Edwin John Alexander (1870-1926) stands as a distinguished figure in Scottish art, celebrated for his exquisite and sensitive portrayals of the natural world. Working primarily in watercolour, he developed a unique style characterized by delicate precision, an affinity for unusual textures, and a profound connection to his subjects, whether they were the flora and fauna of his native Scotland or the exotic landscapes and wildlife of North Africa. His life, though tragically cut short, was one of rich artistic exploration, travel, and a quiet dedication to his craft that left an indelible mark on the art of his time.
Early Life and Artistic Lineage
Born in Edinburgh on January 31, 1870, Edwin John Alexander was immersed in an artistic environment from his earliest days. He was the son of Robert Alexander (1840-1923), a respected animal painter in his own right, known for his depictions of dogs and rural scenes. This paternal influence was undoubtedly formative, providing young Edwin with not only an early exposure to artistic techniques but also a deep-seated appreciation for the animal kingdom. The Alexander household would have been a place where art was discussed, practiced, and valued, laying a strong foundation for Edwin's future career.
His formal art education began in 1887 when he enrolled at the Edinburgh College of Art (then known as the Trustees' Academy). This institution was a cornerstone of art education in Scotland, and here Alexander would have honed his foundational skills in drawing and painting. However, his artistic development was perhaps more significantly shaped by experiences outside the traditional academic setting, particularly through travel and his association with other forward-thinking artists.
The Pivotal Moroccan Journey and the Influence of Joseph Crawhall
A crucial turning point in Alexander's early career came in 1887, the same year he began his formal studies. He accompanied his father and the artist Joseph Crawhall III (1861-1913) on a trip to Tangier, Morocco. Crawhall, one of the leading figures of the Glasgow School (often referred to as the "Glasgow Boys"), was already renowned for his remarkable ability to capture the essence of animals and birds with an almost calligraphic economy of line and a subtle use of watercolour.
The encounter with Crawhall in the vibrant, sun-drenched environment of Morocco proved to be profoundly influential for the young Alexander. Crawhall's distinctive style, which emphasized memory drawing, keen observation, and often incorporated the texture of the linen or paper into the composition, resonated deeply with Alexander. He learned from Crawhall the importance of capturing the spirit and movement of an animal, rather than just its anatomical accuracy. This period in Morocco exposed Alexander to new subjects – camels, Bedouin life, exotic birds – and a different quality of light, all of which would feature in his later work. The shared experience with Crawhall cemented a lasting artistic bond and set Alexander on a path that diverged from more conventional Victorian animal painting.
Crawhall himself was part of a group of artists, including James Guthrie (1859-1930) and E.A. Walton (1860-1922), who sought a more modern and expressive approach to painting, often looking to French Realism and the work of artists like Jules Bastien-Lepage (1848-1884). Alexander, through his association with Crawhall, was thus connected to this progressive movement in Scottish art.
Parisian Studies and Broadening Horizons
Following his formative experiences in Morocco, Alexander sought to further refine his skills and broaden his artistic horizons. In 1892, he traveled to Paris, the undisputed center of the art world at the time. While details of his specific studies there are somewhat sparse, it is known that he engaged with the vibrant artistic milieu of the city. During this period, he is said to have encountered the renowned animal sculptor Jean-François Frémiet (1824-1910), whose work was celebrated for its anatomical precision and dramatic power.
In Paris, Alexander also reconnected with Joseph Crawhall and met other artists, including Pollock Sinclair Nisbet (1848-1922), a fellow Scot. The Parisian environment would have exposed him to a wide range of artistic currents, from the lingering influence of Impressionism, as seen in the works of Claude Monet (1840-1926) and Edgar Degas (1834-1917), to the emerging Post-Impressionist movements. This period likely reinforced his commitment to direct observation and may have further encouraged his experimental approach to materials.
The Egyptian Sojourn: A Prolific Period
After his time in Paris, Alexander embarked on another significant journey, this time to Egypt, where he lived from approximately 1892 until 1896. This extended stay in North Africa was exceptionally productive and marked a period of intense artistic development. He reportedly lived for a time on a traditional Nile sailing boat, a dahabeah, which allowed him to immerse himself fully in the landscape and culture.
During these years, Alexander created a substantial body of work, primarily watercolours, depicting the unique environment of Egypt. His subjects included Bedouin encampments, the diverse animal life of the region (such as camels, donkeys, and various bird species), the stark beauty of the desert landscapes, and, notably, detailed studies of the grasses and reeds along the banks of the Nile. These botanical studies, in particular, showcase his meticulous observation and his ability to find beauty in the seemingly mundane.
