Elizabeth Adela Forbes, a name synonymous with the vibrant artistic community of Newlyn, Cornwall, stands as a significant figure in late Victorian and Edwardian art. Born Elizabeth Adela Armstrong in Kingston, Ontario, Canada, on December 29, 1859, she transcended her colonial origins to become a celebrated painter, etcher, and influential teacher in Britain. Her journey from the nascent Canadian art scene to the heart of one of Britain's most progressive art colonies is a testament to her talent, determination, and the burgeoning internationalism of the art world at the turn of the 20th century.
Early Life and Artistic Awakening
Elizabeth Armstrong's early life in Canada provided the initial backdrop to her artistic inclinations. Her father, William Armstrong, was a Canadian federal government civil servant, and the family environment, while not overtly artistic, likely fostered a sense of curiosity and intellectual pursuit. Recognizing her burgeoning talent, her mother encouraged her artistic development, a crucial support for a young woman aspiring to a professional career in an era when such paths were often fraught with societal obstacles.
The desire for formal art training led the young Elizabeth to England, a common trajectory for ambitious colonial artists seeking to immerse themselves in the established art centers of Europe. She initially enrolled at the South Kensington Art School in London, a key institution for art and design education. However, her artistic ambitions soon drew her across the Atlantic.
Formative Years in New York and Continental Europe
Seeking a more progressive and dynamic environment, Armstrong traveled to New York City. There, she joined the prestigious Art Students League, a vital institution known for its less academic and more artist-led approach to teaching. It was here, between approximately 1877 and 1880, that she studied under the influential American Impressionist painter and educator, William Merritt Chase. Chase, known for his bravura brushwork and emphasis on capturing immediate visual impressions, undoubtedly left a mark on her developing style. His teachings would have exposed her to contemporary European trends, particularly French Impressionism.
Following her studies in New York, Armstrong’s artistic pilgrimage continued to Europe. She spent time in Munich, Germany, another significant art center, further broadening her technical skills and understanding of different artistic traditions. It was during this period, likely in the early 1880s, that she also traveled to Pont-Aven in Brittany, France. This artists' colony was a crucible for new ideas, attracting painters like Paul Gauguin and Émile Bernard, who were experimenting with Synthetism and a move away from pure naturalism. While Forbes's style would remain more rooted in naturalistic observation, the experience of Pont-Aven, with its focus on rural life and plein air (open-air) painting, was formative.
Her time in Europe also included dedicated study of etching, particularly in Zandvoort, Holland. The Dutch landscape and the legacy of masters like Rembrandt van Rijn provided a rich environment for honing her skills in this medium. Etching, with its capacity for delicate line work and atmospheric effects, became an important part of her artistic output.
The Allure of Newlyn
In 1885, Elizabeth Armstrong made a decision that would define her career and personal life: she moved to Newlyn, a small fishing village on the coast of Cornwall in southwest England. Newlyn had, by this time, become a magnet for artists seeking to escape the academic constraints of London and embrace a more direct, naturalistic approach to painting. They were drawn by the unique quality of light, the picturesque harbour, and the daily lives of the fishing community, which offered rich subject matter.
The Newlyn School, as this group of artists came to be known, was heavily influenced by French Realism, particularly the work of Jules Bastien-Lepage, and the principles of plein air painting. Artists like Frank Bramley, Walter Langley, and Norman Garstin were already establishing the colony's reputation. Elizabeth Armstrong, with her international training and talent, quickly became a prominent member of this burgeoning community.
It was in Newlyn that she met Stanhope Forbes, who had arrived a year earlier and was already a leading figure in the group. Stanhope Forbes, often dubbed "the father of the Newlyn School," shared her commitment to painting modern life with honesty and empathy. Their artistic sensibilities and dedication to their craft forged a strong bond.
A Creative Partnership: Marriage and the Forbes School
Elizabeth Armstrong married Stanhope Forbes in August 1889, becoming Elizabeth Adela Forbes. Their union was not only a personal partnership but also a powerful artistic alliance. Together, they were central to the life and development of the Newlyn art colony. Elizabeth, often affectionately called "Lisbeth" by her husband and friends, was a dynamic and influential presence.
