Elizabeth Adela Stanhope Forbes, née Armstrong, stands as a significant, if sometimes under-appreciated, figure in the landscape of late 19th and early 20th-century art. A Canadian by birth, she became a pivotal member of the Newlyn School in Cornwall, England, contributing a unique sensibility shaped by diverse artistic training across continents. Her work, characterized by its sensitive portrayal of rural life, particularly children, and its adept handling of light and atmosphere, earned her considerable acclaim during her lifetime. This exploration delves into her life, her artistic development, her contributions to the Newlyn School, her key works, and her enduring legacy as a painter, printmaker, and educator.
Early Life and Diverse Artistic Education
Elizabeth Adela Armstrong was born on December 29, 1859, in Kingston, Ontario, Canada. Her father, William Armstrong, was an employee of the Government of Canada, and her early life in Canada provided the initial backdrop to her burgeoning artistic inclinations. While details of her very early art education in Canada are not extensively documented, it is clear that her talent was recognized, prompting her to seek more formal and advanced training abroad, a common path for ambitious North American artists of that era.
Her artistic journey took a significant step forward when she moved to England with her mother. There, she enrolled in the South Kensington School of Art (now the Royal College of Art) in London. This institution was a major center for art and design education, emphasizing rigorous training in drawing and traditional techniques. The experience in London would have exposed her to the established British art scene and its prevailing academic standards, as well as the burgeoning Aesthetic Movement.
Seeking broader horizons and different pedagogical approaches, Armstrong then crossed the Atlantic again, this time to New York City. She joined the Art Students League of New York (NYASL), a progressive institution founded by students who had seceded from the more conservative National Academy of Design. At the League, she studied under influential figures such as William Merritt Chase, an American Impressionist and renowned teacher. Chase's emphasis on direct observation, painterly brushwork, and capturing the effects of light would have resonated with the evolving artistic currents of the time and likely played a role in shaping Armstrong's own approach.
Her quest for comprehensive training did not end there. Europe, particularly Paris and Munich, remained the ultimate destination for aspiring artists. Armstrong traveled to Munich, Germany, a city then rivaling Paris as an art center, known for its strong tradition of figure painting and a darker, more tonal palette influenced by Old Masters like Frans Hals and Diego Velázquez. In Munich, she studied at the private studio run by Frank Duveneck, an American artist celebrated for his vigorous brushwork and realistic portraiture. She also worked with J. Frank Currier, another American expatriate artist in Duveneck's circle, known for his moody landscapes and expressive style. This period in Munich, with its emphasis on bravura technique and tonal realism, added another layer to her developing artistic vocabulary.
This eclectic education—spanning the design-oriented South Kensington School, the progressive Art Students League in New York, and the robust realism of Munich—equipped Elizabeth Armstrong with a versatile set of skills and a broad understanding of contemporary artistic trends. It set her apart from many of her British contemporaries who might have had a more singular, localized training.
Arrival in Pont-Aven and the Lure of Newlyn
Before settling in Newlyn, Elizabeth Armstrong, like many artists of her generation, spent time in the artists' colonies of Brittany, France. She is recorded as working in Pont-Aven, a village that had attracted artists like Paul Gauguin and Émile Bernard. The experience in Brittany, with its picturesque scenery, distinct local culture, and emphasis on plein air (outdoor) painting, was formative. Artists there were exploring new ways of seeing and depicting the world, moving away from academic conventions towards more personal and direct responses to nature and rural life. This environment, fostering camaraderie and artistic experimentation, was a precursor to the community she would find in Cornwall.
In 1885, drawn by the growing reputation of the burgeoning artists' colony in Newlyn, Cornwall, Elizabeth Armstrong made her way to the small fishing village. Newlyn, with its rugged coastline, unique quality of light, and the daily life of its fishing community, offered rich subject matter. The artists who gathered there, many of whom had also trained in France or Antwerp, were committed to principles of naturalism and plein air painting, seeking to capture the realities of rural existence with honesty and empathy.
