Ernest Arthur Rowe, a distinguished British watercolourist, carved a unique niche for himself in the annals of art history as a preeminent painter of gardens. Flourishing during the late Victorian and Edwardian eras, a period that saw an immense passion for horticulture and the romantic allure of the garden, Rowe's work captured the ephemeral beauty and structured elegance of these cultivated spaces with remarkable sensitivity and detail. His legacy is that of an artist who not only documented the great gardens of his time but also imbued them with a timeless charm that continues to resonate with art lovers and garden enthusiasts alike.
Early Life and Artistic Formation
Ernest Arthur Rowe was born on August 21, 1862, in Stratford, then a burgeoning suburb in East London. He was the youngest of five children born to Thomas and Adelaide Rowe. His siblings included an elder brother, George, and three older sisters: Florence, Annie, and Bella. Growing up in a period of significant industrial and social change in Britain, young Rowe's artistic inclinations found fertile ground.
His formal artistic training culminated at the prestigious Royal Institute of Painters in Water Colours (RI). In 1885, he graduated, distinguishing himself by receiving the President’s Medal for Landscapes. This early accolade was a testament to his burgeoning talent and set the stage for a career dedicated to landscape and, more specifically, garden painting. The RI, a key institution in the British art world, provided a platform for watercolourists, and Rowe's success there marked him as a promising artist in this demanding medium. His education would have exposed him to the works of earlier British watercolour masters like J.M.W. Turner and John Constable, whose revolutionary approaches to landscape had set a high bar, as well as contemporary Victorian masters of detailed observation, perhaps even the lingering influence of the Pre-Raphaelite Brotherhood's meticulous attention to nature, as seen in works by John Everett Millais or William Holman Hunt.
The Flourishing of a Garden Painter
Following his marriage in 1895, Ernest Arthur Rowe embarked on extensive travels, particularly to Italy and Spain. These journeys were pivotal, providing him with a rich tapestry of subjects. The sun-drenched villas, classical ruins, and formal gardens of the Mediterranean became central to his oeuvre. He was particularly drawn to the historic gardens of Italy, with their intricate designs, ancient statuary, and vibrant floral displays. His paintings from this period showcase a deep appreciation for the interplay of architecture, sculpture, and horticulture.
Rowe's focus on gardens was timely. The late 19th and early 20th centuries witnessed a golden age of garden design and appreciation in Britain and across Europe. Influential garden designers like Gertrude Jekyll and architects such as Edwin Lutyens were creating iconic gardens that blended formal structure with romantic planting. Artists like Rowe provided a visual record of these spaces, often idealizing them and capturing their atmospheric qualities. He was not alone in this pursuit; contemporaries such as George Samuel Elgood, Helen Allingham, and Beatrice Parsons also specialized in garden scenes, each bringing their unique touch to the genre. Elgood, in particular, shared Rowe's meticulous approach and love for formal Italianate gardens.
Rowe’s works were regularly exhibited at prominent venues, including the Royal Institute of Painters in Water Colours, the Royal Academy in London, and various galleries in major provincial cities like Liverpool, Manchester, and Birmingham. This consistent presence in the art world helped solidify his reputation. His paintings were sought after, and notably, several were purchased by Queen Alexandra, consort of King Edward VII, and possibly Queen Victoria before her, indicating a high level of royal patronage and contemporary acclaim.
Artistic Style and Signature Works
Ernest Arthur Rowe's artistic style is characterized by its meticulous detail and delicate handling of the watercolour medium. He possessed a remarkable ability to render the textures of stone, the translucency of petals, and the play of light and shadow across a garden scene. His compositions often emphasized the architectural elements of gardens – terraces, balustrades, fountains, and classical urns – juxtaposed with the softness of flowers and foliage.
While his attention to detail was a hallmark of his work, some contemporary and later critics noted that this meticulousness could occasionally overshadow the overall atmospheric effect of a piece. However, for many, it was precisely this precision, combined with a romantic sensibility, that constituted the charm of his paintings. He masterfully conveyed the unique character of each garden he depicted, from the grand formal estates of Italy to the more intimate charm of English country gardens.
Among his representative works, several stand out:
The Gardens at Blair Castle (1897): This painting likely captures the grandeur and historic character of the gardens at this Scottish estate, showcasing his ability to depict both formal landscaping and mature planting.
The Italian Garden, Penshurst Place: Penshurst, with its famed Italian Garden, would have offered Rowe a perfect subject, combining historic architecture with structured horticultural design. His rendition would have highlighted its classic Renaissance-inspired layout.
The Garden at Hill House: This title suggests a more intimate, perhaps domestic garden, allowing Rowe to explore a different scale and atmosphere compared to the grander estates.
These works, and many others like them, not only serve as beautiful artistic creations but also as valuable historical documents of garden design at the turn of the 20th century. His paintings often evoke a sense of tranquility and timelessness, inviting the viewer to step into these idyllic, sunlit spaces. He can be seen as part of a tradition of artists who found inspiration in cultivated nature, a lineage that might include earlier figures like Jean-Honoré Fragonard with his playful garden scenes, or later, artists like Claude Monet who made their own gardens a central subject, albeit with a vastly different, impressionistic approach.