In 1899, recognizing the need for formal art instruction in the area and wishing to pass on the principles of the Newlyn School, Elizabeth and Stanhope Forbes co-founded the Newlyn School of Painting (also known as the Forbes School of Art). Elizabeth played a crucial role in teaching, particularly focusing on drawing and composition. The school attracted students from Britain and abroad, further cementing Newlyn's status as an important art center. Artists like Dod Procter and Ernest Procter were among those who benefited from their tutelage, as did, in later years, Laura Knight, though Knight's primary association was with a slightly later phase of Newlyn's development.
Elizabeth Forbes was known for her encouraging and insightful teaching methods. She fostered a supportive environment where students could develop their individual talents while adhering to the core principles of direct observation and honest representation that defined the Newlyn ethos.
Artistic Style and Thematic Concerns
Elizabeth Forbes was a versatile artist, proficient in oils, watercolours, pastels, and etching. Her style, while rooted in the naturalism of the Newlyn School, also displayed a lyrical quality and a sensitivity to atmosphere that set her work apart. She was particularly admired for her depictions of children and rural life, capturing moments of innocence, play, and quiet domesticity with a gentle empathy.
Her palette was often brighter and her touch lighter than some of her Newlyn contemporaries. There are discernible influences of James Abbott McNeill Whistler in her subtle tonal harmonies and the decorative arrangement of her compositions. Walter Sickert, another contemporary who, like Whistler, was interested in modern urban life but also in the formal qualities of painting, may also have been an artist whose work she admired and from whom she drew inspiration, particularly in terms of capturing fleeting moments and character.
Forbes's work often explored the interplay of light and shadow, whether in sun-dappled outdoor scenes or intimately lit interiors. She had a remarkable ability to convey the textures of fabrics, the bloom on a child's cheek, or the ephemeral quality of a landscape. Her paintings were not merely descriptive; they evoked mood and emotion, inviting the viewer into the world she depicted.
Representative Works and Major Achievements
Elizabeth Forbes produced a significant body of work throughout her career, earning critical acclaim and numerous accolades.
One of her most celebrated early works is "Zandvoort Fishergirl" (1884). Initially an etching, she later developed it into an oil painting. This piece, created during her time in Holland, showcases her skill in capturing character and her interest in the lives of working people, a theme that would continue in Newlyn. The direct gaze and sturdy presence of the young girl are rendered with both strength and sensitivity.
"School is Out" (1889), exhibited at the Royal Academy, is another iconic painting. It depicts a lively group of children tumbling out of a village schoolhouse, full of energy and exuberance. The painting is a masterful study of movement and individual character, capturing the fleeting joy of childhood. Its success helped solidify her reputation in London.
"A Dream Princess" (also known as "The Minuet" or "Imogen"), painted around 1897, shows a different facet of her work, with a more romantic and literary quality. It depicts a young girl in historical costume, lost in thought, and hints at the influence of Pre-Raphaelite aesthetics, particularly in its attention to detail and evocative mood. Artists like Dante Gabriel Rossetti and John Everett Millais had, decades earlier, championed such themes, and their influence continued to resonate.
Her interest in legend and romance is further evident in "The Woodland Scene" (or "King Arthur's Wood"), which likely refers to her illustrative work. She created a series of illustrations for The Story of King Arthur and His Knights, adapting tales from Sir Thomas Malory. These works often combined a Pre-Raphaelite sensibility with her own delicate style, appealing to the contemporary taste for medievalism and chivalric romance. George Frederic Watts, an older contemporary, also explored grand allegorical and mythological themes, and while stylistically different, shared an interest in art that conveyed deeper meanings.
Forbes was a regular exhibitor at the Royal Academy in London, the Royal Institute of Painters in Water Colours, and other major venues. Her work gained international recognition. She was awarded a bronze medal at the Paris Exposition Universelle in 1889 and, significantly, a gold medal for oil painting at the prestigious World's Columbian Exposition in Chicago in 1893. She also served as a judge for major London exhibitions between 1889 and 1893, a mark of the respect she commanded within the art establishment. In 1907, she received an honorary medal at the Royal Colonial Society Artists Exhibition.
