Ernest Borough Johnson (1866–1949) was a distinguished British artist whose multifaceted career spanned painting in oils and watercolours, as well as accomplished work in etching and lithography. Active during a period of significant transition in British art, from the late Victorian era through to the mid-20th century, Johnson carved out a respected niche for himself, particularly noted for his sensitive portraiture, evocative landscapes, and detailed genre scenes. He was a regular exhibitor at major London institutions and contributed to the artistic discourse of his time not only through his art but also as an author and educator.
Early Life and Artistic Formation
Born in Shifnal, Shropshire, England, in 1866, Ernest Borough Johnson's artistic inclinations emerged early. To hone his natural talent, he sought training at some of the most prestigious art institutions of his day. A pivotal part of his education was undertaken at the renowned Slade School of Fine Art in London. Under the tutelage of Alphonse Legros, a French-born painter and etcher who had a profound impact on a generation of British artists, Johnson would have absorbed a strong emphasis on draughtsmanship and classical techniques. Legros, himself a student of Lecoq de Boisbaudran, championed rigorous drawing from life and the study of Old Masters.
Furthering his studies, Johnson also attended Hubert von Herkomer's influential art school in Bushey, Hertfordshire. Herkomer, a Royal Academician of considerable fame, was a versatile artist known for his social realist subjects, grand portraits, and his work as an illustrator and printmaker. His school attracted many aspiring artists, and the environment there likely exposed Johnson to a practical, professional approach to art-making, with an emphasis on capturing contemporary life and character. This dual education provided Johnson with a robust foundation in both academic tradition and a more modern, observational approach.
Artistic Style and Thematic Concerns
Ernest Borough Johnson's artistic output is characterized by its versatility and technical proficiency. While he did not align himself with the more radical avant-garde movements that emerged during his lifetime, such as Post-Impressionism or Cubism as championed by artists like Roger Fry or Pablo Picasso, Johnson's work demonstrates a thoughtful engagement with established traditions, infused with a personal sensitivity. His style can generally be described as a form of expressive realism, often with a subtle atmospheric quality.
In his oil paintings, Johnson displayed a confident handling of the medium, with a keen eye for capturing the interplay of light and shadow. His portraits, for which he gained considerable recognition, were not merely likenesses but sought to convey the personality and inner life of his sitters. His landscapes, whether depicting the English countryside or scenes from his travels, often possess a quiet, contemplative mood. Genre scenes, frequently featuring working-class individuals or everyday life, were rendered with empathy and a fine attention to detail, reflecting an interest in social observation perhaps influenced by Herkomer.
Beyond oils, Johnson was an adept watercolourist, utilizing the medium's transparency and fluidity to create luminous and atmospheric effects. His work as a printmaker, particularly in etching and lithography, further showcases his skill in draughtsmanship and composition. These prints often explored similar themes to his paintings – portraits, landscapes, and figural studies – but allowed for a different mode of expression, emphasizing line and tonal contrast.
Portraiture: Capturing Character
Portraiture formed a significant part of Ernest Borough Johnson's oeuvre and was an area where his skills were particularly lauded. He painted a wide array of sitters, from prominent public figures to more intimate portrayals of family and friends. His approach was characterized by a desire to look beyond the superficial, aiming to capture the essence of the individual. This often involved a careful observation of expression, posture, and the subtle nuances that reveal personality.
His portraits typically demonstrate strong compositional structure and a sophisticated use of colour and tone to model form and create a sense of presence. While maintaining a high degree of likeness, Johnson avoided a purely photographic or overly academic stiffness. Instead, his portraits often have a sense of life and immediacy. He was adept at capturing the textures of fabric and the play of light on skin, but these technical accomplishments were always in service of the overall psychological portrayal.
Among his notable portraits are those of fellow artists, literary figures, and members of society. For instance, his portrait of the writer Eden Phillpotts, now in the collection of the National Portrait Gallery, London, is a fine example of his ability to convey intellectual presence. His success in this genre was affirmed by regular commissions and the inclusion of his portraits in major exhibitions. The tradition of British portraiture, with towering figures like Sir Joshua Reynolds and Thomas Gainsborough in the 18th century, and later John Singer Sargent and Philip de László in Johnson's own era, provided a rich context for his work. Johnson's contributions were perhaps less flamboyant than Sargent's, but no less sincere in their pursuit of character.
Landscapes and Genre Scenes: A Sensitive Eye
While renowned for his portraiture, Ernest Borough Johnson also dedicated considerable energy to landscape painting and genre scenes. His landscapes often depict the pastoral beauty of the English countryside, capturing its varied moods and atmospheric conditions. He had a particular skill for rendering light, whether the soft glow of a summer afternoon or the more sombre tones of an overcast day. These works reveal a deep appreciation for nature and a desire to convey its tranquil or sometimes dramatic aspects.