His Egyptian works continued to show the influence of Crawhall in their freshness and directness, but Alexander was also developing his own distinct voice. The strong Egyptian light and the unique textures of the environment further spurred his experimentation with different painting surfaces.
Artistic Style, Techniques, and Japonisme
Edwin John Alexander is best known for his mastery of watercolour, a medium he handled with exceptional delicacy and precision. His style is characterized by a refined naturalism, often imbued with a subtle decorative quality. A key aspect of his technique was his innovative use of unconventional painting supports. He frequently worked on materials such as silk, linen, cambric, and various types of textured or coarse paper, including sugar paper.
This choice of materials was not merely incidental; it was integral to his artistic vision. The weave of the fabric or the roughness of the paper often became part of the artwork itself, contributing to the texture and overall aesthetic effect. This practice, along with certain compositional elements and a focus on nature, strongly suggests the influence of Japanese art, particularly Ukiyo-e woodblock prints, which had become highly fashionable in Western artistic circles during the late 19th century through the phenomenon known as Japonisme.
Artists like James Abbott McNeill Whistler (1834-1903) and many of the French Impressionists had already embraced Japanese aesthetics, and this influence permeated the Glasgow School as well. Alexander's work shares with Japanese art an appreciation for asymmetry, flattened perspectives in some instances, and a focus on capturing the essence of a subject with elegant simplicity. His depictions of birds and flowers, often isolated against a plain or subtly textured background, particularly evoke this connection. He was not alone in this; fellow Glasgow Boy E.A. Hornel (1864-1933), along with George Henry (1858-1943), famously traveled to Japan and incorporated its artistic principles into their work. Arthur Melville (1855-1904), another artist associated with the Glasgow Boys, was also known for his vibrant watercolours of Middle Eastern and Spanish scenes, sharing Alexander's interest in exotic locales and innovative watercolour techniques.
Alexander's palette was often subtle and harmonious, with a keen sensitivity to tonal values. He was adept at using bodycolour (gouache) to add highlights or opaque passages, further enhancing the textural qualities of his work. His draughtsmanship was exquisite, underpinning the delicate washes of colour.
Themes and Subjects: An Intimate Portrait of Nature
The primary focus of Alexander's art was the natural world. He was a keen observer of animals, birds, and plants, capturing them with both accuracy and empathy. His animal studies, whether of domestic creatures like dogs and horses or more exotic species encountered on his travels, convey a sense of individual character and vitality. He had a particular fondness for birds, depicting everything from majestic peacocks to common garden birds with equal care and attention.
His floral studies and depictions of grasses and other plants are among his most admired works. These are not merely botanical illustrations but poetic interpretations of plant life, highlighting the delicate structure of petals, the graceful sway of stems, and the intricate patterns of foliage. Works like "Study of White Poppies" or "Grasses and a Small Heath Butterfly" exemplify this aspect of his oeuvre, showcasing his ability to combine meticulous detail with a broader sense of design and atmosphere.
Landscapes also featured prominently in his work, ranging from the familiar scenery of his native Scotland to the sun-baked deserts and lush riverbanks of North Africa. In all his subjects, there is a sense of intimacy and a deep respect for the natural world, avoiding grandiosity in favor of quiet contemplation.
Associations with the Glasgow School and Exhibitions
While perhaps not as centrally identified with the "Glasgow Boys" as figures like Guthrie, Lavery, or Crawhall, Edwin John Alexander shared many of their artistic aims and was certainly part of their broader circle. The Glasgow School artists were united by a desire to break away from the conservative traditions of the Royal Scottish Academy and embrace more modern, continental influences, particularly French plein-air painting and realism. They emphasized direct observation, strong tonal contrasts, and often a more decorative approach to composition. Alexander's focus on nature, his innovative techniques, and his connection with Crawhall align him with the spirit of this influential group.
He became a member of the Society of Scottish Artists after its formation, an organization that provided a platform for more progressive artists. Alexander was a regular exhibitor at major art institutions throughout his career, demonstrating the respect his work commanded. His paintings were shown at the Royal Academy in London, the Royal Scottish Academy in Edinburgh (where he was elected an Associate, ARSA, in 1902 and a full Academician, RSA, in 1913), the Royal Society of Painters in Water Colours (to which he was elected in 1901), the Glasgow Institute of the Fine Arts, and the Royal Scottish Society of Painters in Watercolour (RSW). This consistent presence at prestigious exhibitions underscores his standing within the British art world of the early 20th century.