It was in Newlyn that she met Stanhope Forbes, who had arrived a year earlier and was already emerging as a leading figure in the group. Stanhope Forbes, often dubbed "the father of the Newlyn School," shared a commitment to painting modern life subjects directly from nature. Their shared artistic ideals and mutual respect blossomed into a personal relationship.
Marriage and Partnership with Stanhope Forbes
Elizabeth Armstrong married Stanhope Alexander Forbes on August 8, 1889, in the parish church of St Peter's, Newlyn. Their marriage marked the union of two significant talents within the Newlyn School and the beginning of a deeply collaborative personal and professional partnership. Elizabeth, now known as Elizabeth Stanhope Forbes, or often simply Mrs. Stanhope Forbes in contemporary accounts, was not merely the wife of a famous artist but a respected painter in her own right.
Their home and studios in Newlyn became a central hub for the artistic community. They were both deeply involved in the life of the village and the activities of the Newlyn School. Their partnership was one of mutual support and shared artistic endeavor, though, like many women artists of her time, her reputation was sometimes, albeit unfairly, viewed in the shadow of her more famous husband. However, contemporary critics and fellow artists recognized her distinct talent and contribution.
The Newlyn School: Context and Contemporaries
The Newlyn School was not a formal institution with a manifesto but rather a geographically defined group of artists united by shared artistic philosophies. They were largely inspired by the French realist painter Jules Bastien-Lepage, whose work emphasized rural subjects, a muted palette, and a square brush technique. The Newlyn painters sought to apply these principles to the Cornish landscape and its people.
Key figures associated with the Newlyn School, alongside Stanhope and Elizabeth Forbes, included Frank Bramley, whose painting A Hopeless Dawn (1888) became an iconic image of the movement; Walter Langley, a pioneer of the colony who focused on the hardships and heroism of the fishing community, often working in watercolour; Thomas Cooper Gotch, who initially painted in the Newlyn realist style before moving towards symbolism; Norman Garstin, an Irish artist, writer, and influential teacher; and Henry Scott Tuke, known for his depictions of nude boys and young men in sunlit coastal settings, though he was based slightly further afield in Falmouth but closely associated with the Newlyn ethos. Other artists who were part of this vibrant community or closely associated with it included Percy Robert Craft, Fred Hall, Frank Richards, and later, Lamorna Birch, who gave his name to another nearby art colony.
Elizabeth Forbes was an integral part of this milieu. She participated in their exhibitions, shared their commitment to outdoor painting, and contributed to the distinctive character of Newlyn art. Her work, while fitting within the broad naturalist aims of the school, also possessed its own individual qualities.
Elizabeth Forbes's Artistic Style and Thematic Focus
Elizabeth Stanhope Forbes's art is characterized by its sensitivity, charm, and technical proficiency. While she embraced the Newlyn School's commitment to realism and plein air painting, her style also reflected her diverse training, incorporating a lighter palette and a more impressionistic handling of light at times, likely influenced by her time with William Merritt Chase and her awareness of French Impressionism.
A significant focus of her work was the depiction of children. She had a remarkable ability to capture the innocence, spontaneity, and unselfconscious absorption of children in their play or daily activities. These were not sentimentalized or overly idealized portrayals but rather observations imbued with genuine affection and understanding. Her depictions of children often set them within the natural landscapes of Cornwall or in rustic interiors, creating a harmonious integration of figure and environment.
Beyond children, she painted genre scenes of rural life, landscapes, and portraits. Her work often displayed a strong narrative element, telling stories of everyday existence. She was also a skilled printmaker, particularly in etching and drypoint, techniques that allowed for a different kind of expressive line and tonal subtlety. Her prints often revisited themes from her paintings or explored new compositions with a focus on line and form.
Her palette, while capable of the muted tones favored by some Newlyn painters, could also be brighter and more varied, reflecting her interest in capturing specific light effects – the dappled sunlight through trees, the soft glow of lamplight, or the clear coastal light of Cornwall. Her brushwork was confident and expressive, capable of rendering both fine detail and broader, more atmospheric effects.
