David Hall McKewan (1816–1873) stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British art. A prolific and skilled watercolourist, he captured the landscapes and architectural heritage of Britain with a deft hand and a keen eye for detail. His career spanned a period of immense change and development in the art world, particularly in the medium of watercolour, to which he made substantial contributions both as a practitioner and an educator. McKewan's legacy is one of dedication to his craft, a subtle mastery of his chosen medium, and a valuable visual record of Victorian Britain.
Early Life and Nascent Talent
Born in London on February 16, 1816, David Hall McKewan was the son of David McKewan, a merchant operating in the London Docks, and his wife, Matilda. From an early age, the young McKewan displayed a natural aptitude and burgeoning interest in drawing and painting. This innate talent was nurtured, and he received formal art lessons during his schooling, notably at a school in Deal, Kent. This early encouragement set the stage for a lifelong devotion to the arts, with watercolour quickly becoming his preferred medium. His formative years were spent observing the world around him, a practice that would later inform the detailed naturalism of his mature work. The London of his youth, a bustling metropolis undergoing rapid expansion, and the contrasting tranquility of the Kentish coast, likely provided a diverse range of visual stimuli for the aspiring artist.
Artistic Apprenticeship and Influences
A pivotal moment in McKewan's artistic development was his tutelage under David Cox the Elder (1783–1859). Cox was a towering figure in British landscape painting, a leading member of the Birmingham School of artists, and renowned for his vigorous, atmospheric watercolours that broke away from the tighter, more topographical style of earlier practitioners. Studying with Cox would have exposed McKewan to a more expressive and direct approach to capturing nature. Cox emphasized plein air sketching and the importance of conveying mood and light, principles that McKewan would absorb and adapt into his own distinct style. The influence of Cox can be seen in McKewan's handling of foliage and his ability to render the transient effects of weather, though McKewan often brought a finer degree of finish to his works than his mentor. This period of study was crucial in honing his technical skills and shaping his artistic vision.
Gaining Recognition: Exhibitions and Memberships
McKewan began to establish his professional reputation in the 1830s. His public debut came in 1836 when he first exhibited his work at the prestigious Royal Academy of Arts in London. This was a significant milestone for any young artist, signaling their entry into the competitive London art scene. He continued to exhibit at the Royal Academy and other notable venues, including the British Institution and the Suffolk Street Gallery.
A defining aspect of his career was his long and fruitful association with the New Society of Painters in Water Colours. Founded in 1831 as an alternative to the more established Society of Painters in Water Colours (the "Old Society," later the Royal Watercolour Society), the New Society provided a vital platform for a growing number of watercolour artists. McKewan was elected an Associate of the New Society in 1848 and became a full Member in 1850. The society was granted a Royal Charter in 1863, becoming the Royal Institute of Painters in Water Colours (RI), an institution with which McKewan remained deeply involved for the rest of his life. His regular contributions to their exhibitions helped solidify his standing as a leading watercolourist of his generation.
Artistic Style and Technical Prowess
David Hall McKewan was celebrated for his technical proficiency in watercolour. Contemporaries noted his ability to work with considerable speed, yet achieve a high level of detail and finish. He often employed a somewhat limited, harmonious palette, skillfully using tonal variations to create depth and atmosphere. His brushwork was precise, allowing him to render intricate details in architecture, foliage, and geological formations with clarity.
His approach to watercolour was characteristic of many Victorian practitioners who sought to elevate the medium to rival oil painting in its capacity for complex compositions and rich effects. While he learned from the broader, more atmospheric techniques of artists like David Cox, McKewan's own style often leaned towards a more meticulous rendering, particularly in his architectural subjects. He had a fine understanding of light and shadow, using it effectively to model forms and create a sense of space and solidity, whether depicting the sun-dappled glades of a forest or the dimly lit recesses of an ancient hall. His work demonstrates a balance between topographical accuracy and artistic interpretation, a hallmark of much Victorian landscape and architectural painting.
