Edward Hargitt: A Victorian Master of Scottish Landscapes and Avian Art

Edward Hargitt (1835-1895) stands as a notable, if sometimes overlooked, figure in the annals of 19th-century British art and science. A man of diverse talents, Hargitt was not only a gifted painter, particularly renowned for his evocative landscapes and detailed watercolours, but also a respected ornithologist who made significant contributions to the study of birds. His life and work offer a fascinating glimpse into the interconnected worlds of art and natural history during a period of immense discovery and artistic evolution. Primarily active in Scotland, his artistic sensibilities were shaped by the dramatic scenery of his homeland, while his scientific pursuits extended his gaze to more distant shores, including the Philippines.

Nationality and Principal Spheres of Activity

Born in 1835, Edward Hargitt was a proud Scotsman, and his national identity is deeply interwoven with his artistic output. The rugged coastlines, misty Highlands, and ancient sites of Scotland provided a constant source of inspiration for his canvases. His primary sphere of activity was indeed Scotland, where he was an active member of the artistic community and a keen observer of its natural beauty. His connection to the Royal Scottish Academy, where he regularly exhibited, underscores his standing within the Scottish art scene of the time.

However, Hargitt's interests were not confined to his native land. His work as an ornithologist led him to study avian species from various parts of the world. Notably, his research involved species from the Philippines, highlighting the global reach of scientific inquiry in the Victorian era. This dual focus—the artistic depiction of his homeland and the scientific study of global fauna—characterizes the breadth of Hargitt's intellectual and creative endeavours.

Artistic Style and Influences

Edward Hargitt’s artistic style is most prominently characterized by his proficiency in landscape painting, with a particular mastery of the watercolour medium. He possessed a keen eye for detail and an ability to capture the atmospheric subtleties of the natural world. His works often feature coastal scenes, imbued with a sense of realism and a delicate rendering of light and texture.

Standing stones by Edward Hargitt
Standing stones

A significant influence on Hargitt's art was the Pre-Raphaelite Brotherhood. While not a formal member, he was considered a follower or sympathiser, and their emphasis on truth to nature, meticulous detail, and vibrant colour palettes resonated in his work. This influence is particularly evident in the precision of his botanical and geological details within his landscapes. Unlike some of the more allegorical or literary themes favoured by core Pre-Raphaelites like Dante Gabriel Rossetti or John Everett Millais, Hargitt channelled the movement's aesthetic principles into his direct observations of nature. His landscapes, therefore, combine romantic sensibility with a near-scientific accuracy.

His contemporaries in landscape painting included artists like Benjamin Williams Leader, known for his picturesque British scenes, and John Atkinson Grimshaw, famous for his nocturnal cityscapes and moonlit docks, though Hargitt’s focus remained more on the wilder, natural landscapes. The detailed approach also aligns him with the broader Victorian taste for carefully observed natural scenes, a trend also seen in the work of artists like Myles Birket Foster, who was immensely popular for his charming rural watercolours.

Representative Works: Capturing the Scottish Essence

Several works stand out as representative of Edward Hargitt's artistic skill and thematic concerns. Among his most celebrated pieces are his watercolours Hoy from the Black Craig, Orkney (1865) and Burntisland (1865). These paintings exemplify his talent for capturing the rugged beauty and specific atmospheric conditions of the Scottish coast. The choice of Orkney, a remote archipelago, speaks to his interest in depicting less-trodden landscapes, imbuing them with a sense of quiet grandeur. Burntisland, a port town on the Firth of Forth, would have offered a different kind of coastal scene, perhaps blending natural beauty with elements of maritime life.