Later Life, Health Challenges, and Continued Work
Despite his successes, Alexander's later career was tragically impacted by ill health. In 1904, he married, and his daughter, Sarah Dorothea Alexander (known as Sally, 1905-1979), also became an artist, working as a painter and sculptor, thus continuing the family's artistic legacy.
However, in 1917, Edwin John Alexander suffered a severe stroke which resulted in paralysis of his left side. This debilitating event significantly curtailed his ability to work, and his output understandably diminished in the subsequent years. Despite these profound challenges, he continued to paint when his health permitted, though the prolific output of his earlier career could not be maintained. His resilience in the face of such adversity speaks to his deep-seated passion for art.
He passed away in Musselburgh, near Edinburgh, on April 23, 1926, at the relatively young age of 56. His death was a loss to the Scottish art scene, depriving it of one of its most sensitive and skilled watercolourists.
Legacy and Posthumous Recognition
Following his death, Edwin John Alexander's contribution to art was recognized with a memorial exhibition held at the Scottish Gallery in Edinburgh in 1927. This exhibition would have brought together a significant body of his work, allowing for a comprehensive appreciation of his artistic journey and achievements.
Today, his paintings are held in numerous public collections, including the National Galleries of Scotland, the Hunterian Art Gallery in Glasgow, and various other regional galleries throughout the United Kingdom. His work continues to be admired for its technical brilliance, its intimate portrayal of nature, and its unique blend of Scottish sensibility with influences from further afield, particularly Japan and North Africa.
He is remembered as an artist who, while perhaps quieter and less overtly revolutionary than some of his contemporaries like S.J. Peploe (1871-1935) or J.D. Fergusson (1874-1961) of the Scottish Colourists group, nevertheless carved out a distinctive and highly accomplished niche. His dedication to the watercolour medium, his innovative use of materials, and his profound empathy for the natural world ensure his enduring place in the history of Scottish art. His work stands alongside that of other great British nature painters, such as Archibald Thorburn (1860-1935), who was renowned for his detailed bird paintings, though Alexander's style often possessed a more poetic and decorative quality.
Representative Works
While a comprehensive list of all his works is extensive, certain pieces are often highlighted as representative of his style and thematic concerns:
"Grasses and a Small Heath Butterfly": This work, often cited, perfectly encapsulates his delicate touch, his meticulous observation of botanical detail, and his ability to create a harmonious composition from simple natural elements. The inclusion of the butterfly adds a touch of ephemeral life. The use of watercolour, perhaps with touches of bodycolour, on a textured paper would be typical.
Studies of White Poppies: Floral subjects were a recurring theme, and his depictions of poppies would showcase his skill in rendering delicate petal structures and subtle colour variations. These works often have a quiet, contemplative beauty.
"Peacock": A subject that allowed him to explore more vibrant colours and intricate patterns, peacocks were a popular motif in art influenced by Japonisme and the Aesthetic Movement. Alexander's renditions would have combined decorative flair with accurate observation.
Egyptian Scenes (e.g., "Bedouin Tent," "Nile Landscape with Dahabeah"): These works capture the atmosphere and unique light of North Africa, featuring figures, animals, and landscapes rendered with his characteristic sensitivity.
Studies of Donkeys or Camels: Reflecting his time in Morocco and Egypt, these animal studies would demonstrate his ability to capture the character and form of these creatures, likely influenced by Crawhall's approach.
Conclusion
Edwin John Alexander was an artist of quiet distinction, whose profound connection with the natural world translated into watercolours of exceptional beauty and sensitivity. From his early exposure to art through his father, Robert Alexander, to his formative travels with Joseph Crawhall, and his immersive experiences in Egypt, his artistic journey was one of continuous refinement and exploration. His innovative use of materials, influenced by Japanese art, combined with his exquisite draughtsmanship and delicate handling of watercolour, set him apart.
Though his career was impacted by ill health, the body of work he produced remains a testament to his unique vision and technical skill. He captured the subtle beauties of flora and fauna, the character of animals, and the atmosphere of diverse landscapes with an intimacy and grace that continue to resonate. Edwin John Alexander's legacy is that of a master watercolourist who offered a deeply personal and aesthetically refined window onto the natural world, securing his place as a significant figure in Scottish art history, alongside contemporaries who, like him, sought new ways to interpret the world around them, such as the landscape painter William McTaggart (1835-1910), whose work, though different in style, shared a deep love for the Scottish environment. Alexander's art remains a source of quiet delight and profound admiration.