The Edwardian Heyday and Its Challenges
The Edwardian period (1901-1910) and the years leading up to the First World War represented the peak of Rowe's career. His specialization was in high demand, and his paintings of British and continental gardens were widely admired. He captured the opulence and leisurely pace of an era that seemed, in retrospect, like a long, golden afternoon. His work resonated with a public that cherished the garden as a place of beauty, retreat, and status.
However, the outbreak of the First World War in 1914 brought profound changes that significantly impacted artists like Rowe. The war effort diverted resources and attention away from luxuries like elaborate garden maintenance and art patronage. Many of the grand gardens he had painted fell into neglect as manpower was redirected to the war. The social and economic fabric of Britain was irrevocably altered. For an artist whose livelihood depended on access to and commissions for painting these elaborate horticultural showcases, the war years undoubtedly presented a considerable challenge. The optimistic spirit of the Edwardian era gave way to a more somber mood, and artistic tastes also began to shift, with modernism gaining ground, although traditional forms of art, including Rowe's, continued to find an audience. Artists like Walter Sickert or Philip Wilson Steer, who were part of the British Impressionist movement or the Camden Town Group, represented different currents in British art that were gaining prominence.
Later Years, Death, and Legacy
Despite the disruptions of the war, Ernest Arthur Rowe continued to paint. He passed away on January 21, 1922, at the age of 59. His death marked the end of a career dedicated to the celebration of garden beauty.
In the decades following his death, Rowe's work, like that of many traditional artists of his generation, experienced a period of diminished critical attention as modernist aesthetics dominated the art world. However, a revival of interest in Victorian and Edwardian art, as well as a renewed appreciation for garden history, began to emerge in the latter half of the 20th century. A memorial exhibition of his work held in London during the 1950s helped to reintroduce his art to a new generation.
Today, Ernest Arthur Rowe is recognized as one of the foremost garden painters of his era. His watercolours are valued for their technical skill, their charm, and their historical significance as records of Edwardian gardens. His work is often compared to that of his close contemporaries like George Samuel Elgood, who shared a similar passion for detailed garden portraiture, and Alfred Parsons, another Royal Academician known for his garden paintings and illustrations. While perhaps not as revolutionary as some of his avant-garde contemporaries like Paul Cézanne or Vincent van Gogh, whose explorations of landscape were transforming the very language of art, Rowe excelled within his chosen, more traditional, sphere.
Ernest Arthur Rowe in the Art Market
Ernest Arthur Rowe's paintings continue to appear in the art market, typically at auctions specializing in British watercolours or Victorian and Edwardian art. His works generally command respectable prices, reflecting his skill and the enduring appeal of his subject matter, though they do not typically reach the stratospheric figures of some of his more famous contemporaries like John Singer Sargent, who also produced exquisite watercolours, including garden scenes, with a looser, more bravura style.
Auction records indicate a consistent demand. For instance, a signed and dated watercolour measuring approximately 7.25 x 11.25 inches was estimated at £150-£250 in a June 2023 auction. Another, larger work, a watercolour with scratching out on paper, measuring 11 x 17 inches, carried a more substantial estimate of £5,000. These figures suggest that while not at the very top tier of the market, his works are considered valuable contributions to the genre. There is no evidence of his works achieving exceptionally high, record-breaking prices, but they maintain a steady presence and appreciation among collectors who value traditional British watercolour painting and the specific charm of garden art. His market position is perhaps comparable to other skilled specialist painters of his time, such as Myles Birket Foster, whose idyllic rural scenes were immensely popular.
Conclusion: An Enduring Vision of the Garden
Ernest Arthur Rowe's contribution to art lies in his devoted and skillful portrayal of gardens. In an age of great horticultural enthusiasm, he captured the essence of some of the most beautiful gardens in Britain and Europe. His watercolours are more than mere topographical records; they are imbued with a romantic sensibility and a deep appreciation for the art of garden making. He documented a world of manicured lawns, vibrant flowerbeds, classical statuary, and sun-dappled pathways, preserving a vision of Edwardian elegance and tranquility.
His work stands as a testament to a particular moment in art and garden history, a period when the garden was celebrated as a pinnacle of beauty and a source of artistic inspiration. While artistic fashions have changed, the appeal of Rowe's meticulously rendered, light-filled garden scenes endures, offering a window into the lost Edens of a bygone era. He remains a significant figure for those who cherish the delicate art of watercolour and the timeless allure of the painted garden, holding his own place alongside other dedicated chroniclers of floral and verdant beauty from his period and beyond, such as the botanical precision of Pierre-Joseph Redouté in an earlier era or the garden-infused Impressionism of Childe Hassam in America. Ernest Arthur Rowe's legacy is a quiet but persistent one, rooted in the enduring human love for the cultivated beauty of the garden.
