Charles Bentley stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British art. Primarily celebrated for his evocative watercolour paintings, particularly those capturing the dynamic beauty of coastal and marine environments, Bentley carved a distinct niche for himself during a period often referred to as the Golden Age of British Watercolour. His life, though relatively short, was dedicated to his art, transitioning from the precise craft of engraving to the fluid expressiveness of watercolour, and leaving behind a body of work admired for its freshness, technical skill, and atmospheric sensitivity.
Early Life and Artistic Inclinations
Born in Tottenham Court Road, London, in 1806, Charles Bentley emerged from a background connected to craftsmanship, though not directly to fine art. His father was a carpenter and builder, a trade demanding precision and an understanding of form, which perhaps subtly influenced the young Bentley's developing eye. From an early age, Charles demonstrated a clear aptitude and passion for art, suggesting a natural calling that would soon lead him away from the family trade and towards a professional artistic career.
Recognizing his talent, Bentley was fortunate to secure an apprenticeship that would prove foundational to his artistic development. He became a pupil of Theodore Fielding, an accomplished engraver and watercolourist. Theodore was part of the renowned Fielding family of artists, which included the highly successful watercolourist Copley Fielding, as well as Thales, Newton, and Frederick Fielding. This apprenticeship provided Charles not only with rigorous training in the demanding techniques of engraving but also immersed him in an environment deeply connected to the burgeoning watercolour movement.
Parisian Experience and the Turn to Watercolour
The connection with the Fielding family extended beyond his initial apprenticeship. Following his training with Theodore, Bentley journeyed to Paris. This move was significant, exposing him to different artistic currents and environments. In the French capital, he is known to have worked with and assisted Newton Fielding, another of Theodore's brothers, who was also active as an artist there. This period likely broadened Bentley's horizons and further honed his skills, both in printmaking and potentially in painting.
While engraving provided Bentley with a technical foundation and an initial means of earning a living, his artistic inclinations increasingly drew him towards watercolour painting. The medium, with its potential for capturing light, atmosphere, and transient effects, seemed perfectly suited to his burgeoning interest in landscape and marine subjects. Though he continued to undertake engraving work throughout his career, often reproducing the works of others or his own designs for publication, watercolour became his primary mode of artistic expression.
Specialization in Marine and Coastal Scenes
Bentley developed a particular affinity for depicting the British coastline. His watercolours often feature scenes from the Channel Islands, particularly Jersey, the varied coasts of England and Ireland, and the picturesque shores of Normandy in France. He possessed a remarkable ability to capture the interplay of water, sky, and land, rendering the movement of waves, the changing quality of light on the sea, and the specific atmosphere of coastal locations with sensitivity and accuracy.
His works are characterized by their freshness and luminosity. He mastered the transparent watercolour technique favoured by many leading British artists of the time, using washes of colour layered to create depth and brilliance. His palette was often clear and bright, contributing to the lively and appealing quality of his scenes. Whether depicting calm harbours, bustling fishing ports, or dramatic shipwrecks, Bentley demonstrated a keen observational skill and a deep understanding of the maritime environment.
Book Illustrations and Engravings
Alongside his painting, Bentley maintained a practice in engraving and illustration, which provided a steady source of income. He contributed illustrations to popular publications of the day, including literary annuals like The Keepsake. These annuals were fashionable compilations of prose, poetry, and engraved illustrations, often featuring works by prominent artists. Bentley's involvement indicates his standing within the commercial art world and his skill in creating designs suitable for reproduction.
His background as an engraver also informed his approach to composition and detail in his watercolours. Furthermore, he sometimes created engravings or lithographs based on his own watercolour designs, allowing his work to reach a wider audience. This dual practice as both painter and printmaker was not uncommon among artists of the period, reflecting the interconnectedness of the fine art and publishing industries.
The Society of Painters in Water Colours
A significant milestone in Bentley's career was his association with London's prestigious art societies. According to some sources, he briefly became a member of the New Society of Painters in Water Colours (founded in 1832) before aligning himself with the more established Society of Painters in Water Colours (founded in 1804), often referred to as the "Old" Society (OWCS) and later granted Royal status.
He was elected an Associate of the Old Water-Colour Society in 1834. This election was a mark of recognition from his peers and provided him with a vital platform to exhibit his work annually alongside the leading watercolourists of the day. His contemporaries within the OWCS included luminaries such as David Cox, known for his vigorous landscapes; Peter De Wint, celebrated for his broad, atmospheric views of the English countryside; his former mentor's brother, the highly successful Copley Fielding, who served as the Society's President for many years; and Samuel Prout, famous for his picturesque depictions of European architecture.
Bentley became a regular and prolific exhibitor at the OWCS gallery on Pall Mall East. Between his election as Associate in 1834 and his death in 1854, he showed a considerable number of works, solidifying his reputation, particularly as a painter of marine subjects. His contributions were generally well-regarded, appreciated for their technical accomplishment and pleasing aesthetic.
Elevation to Full Membership
In 1843, Bentley achieved the status of a full Member of the Old Water-Colour Society. This elevation confirmed his standing within the upper echelons of the watercolour profession in Britain. Full membership granted further privileges and prestige, cementing his place within the artistic establishment. His consistent exhibition record and the quality of his work evidently earned him the respect necessary for this advancement.
His exhibition activity was not solely confined to the OWCS. He also exhibited works at other London venues, including the British Institution, where he first showed in 1843. However, the OWCS remained his primary showcase and professional home throughout the most productive part of his career.
