flourishing. These institutions provided crucial platforms for artists to exhibit and sell their work, fostering a vibrant community of watercolourists. Artists like David Cox and Peter De Wint had further popularized landscape watercolours, known for their fresh, direct approach to capturing the British countryside. Evans would emerge into this well-established and highly competitive field.
Artistic Development and Signature Style
Bernard Walter Evans primarily dedicated himself to landscape painting. His subjects were often drawn from the diverse scenery of England, Scotland, and Wales, though he also traveled and painted in France, particularly in areas like Normandy and Brittany, and even further afield. His works are characterized by a keen observation of nature, a delicate handling of colour, and a masterful ability to convey atmosphere and light.
Evans's style, while rooted in the British landscape tradition, shows an appreciation for capturing the specific mood and character of a place. He was adept at rendering the play of sunlight and shadow, the textures of foliage and rock, and the expansive qualities of skies and water. His compositions are typically well-balanced, inviting the viewer into serene and often picturesque scenes. While not an avant-garde innovator in the vein of the Impressionists who were his contemporaries across the Channel, Evans excelled within the established conventions of representational landscape art, focusing on craftsmanship and a faithful yet poetic interpretation of nature.
He often worked en plein air, at least in the sketching phase, to capture the immediate impressions of a scene, a practice common among landscape painters of his era. This direct engagement with the subject matter lent an authenticity and freshness to his watercolours.
Exhibitions and Professional Affiliations
A significant measure of an artist's success during the Victorian era was their participation in major exhibitions. Bernard Walter Evans was a prolific exhibitor throughout his career. He regularly showed his work at prestigious London venues, most notably the Royal Academy of Arts, a bastion of the British art establishment. His inclusion in Royal Academy exhibitions signaled a level of professional recognition and quality.
Evans also became closely associated with the Royal Institute of Painters in Water Colours (RI), to which he was elected a member in 1888. This was a significant achievement, placing him among the leading watercolourists of his day. He also exhibited with the Royal Society of British Artists (RBA) and at other important galleries in London and provincial cities. His work was not confined to Britain; he also exhibited internationally, including in Paris and at the St. Louis International Exposition, indicating a broader ambition and reach.
The mention of one of his works as a "Langham Club Sketch" points to his involvement with the Langham Sketching Club. Founded in 1838, the Langham was a convivial and influential society where artists gathered to sketch from life or from a set theme, fostering camaraderie and artistic development. Members included prominent figures like John Tenniel, George Cruikshank, and Fred Walker. Evans's participation suggests an active engagement with the London art community.
Notable Works and Thematic Concerns
While a comprehensive catalogue raisonné of Bernard Walter Evans's work is not readily available, several paintings provide insight into his artistic preoccupations. One such example is Hexham from Fellside, Northumberland. This title suggests a panoramic view, likely capturing the historic town of Hexham nestled within the rugged landscape of Northumberland. Such a work would have allowed Evans to showcase his skill in depicting expansive vistas, architectural details within a natural setting, and the specific atmospheric conditions of the North of England. The sale of this piece at auction for a respectable sum indicates its perceived quality and appeal.
Another work, described as An open moorland, signed and inscribed "Langham Club Sketch", points to his interest in the wilder, more untamed aspects of the British landscape. Moorlands, with their vast, undulating terrains and dramatic skies, were a popular subject for Victorian landscape painters, offering opportunities for expressive brushwork and atmospheric effects. The inscription confirms his connection to the Langham Sketching Club and suggests this piece might have been executed or conceived during one of its sessions.
His French subjects, often depicting pastoral scenes or coastal views in Normandy and Brittany, would have resonated with British audiences who were increasingly traveling to the continent. These works allowed him to explore different qualities of light and landscape character, broadening his repertoire. Common themes in his oeuvre include tranquil river scenes, wooded valleys, coastal vistas, and views of picturesque villages and ancient ruins, all rendered with his characteristic sensitivity.
The Context of Victorian Landscape Painting
Bernard Walter Evans worked during a period of immense activity and diversity in British landscape painting. The legacy of John Constable, with his emphasis on the naturalistic depiction of the English countryside, was still potent. The Pre-Raphaelite Brotherhood, though primarily known for figure painting, also influenced landscape art through their meticulous attention to detail and "truth to nature" philosophy, as seen in the landscape backgrounds of paintings by John Everett Millais or the dedicated landscape work of William Holman Hunt (in his later phases) and associates like John Brett.
Other notable contemporaries in watercolour landscape included Myles Birket Foster, whose charming and highly detailed depictions of rural life were immensely popular. Helen Allingham gained fame for her idyllic cottage scenes, while artists like Albert Goodwin and Alfred William Hunt (not to be confused with the Pre-Raphaelite) produced more atmospheric and often dramatic landscapes, sometimes influenced by Turner. Thomas Collier was another master of the broad, evocative watercolour landscape, and Sutton Palmer became known for his beautifully rendered, often sun-dappled, views of Surrey and Scotland. Earlier figures like Samuel Palmer (though his main period was earlier, his influence lingered) had also imbued landscape with a mystical, visionary quality.
While Evans's style was perhaps less overtly romantic or minutely detailed than some of these artists, he shared their deep affection for the British landscape and their commitment to watercolour as a serious medium for its expression. He navigated a path that balanced traditional picturesque qualities with a faithful observation of natural effects.
Later Career and Legacy
Bernard Walter Evans continued to paint and exhibit into the early 20th century, maintaining his dedication to watercolour landscape even as newer artistic movements like Post-Impressionism and early Modernism began to take hold. He passed away in London on February 26, 1922, and was buried in a family grave in Kensal Green Cemetery.
His legacy is that of a highly skilled and respected watercolourist who contributed significantly to the rich tradition of British landscape painting during the Victorian and Edwardian eras. While he may not have radically altered the course of art history, his work exemplifies the high standards of craftsmanship and aesthetic sensibility that characterized the best of this period. His paintings offer a window into the landscapes and artistic values of his time, rendered with a quiet mastery and an enduring appeal.
Collectors and enthusiasts of British watercolours continue to appreciate Evans's work for its technical proficiency, its gentle beauty, and its evocative portrayal of place. His paintings can be found in private collections and occasionally appear at auction, serving as a reminder of his contribution to an art form that has long held a special place in the British cultural imagination. Artists like Edward Lear, known for his travel watercolours as well as his nonsense verse, also contributed to the diverse landscape of 19th-century British art, highlighting the varied approaches to depicting the world.
The Enduring Charm of Watercolour Landscapes
The enduring appeal of watercolour landscapes, such as those created by Bernard Walter Evans and his contemporaries, lies in their ability to transport the viewer. They evoke a sense of peace, a connection to nature, and often a nostalgia for a seemingly simpler past. The medium itself, with its translucency and fluidity, is perfectly suited to capturing the fleeting effects of light and atmosphere that are so integral to the experience of landscape.
Evans's dedication to his craft, his consistent output, and his participation in the leading artistic institutions of his day solidify his place as a noteworthy figure in the story of British watercolour. His paintings are more than just topographical records; they are personal interpretations of the natural world, imbued with the artistic spirit of the Victorian age. They reflect a deep-seated appreciation for the beauty of the countryside, a sentiment that continues to resonate with audiences today. His work, alongside that of artists like George Vicat Cole, who also specialized in lush English landscapes, contributes to our understanding of how Victorians viewed and valued their natural heritage. The subtle artistry of Bernard Walter Evans ensures his quiet but persistent presence in the annals of British art.