Capturing the British Landscape
In the earlier part of his career, McKewan was particularly drawn to landscape subjects. He traveled throughout the British Isles, sketching and painting the varied scenery of England, Wales, Scotland, and the Isle of Wight. His landscapes often focused on woodland scenes, coastal views, and rugged, rocky terrains. Works such as Coast Scene, IoT (1838) and Coast near Shanklin (1840) exemplify his early interest in maritime subjects and his ability to capture the specific character of a location.
He was adept at depicting the textures of nature – the rough bark of trees, the stratification of rocks, the gentle lapping of water. His skill in rendering trees was particularly noteworthy, leading to his later publication on the subject. These landscapes were not merely picturesque views; they often conveyed a sense of the sublime or the enduring power of nature, themes popular in Romantic and Victorian art. His contemporaries in landscape painting included artists like J.M.W. Turner, whose dramatic and atmospheric works set a high bar, and John Constable, whose dedication to the naturalism of the English countryside resonated with many. McKewan carved his own niche within this tradition, focusing on a more intimate and detailed portrayal of specific locales.
A Shift to Architectural Interiors
Later in his career, McKewan's artistic focus began to shift, partly due to health reasons. He suffered from rheumatism, which made the rigors of outdoor landscape painting increasingly difficult. Consequently, he turned more frequently to depicting the interiors of Britain's grand stately homes and historic buildings. This change in subject matter proved to be a rich vein for his talents.
He became renowned for his evocative watercolours of baronial halls, ancient libraries, and ornate chambers. Among his most celebrated subjects were Knole House in Kent, Haddon Hall in Derbyshire, and Hatfield House in Hertfordshire. These interiors, steeped in history and often filled with antique furnishings and tapestries, provided ample opportunity for McKewan to showcase his skill in rendering complex details, textures, and the play of light in enclosed spaces. Works like Hatfield House, Charles II's Bedroom (1870) are fine examples of this genre, capturing not just the architectural features but also the atmosphere and historical resonance of these venerable places. In this, he followed a tradition popularized by artists such as Joseph Nash, whose depictions of "Old English" hospitality and baronial life were immensely popular.
Notable Works and Their Characteristics
Several of McKewan's works stand out as representative of his skill and artistic concerns.
Knole House and Haddon Hall Series: His depictions of these iconic stately homes are among his most famous. He captured the grandeur and antiquity of their interiors, paying close attention to the carved woodwork, heraldic stained glass, and period furnishings. These works appealed to the Victorian fascination with history and national heritage.
Hatfield House, Charles II's Bedroom (1870): This watercolour showcases his ability to handle complex interior light, from the illumination filtering through windows to the deeper shadows in the room's corners. The rich textures of fabrics and polished wood are meticulously rendered.
Coast Scene, Isle of Wight (1838): An earlier work, this demonstrates his facility with coastal landscapes, capturing the interplay of cliffs, sea, and sky with a fresh, observant eye.
Figures on the lawn and steps of a country house (1859): This piece combines his skill in architectural rendering with an ability to integrate figures naturally into a scene, adding a narrative element and sense of life to the composition.
Farmhouse on the River: Such rural scenes, often undated, show his continued engagement with the picturesque qualities of the British countryside, focusing on vernacular architecture and its harmonious relationship with the landscape.
Izmir-Aydın Railway Paintings (c. 1859-1860): These works are particularly interesting as they document a significant feat of Victorian engineering abroad, showcasing McKewan's versatility in tackling contemporary subjects alongside historical ones.
His works were not only admired for their technical skill but also for their ability to evoke a sense of place and time. They resonated with a public increasingly interested in travel, history, and the preservation of national landmarks.
Educational Contributions and Publications
Beyond his own artistic practice, David Hall McKewan made a significant contribution to art education. In 1855, he published Lessons on Trees in Water Colours, a manual aimed at students and amateur artists. This book, illustrated with his own drawings, provided practical instruction on how to observe and render various types of trees, a fundamental element of landscape painting. Such instructional books were popular in the Victorian era, reflecting a widespread enthusiasm for watercolour painting as a genteel accomplishment.