Representative Works: Capturing Light and Life
Several paintings stand out as representative of Elizabeth Stanhope Forbes's talent and thematic concerns.
School is Out (1889, Penlee House Gallery & Museum, Penzance): This is perhaps one of her most famous and beloved works. Painted in the year of her marriage, it depicts a lively group of children tumbling out of a village schoolhouse, their faces alight with the joy of freedom. The painting is a masterful study of movement and individual character, capturing the boisterous energy of the children. Forbes skillfully handles the composition, leading the viewer's eye through the dynamic group, and uses light to highlight faces and details. The work exemplifies her empathy for children and her ability to create a vibrant, engaging scene from everyday life.
The Edge of the Woods (c. 1894, Penlee House Gallery & Museum, Penzance): This painting showcases her skill in landscape and her ability to evoke a specific mood and atmosphere. It depicts two young girls, perhaps gathering firewood, at the threshold of a dense wood. The play of light filtering through the trees and the contrast between the sunlit foreground and the shadowy depths of the forest are beautifully rendered. The figures are integrated naturally into the landscape, conveying a sense of quiet industry and connection with nature. The work demonstrates her adeptness at capturing the nuances of the Cornish landscape and the subtle interactions of light and shadow.
Zandvoort Fishergirl (1884, Penlee House Gallery & Museum, Penzance): Painted before her arrival in Newlyn, during a period spent in Holland, this work shows her early mastery of figure painting. The subject, a young Dutch fishergirl, is portrayed with dignity and a quiet strength. The painting reflects the influence of Dutch Old Masters in its realism and attention to costume, but also a modern sensibility in its directness and sympathetic portrayal. This work indicates her early interest in depicting working people and her skill in capturing character.
Other notable works include Jean, Jeanne, Jeannette, a charming study of three girls, and various etchings and drypoints that often focused on children, animals, and rural scenes. Her illustrations for the children's book King Arthur's Wood, which she also wrote, further demonstrate her versatility and imaginative engagement with narrative.
The Forbes School of Painting and Educational Contributions
In 1899, Elizabeth and Stanhope Forbes founded the Newlyn School of Painting (also known as the Forbes School of Painting). This was a formal art school that aimed to teach the principles of plein air painting and naturalism that characterized the Newlyn approach. Elizabeth played an active role in the school, teaching alongside her husband. She was particularly influential in guiding female students.
The school attracted students from Britain and abroad, including artists like Dod Procter and Ernest Procter, who would become significant figures in their own right. The Forbeses' teaching emphasized direct observation from nature, sound draughtsmanship, and the honest depiction of subject matter. Elizabeth's presence as a successful female artist and teacher provided an important role model for aspiring women painters at a time when opportunities for them were still more limited than for their male counterparts.
The school contributed significantly to the longevity and influence of the Newlyn artistic ethos, extending its reach to a new generation of artists. It also helped to formalize and disseminate the techniques and philosophies that had developed more organically within the initial Newlyn colony.
Printmaking, Illustration, and Literary Pursuits
Elizabeth Stanhope Forbes was not confined to oil painting. She was an accomplished printmaker, proficient in etching and drypoint. Her prints often explored similar themes to her paintings – children, rural life, animals – but with the distinct linear quality and tonal richness characteristic of these media. Printmaking offered her another avenue for artistic expression and allowed her work to reach a wider audience. She exhibited her prints alongside her paintings and was recognized for her skill in this area.
Her creative talents also extended to literature and illustration. In 1904, she wrote and illustrated King Arthur's Wood, a children's book that retold Arthurian legends with a charming, imaginative quality. Her illustrations for the book were in a style that blended Pre-Raphaelite influences with a more contemporary sensibility, showcasing her versatility. She also contributed to The Paper Chase, an art and literary journal that she and Stanhope Forbes founded and produced from their home, which ran for a few issues and provided an outlet for the creative work of the Newlyn community. These endeavors highlight her broad artistic interests and her engagement with narrative in multiple forms.