Etchings and Illustrations: Expanding Her Reach
Beyond her paintings, Elizabeth Forbes was a highly accomplished etcher. Her training in Holland had equipped her with a strong technical foundation, and she produced a series of delicate and atmospheric prints. Etching allowed her to explore subjects with a different kind of intimacy and graphic power. Her prints often featured children, landscapes, and scenes of rural life, echoing the themes of her paintings but with the unique qualities of the etched line.
Her foray into book illustration was also notable. She illustrated several books, including King Arthur and His Knights and The Fables of Aesop. She also wrote and illustrated her own children's book, King Arthur's Wood, published in 1904, which she dedicated to her son, Alec, born in 1893. This work allowed her to combine her artistic talents with her storytelling abilities, creating charming and imaginative worlds for young readers. Her illustrative style was characterized by its grace, clarity, and decorative sensibility, aligning with the "Golden Age of Illustration" that flourished during this period, with artists like Arthur Rackham and Edmund Dulac achieving widespread fame.
She also collaborated with her husband, Stanhope Forbes, on a book about their art school, likely titled something akin to "The Newlyn Art School," further disseminating their teaching philosophies. Her engagement with literature extended to writing art reviews, reportedly for publications like the Daily Mail, showcasing her articulate understanding of art and her ability to communicate it to a wider audience.
Challenges and Triumphs in a Male-Dominated Art World
Elizabeth Forbes's career unfolded during a period when women artists, while gaining more visibility, still faced significant challenges. The art world was largely male-dominated, and access to prestigious institutions, exhibitions, and patronage could be more difficult for women. The anecdote that she interrupted her studies in Paris due to "antipathy towards female artists" highlights the gender biases prevalent at the time.
Despite these obstacles, Forbes achieved remarkable success. Her talent was undeniable, and her active participation in the Newlyn School, her marriage to the influential Stanhope Forbes, and her own dynamic personality helped her navigate this complex landscape. She was not merely "Mrs. Stanhope Forbes" but an artist of independent merit and reputation. Her election to the Royal Institute of Painters in Water Colours (RI) in 1892 and the Royal Society of Painter-Etchers and Engravers (RE) in 1900 were significant recognitions of her standing.
Her success provided an inspiring example for other women artists. Within the Newlyn community itself, artists like Laura Knight and Dod Procter would later build significant careers, benefiting from the paths forged by pioneers like Elizabeth Forbes.
Later Years and Enduring Legacy
Elizabeth Forbes continued to paint, teach, and exhibit throughout her life. She remained a vital force in the Newlyn art community, contributing to its creative energy and its reputation. Her home with Stanhope, Higher Faugan, became a welcoming hub for artists and visitors.
Tragically, her vibrant life was cut short. Elizabeth Adela Forbes died of cancer in Newlyn on March 16, 1912, at the relatively young age of 52. Her death was a profound loss to her family, the Newlyn community, and the wider art world. Stanhope Forbes was deeply affected, and her absence was keenly felt by all who knew her and admired her work.
Despite her premature death, Elizabeth Forbes left an indelible mark on British art. She was lauded as "the Queen of Newlyn," a title that acknowledged both her artistic prowess and her central role in the community. Her paintings and etchings are held in numerous public and private collections, including the Tate Britain, Penlee House Gallery & Museum in Penzance (which has a significant collection of Newlyn School work), and the National Gallery of Canada.
Her legacy extends beyond her own artworks. Through her teaching at the Forbes School, she influenced a new generation of artists. Her commitment to depicting everyday life with honesty and sensitivity, combined with her lyrical and often joyful approach, ensured her work a lasting appeal. She successfully blended the observational rigour of the Newlyn School with a more personal, poetic vision, creating a body of work that continues to enchant and inspire. Her contribution was crucial in demonstrating that women could not only participate in but also lead and shape major artistic movements. The story of Elizabeth Adela Forbes is a compelling chapter in the history of art, celebrating a remarkable talent who bridged continents and artistic traditions.