Another significant work mentioned is the oil painting titled Standing Stones. This piece, signed "Edward Hargitt 18," indicates a creation date within the 19th century, consistent with his active period. The subject of standing stones, or megalithic monuments, is deeply resonant with Scottish history and mythology, and would have appealed to the Victorian era's fascination with antiquity and the romantic past. Such a subject allowed Hargitt to explore themes of time, endurance, and the interplay between human history and the natural landscape. The dimensions of this oil painting are noted as 24 x 36 inches (61 x 91 cm), and it is believed to be in a private collection. The depiction of such ancient monuments was also a subject explored by other artists, including early Romantics like J.M.W. Turner in some of his topographical work, and later by Symbolist painters who saw mystical significance in these prehistoric structures.

A Life Woven with Art, Science, and Music

Edward Hargitt's life was rich and varied, marked by significant achievements in several fields. His artistic accomplishments were recognized through exhibitions and acquisitions, while his scientific work left a lasting mark on ornithology.

Artistic Achievements and Recognition

Hargitt's reputation as a painter was solidified through his regular exhibitions. His works were not only shown at the Royal Scottish Academy but also gained international exposure, reportedly being exhibited at the Chicago World's Fair (likely the World's Columbian Exposition of 1893), where he received an honorable mention, and at the prestigious Salons in London and Paris. This level of recognition speaks to the quality and appeal of his art beyond Scottish borders.

An interesting anecdote involves a transaction with Adam Ferguson, a philosopher and historian associated with the Scottish Enlightenment (though the Adam Ferguson (1723-1816) would have passed before Hargitt's prime; this might refer to a descendant or another individual of the same name active in art circles). Hargitt reportedly purchased a painting from Ferguson, indicating his engagement with the art market not just as a creator but also as a connoisseur or collector.

His oil painting Standing Stones being noted as auctioned as recently as 2024 (if this refers to his specific work and not a generic title) would demonstrate the enduring, if niche, market interest in his oeuvre. The very subject of "Standing Stones" connects him to a lineage of artists fascinated by megalithic sites, from antiquarians to Romantic painters like John Constable, who sketched Stonehenge, and later, modern artists like Paul Nash who found surreal inspiration in such ancient forms.

Pioneering Contributions to Ornithology

Beyond the canvas, Edward Hargitt was a distinguished ornithologist. His most notable contribution in this field was the first scientific description and naming of the Sulu Pygmy Woodpecker, Dendrocopos ramsayi (originally Yungipicus ramsayi, Hargitt, 1881). This species is endemic to the Sulu Archipelago in the Philippines. The act of describing and naming a new species, providing its type specimen, is a fundamental contribution to biodiversity science. This work placed him in the company of other great naturalist-explorers and taxonomists of his era.

His ornithological illustrations were also of high quality, and his work was featured in significant publications such as J.E. Gray's Illustrations of Indian Zoology and Ornithological Illustrations. John Edward Gray himself was a highly influential zoologist at the British Museum, and inclusion in his publications was a mark of distinction. Hargitt's skill in detailed depiction, so evident in his landscapes, translated perfectly to the scientific illustration of birds, a field where accuracy is paramount. Other great bird illustrators of the 19th century whose work Hargitt's would have complemented include John Gould, famous for his lavish folios, and Edward Lear, who, despite his fame for nonsense verse, was a serious and accomplished ornithological artist in his early career.

Hargitt's extensive bird collections, particularly of woodpeckers, were highly regarded. These collections, complete with detailed catalogues and sometimes additional annotations, were eventually acquired by Henry Seebohm, another prominent ornithologist and oologist. The incorporation of Hargitt's collection into Seebohm's, and subsequently into major museum collections (likely the Natural History Museum, London, via Seebohm's bequest), ensured their long-term preservation and availability for future research, underscoring their scientific value.

Engagement with Music and Culture

Adding another dimension to his talents, Edward Hargitt was also involved in the musical life of Scotland. He was described as a "music master" and reportedly had dealings with an Edinburgh music teacher. His musical inclinations were not merely a private pursuit; he is said to have exhibited or presented works at the Royal Scottish Academy in a musical context, although the nature of these presentations (perhaps compositions or performances) requires further clarification.