Exhibitions, Recognition, and the "Foreign" Label
Elizabeth Stanhope Forbes achieved considerable recognition during her lifetime. She exhibited regularly at major venues, including the Royal Academy in London, the Royal Society of Portrait Painters, and the Royal Institute of Oil Painters. Her work was also shown internationally. She won a silver medal at the Paris International Exhibition in 1889, a significant honor. Further acclaim came at the World's Columbian Exposition in Chicago in 1893, where she was awarded a gold medal for her oil painting.
Despite this success, her work, with its sometimes lighter palette and more impressionistic touches influenced by her international training (particularly French and American influences via Chase), was occasionally described by some British critics as having a "foreign" quality. This label, while perhaps intended to note a stylistic difference from more traditional British painting, also inadvertently highlighted the sometimes insular nature of the British art world and the complex position of an artist with transatlantic roots and diverse training. For Forbes, however, this breadth of influence was a strength, contributing to the distinctive character of her art.
Anecdotes and Personal Character
While detailed personal anecdotes are not always extensively recorded, glimpses of Elizabeth Forbes's character emerge through accounts of the Newlyn School. She was known for her charm, intelligence, and dedication to her art. The founding and running of the Forbes School alongside her husband suggest a practical and organized nature, as well as a commitment to nurturing talent.
One often-cited, though perhaps more related to her husband's adventurous spirit which she shared, is an account of Stanhope and Elizabeth Forbes encountering a group of supposed bandits while traveling in a remote mountain pass. While the details vary, the story adds a touch of romantic adventure to their artistic lives, suggesting a willingness to venture into less conventional territories, both geographically and artistically.
Her involvement in The Paper Chase and her own book, King Arthur's Wood, point to a lively intellect and a creative spirit that extended beyond the canvas. She was clearly a vital and engaging presence within the Newlyn community.
Later Life, Death, and Enduring Legacy
Elizabeth Stanhope Forbes continued to paint and teach into the early 20th century. Her health, however, began to decline. She passed away relatively young, on March 16, 1912, in Newlyn, at the age of 52. Her death was a significant loss to her husband, the Newlyn artistic community, and the wider art world. Stanhope Forbes was deeply affected and continued to live and paint in Newlyn until his own death in 1947.
Her legacy is multifaceted. As a painter, she left behind a body of work celebrated for its sensitivity, technical skill, and charming depiction of children and rural life. Her paintings are held in numerous public collections, particularly Penlee House Gallery & Museum in Penzance, which has an extensive collection of Newlyn School art.
As a woman artist, she carved out a successful career at a time when the art world was still largely male-dominated. She achieved international recognition and was a respected professional, balancing her own artistic practice with her role as a wife and collaborator with her equally famous husband.
As an educator, through the Forbes School of Painting, she, along with Stanhope, influenced a new generation of artists, helping to perpetuate the ideals of the Newlyn School. Her role as a teacher, particularly to female students, was significant.
The discussion of her "Canadian" identity versus her "British" artistic identity is a complex one, common for artists with transnational careers. While she spent the majority of her professional life in England and is firmly associated with the British Newlyn School, her Canadian origins and American training were integral to her artistic formation. Art history has sometimes struggled with how to categorize such figures, but today, her diverse background is increasingly seen as a source of her unique artistic vision.
Elizabeth Stanhope Forbes remains an important figure for her contributions to the Newlyn School, her sensitive and skilled portrayals of her chosen subjects, and her role as a pioneering female artist. Her work continues to be admired for its artistic merit and its evocative depiction of a bygone era, captured with a warmth and insight that transcends time. Her ability to infuse scenes of everyday life with a gentle poetry and profound humanity ensures her enduring place in the annals of art history. Artists like Laura Knight and Dod Procter, who came to prominence later in Newlyn, would have benefited from the paths forged by women like Elizabeth Forbes. Her influence, combined with that of her husband and contemporaries like Walter Langley and Frank Bramley, cemented Newlyn's place as a vital center of British art at the turn of the century.