He also provided illustrations for other publications, such as R.L. Phipps' Scape and Other Studies in the 1860s. These educational endeavors demonstrate his commitment to sharing his knowledge and promoting the art of watercolour. His clear, methodical approach would have been invaluable to aspiring artists seeking to master the complexities of the medium.
Contemporaries and the Artistic Milieu
McKewan worked during a vibrant period for British watercolour painting. He was a contemporary of many distinguished artists. Besides his mentor David Cox, other notable figures in the watercolour world included:
Samuel Prout (1783–1852): Known for his picturesque depictions of European architecture.
Peter De Wint (1784–1849): Celebrated for his broad, atmospheric landscapes of the English countryside.
Thomas Shotter Boys (1803–1874): An accomplished painter of architectural views and a pioneer of chromolithography.
William Callow (1812–1908): A fellow member of the New Society/RI, known for his marine paintings and continental views.
Myles Birket Foster (1825–1899): Immensely popular for his idyllic scenes of rural England, often featuring charming cottages and children.
Helen Allingham (1848–1926): Though her career peaked slightly later, she continued the tradition of detailed watercolour depictions of cottages and gardens, becoming the first woman to be admitted as a full member of the Royal Watercolour Society.
The art world also included influential critics like John Ruskin (1819–1900), whose writings championed "truth to nature" and had a profound impact on Victorian aesthetics. While McKewan's style was perhaps less radical than that of the Pre-Raphaelites whom Ruskin initially supported, his careful observation and detailed rendering aligned with the broader Victorian emphasis on verisimilitude.
His works were sometimes sold at auction alongside those of artists like Arthur Tucker (1864-1929), Claude Hayes (1852-1922), and Alfred Powell (1865-1960), indicating his place within the ongoing market for traditional British watercolours even into the next generation. The mention that James McNeill Whistler (1834–1903), a far more avant-garde figure, drew inspiration from McKewan's watercolours is intriguing, suggesting that McKewan's technical command or atmospheric effects may have appealed across stylistic divides, perhaps in Whistler's more subtle watercolour nocturnes or Venetian scenes.
McKewan also reportedly participated in the establishment of the Gallery Architecture Society, indicating an interest in the broader infrastructure supporting the arts in London. His brother, William McKewan, was a significant collector of his work, helping to preserve his artistic output.
Later Years and Enduring Legacy
David Hall McKewan continued to paint and exhibit throughout his life, remaining a respected member of the Royal Institute of Painters in Water Colours. His dedication to his art was unwavering, even as his health presented challenges. He passed away on August 2, 1873, at the age of 57. While some sources occasionally cite 1875, the 1873 date is more widely corroborated by primary art historical records.
His legacy lies in his substantial body of work, which offers a detailed and affectionate portrayal of Victorian Britain. His landscapes celebrate the beauty and diversity of the British Isles, while his architectural interiors provide invaluable records of historic buildings, capturing their unique atmospheres. As an educator, his publications helped to disseminate watercolour techniques to a wider audience.
Today, McKewan's watercolours are held in numerous public and private collections, including the Victoria and Albert Museum in London. They continue to be appreciated for their technical accomplishment, their historical interest, and their quiet charm. He may not have been a revolutionary innovator in the vein of Turner or Whistler, but David Hall McKewan was a consummate craftsman and a significant contributor to the golden age of British watercolour painting. His work remains a testament to the enduring appeal of this quintessentially British art form.
Conclusion
David Hall McKewan's career exemplifies the dedication and skill of many Victorian artists who specialized in watercolour. From his early landscapes, influenced by the directness of David Cox, to his later, meticulously detailed interiors of stately homes, McKewan demonstrated a consistent mastery of his medium. His involvement with the Royal Institute of Painters in Water Colours and his instructional publications further underscore his importance within the 19th-century art world. While the grand narratives of art history sometimes overshadow quieter talents, McKewan's contribution is undeniable. He left behind a rich visual legacy that continues to inform our understanding of Victorian Britain and the enduring beauty of its landscapes and heritage, all captured through the subtle and expressive medium of watercolour.