A more concrete musical contribution is his involvement in the compilation of A Capital Collection of Organ Music. This publication included one of his own compositions, a piece titled Andante con moto, A sketch. This demonstrates a level of musical proficiency and engagement that went beyond mere appreciation, placing him as a contributor to the musical repertoire of his time. This multifaceted engagement with culture – visual art, natural science, and music – paints a picture of a well-rounded Victorian gentleman of considerable intellect and creative energy.

Family Heritage

The Hargitt family history is said to trace back to Oxfordshire, England, with ancestors purportedly involved in the Norman Conquest. While such distant lineage adds a layer of historical depth to his personal narrative, it is his own 19th-century achievements in the arts and sciences that form the core of his legacy.

Contemporaries and Artistic Interactions

Edward Hargitt operated within a vibrant artistic and scientific milieu. While specific details of his interactions with every contemporary are not always exhaustively documented, his exhibition history, scientific collaborations, and the nature of his work place him in context with many leading figures.

In the realm of Scottish art, he would have been aware of, and likely interacted with, prominent figures of the Royal Scottish Academy. Painters like William McTaggart, renowned for his expressive seascapes and depictions of rural life, and George Paul Chalmers, known for his portraits and genre scenes, were influential Scottish artists of his generation. The Pre-Raphaelite influence connects him to English artists like Millais, Rossetti, and William Holman Hunt, even if his application of their principles was more focused on landscape.

His work in ornithological illustration places him in a tradition that included the aforementioned John Gould and Edward Lear, as well as figures like Joseph Wolf, a German artist who became one of the foremost wildlife illustrators in Victorian Britain, highly praised for his accuracy and artistic skill. Hargitt's collaboration with John Edward Gray and the acquisition of his collection by Henry Seebohm directly link him to these key scientific figures.

The two contemporary painters specifically mentioned alongside him, James Duff Hardy (1835-1908, though some sources state 1814-1891 for a landscape painter of this name, or perhaps a different J.D. Hardy) and Thomas Bush Rhae (1834-1892, likely a misspelling of Thomas Bush Hardy, 1842-1897, a prolific marine watercolourist, or another less-known figure), would have been part of the broader landscape and marine painting scene. If Thomas Bush Hardy is intended, his bustling coastal and harbour scenes, often in watercolour, share some thematic ground with Hargitt's coastal interests, though Hardy's style was often more fluid and focused on maritime activity.

The broader Victorian art world also included figures like Frederic Leighton and Lawrence Alma-Tadema, who represented a more classical and academic tradition, often contrasting with the naturalism favoured by landscape painters like Hargitt. However, the Royal Academy and other exhibiting societies would have showcased a wide array of styles, creating a dynamic environment for artists.

The Enduring Legacy of Edward Hargitt

Edward Hargitt's legacy is multifaceted. As an artist, he contributed a significant body of work that captures the unique beauty of the Scottish landscape, rendered with a Pre-Raphaelite-influenced attention to detail and a sensitive understanding of atmosphere. His watercolours, in particular, are fine examples of Victorian landscape painting. Works like Hoy from the Black Craig, Orkney, Burntisland, and the evocative Standing Stones remain testaments to his artistic vision.

In the field of ornithology, his description of the Sulu Pygmy Woodpecker is a lasting contribution to zoological taxonomy. His meticulous collections and illustrations further advanced the scientific understanding of birds, particularly woodpeckers. The fact that his collections found their way into major museum holdings via Henry Seebohm speaks to their enduring scientific importance.

While perhaps not as widely known today as some of his more famous contemporaries, Edward Hargitt exemplifies the Victorian era's spirit of inquiry and artistic expression. His ability to excel in both the artistic and scientific realms, coupled with his musical interests, marks him as a man of considerable talent and intellectual curiosity. His work continues to be appreciated by those interested in Scottish art, Victorian landscape painting, and the history of ornithology, a quiet but persistent voice from a rich period of cultural and scientific endeavour. His paintings offer a window into the 19th-century perception of nature, while his scientific work reminds us of the crucial role individuals played in mapping the diversity of the natural world.


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