Travels and Broadening Horizons
Bentley's subject matter, while focused on Britain and nearby Normandy, also reflected his travels further afield. His trips to the Channel Islands, Ireland, and the French coast provided rich material for his coastal scenes. There is evidence suggesting he may also have travelled to Venice and Holland, as views of these locations sometimes appear in his oeuvre, adding further variety to his landscape work.
A particularly notable venture involved subjects from South America. In 1841, Bentley published a set of prints titled Twelve Views in the Interior of Guiana. These were based on sketches made by John H. Bernau, a missionary. Bentley's role was likely to translate these field sketches into finished compositions suitable for lithography. This project demonstrates his versatility and his engagement with the contemporary interest in exploration and exotic landscapes, even if indirectly. The resulting lithographs showcase his skill in composition and rendering dramatic natural scenery.
Artistic Style and Technique
Bentley's style is firmly rooted in the traditions of the British watercolour school. He excelled in the use of transparent washes, allowing the white of the paper to shine through and create luminosity. His handling could be both detailed and broad, adapting his technique to the subject matter. In his marine paintings, he effectively conveyed the fluidity and energy of water, often using fluid brushwork combined with finer touches for details of boats and figures.
His compositions are generally well-structured, often employing established picturesque conventions but imbued with a sense of naturalism and direct observation. He had a good understanding of atmospheric perspective, creating convincing depth in his landscapes and seascapes. The influence of earlier masters like J.M.W. Turner, particularly in the handling of light and atmosphere, can sometimes be discerned, as can a connection to the fresh, vibrant style of Richard Parkes Bonington, whose work greatly impacted many artists of Bentley's generation, including potentially through the Fielding circle and his friend William Callow.
Relationship with William Callow
Charles Bentley enjoyed a close friendship and professional association with fellow watercolourist William Callow (1812-1908). Callow, slightly younger than Bentley, also specialized in marine and landscape subjects and spent considerable time working on the continent. The two artists undertook sketching tours together, most notably a trip to Normandy in 1841. Such tours were common practice, allowing artists to gather source material, exchange ideas, and enjoy camaraderie.
For a time, Bentley and Callow shared lodgings at 11 Bologna Terrace in London, indicating a strong personal and professional bond. Their shared interests in similar subject matter and techniques likely fostered mutual influence and support. Callow, who lived a much longer life, went on to achieve considerable fame, and his memoirs provide some insights into the artistic circles in which both he and Bentley moved.
Context within the Golden Age of Watercolour
Bentley worked during a period of extraordinary flourishing for watercolour painting in Britain. The late 18th and first half of the 19th centuries saw the medium elevated from primarily topographical record-keeping to a major form of artistic expression. Artists like Thomas Girtin and J.M.W. Turner had pioneered new techniques and ambitions for watercolour early in the century.
Bentley's generation built upon these foundations. The Old Water-Colour Society itself played a crucial role in promoting the medium and its practitioners. Alongside figures like Cox, De Wint, and Copley Fielding, the society included artists with diverse specializations: William Henry Hunt, renowned for his incredibly detailed still lifes and rustic figures; John Frederick Lewis, who gained fame for his intricate Orientalist scenes; George Cattermole, known for historical subjects; and Frederick Tayler, specializing in sporting and animal scenes. Bentley's contribution lay firmly within the landscape and marine tradition, holding his own among these distinguished contemporaries. Other major figures in watercolour during or overlapping his time included John Sell Cotman, known for his bold, simplified compositions.
Later Years and Untimely Death
Charles Bentley continued to paint and exhibit actively throughout the 1840s and early 1850s. He remained a respected member of the Old Water-Colour Society, contributing regularly to its exhibitions. His work maintained its characteristic quality, focusing on the coastal and marine subjects he knew so well.
Tragically, Bentley's life and career were cut short. He died relatively young, at the age of 48, during the severe cholera outbreak that struck London in 1854. His death occurred at his home, 11 Mornington Place, Hampstead Road. He left behind a wife and children, for whom his premature passing must have been a devastating blow. The loss was also felt in the art world, depriving the British watercolour school of one of its talented practitioners just as he might have been expected to produce mature work for many more years.
Legacy and Art Historical Position
In the annals of British art history, Charles Bentley is regarded as a highly competent and often inspired watercolourist, particularly admired for his marine paintings. While perhaps not possessing the revolutionary genius of a Turner or the profound poetic vision of a John Constable (who also worked in watercolour), Bentley mastered the techniques of his chosen medium and applied them with sensitivity and flair to subjects he clearly loved.
His work embodies many of the finest qualities of the British watercolour tradition: luminosity, atmospheric truth, and a direct, fresh response to nature. He is particularly noted for his skillful rendering of water and skies, capturing the specific conditions of weather and light along the British and French coasts. His association with the Old Water-Colour Society places him firmly within the mainstream of the movement.
Compared to some of his contemporaries like David Cox or Peter De Wint, or his friend William Callow who lived much longer, Bentley's name recognition today is perhaps less prominent. His relatively early death limited his lifetime output and the potential evolution of his style. Furthermore, art historical narratives often focus on the most innovative or famous figures.
However, his watercolours continue to be appreciated by collectors and connoisseurs of the period. They appear regularly on the art market and are held in various public collections, including the Victoria and Albert Museum and the British Museum in London. His work stands as a testament to the high level of skill and artistry prevalent among the members of the Old Water-Colour Society and contributes significantly to our understanding of 19th-century British marine painting. Charles Bentley remains an important figure for anyone studying the rich history of British watercolour, a master of capturing the light, air, and movement of the sea.