His travels also provided inspiration for landscapes, with scenes from continental Europe, such as "The Old Port, Marseilles," demonstrating his ability to capture the unique character and light of different locales. These works often show a careful attention to architectural detail and the human activity within the landscape, bridging the gap between pure landscape and genre painting.
Johnson's genre scenes frequently focused on the lives of ordinary people, particularly rural or working-class subjects. Works like "A Hop-Picker's Child" or "The Fisherman's Daughter" are imbued with a sense of dignity and quiet observation. These paintings avoid sentimentality, instead offering a respectful and often poignant glimpse into the daily realities of his subjects. This interest in social themes aligns him with a broader current in British art of the late 19th and early 20th centuries, which saw artists like Luke Fildes and Frank Holl, as well as his teacher Hubert von Herkomer, exploring similar subject matter.
The Printmaker: Etchings and Lithographs
Ernest Borough Johnson was a highly accomplished printmaker, proficient in both etching and lithography. These media allowed him to explore different aesthetic possibilities compared to painting, emphasizing line, tone, and the unique qualities of the printed mark. His training under Alphonse Legros, himself a master etcher, would have provided a strong foundation in intaglio techniques. The Etching Revival, which had begun in the mid-19th century with figures like James McNeill Whistler and Francis Seymour Haden, was still a potent force during Johnson's formative years, and he contributed to this continuing tradition.
His etchings often display a fine, delicate line and a subtle control of tonality, achieved through skilled biting and inking of the plate. Subjects ranged from portraits and figure studies to architectural views and landscapes. These prints demonstrate his excellent draughtsmanship and his ability to translate complex forms and textures into the linear language of etching.
Lithography, a planographic process, offered Johnson another avenue for graphic expression. He embraced this medium to create prints with rich tonal ranges and a more painterly quality than was often possible with etching. His lithographs, like his etchings, covered a variety of subjects and were exhibited alongside his paintings. His dedication to printmaking underscores his versatility as an artist and his commitment to exploring the full spectrum of visual expression available to him. Other notable printmakers of his era included Muirhead Bone and Frank Short, who also significantly contributed to British printmaking.
Exhibitions and Recognition
Throughout his long career, Ernest Borough Johnson was a consistent and prominent exhibitor at London's leading art societies and galleries. His work was regularly accepted at the prestigious Royal Academy of Arts Summer Exhibition, a key venue for artists seeking recognition and patronage. He also exhibited frequently with the Royal Institute of Oil Painters (ROI), where he became a member, and the Royal Society of British Artists (RBA). His involvement with these societies indicates his standing within the established art world of his time.
Beyond these major institutions, Johnson's work was shown at other notable venues, including the New English Art Club (NEAC), which, while established as an alternative to the RA, included many artists who also exhibited at the Academy. His participation in NEAC exhibitions suggests an openness to broader artistic currents. Furthermore, Johnson's reputation extended internationally, with his work being shown at the Paris Salon, where he received an honourable mention, a significant accolade for a British artist exhibiting in the French capital.
His paintings and prints found their way into private and public collections. Today, examples of Ernest Borough Johnson's work are held in institutions such as the National Portrait Gallery, London, the Victoria and Albert Museum, and various regional galleries throughout the United Kingdom, attesting to his lasting contribution to British art. The art world he navigated included figures like Sir William Orpen and Augustus John, who were fellow Slade students, though their paths and styles diverged, as well as more traditional academicians like Sir Frank Dicksee or Solomon J. Solomon.
As an Educator and Author
Beyond his practice as a exhibiting artist, Ernest Borough Johnson made significant contributions as an educator and author on art techniques. He held teaching positions, sharing his knowledge and experience with younger generations of artists. His role as an instructor at the Bedford Park School of Arts and Crafts and later as Professor of Fine Arts at the University of London's Chelsea Polytechnic (later the Chelsea School of Art) from 1900 until 1933, demonstrates his commitment to art education. At Chelsea, he would have been part of an institution that also saw figures like Henry Moore and Graham Sutherland pass through its doors as students, albeit perhaps after his main tenure or in different departments.
Johnson authored several influential books on drawing and painting, which were widely used by art students. Titles such as "The Art of the Pencil" (1920s), "Figure Drawing and Anatomy for the Artist," and "The Technique of Flower Painting in Oil, Water-colour, and Pastel" (1931) provide clear, practical instruction. These publications codified his understanding of artistic principles and techniques, making his expertise accessible to a broader audience. His writings emphasize strong foundational skills, particularly in drawing, reflecting the rigorous training he himself had received. These books helped to disseminate sound artistic practice and likely influenced many aspiring artists of his time and beyond.
Contemporaries and Artistic Milieu
Ernest Borough Johnson's career unfolded against the backdrop of a dynamic and evolving British art scene. He was a contemporary of artists who represented a wide spectrum of styles and philosophies. The late Victorian and Edwardian periods saw the continued dominance of the Royal Academy, but also the rise of alternative groups like the New English Art Club, which embraced influences from French Impressionism and Post-Impressionism. Figures associated with the NEAC, such as Walter Sickert and Philip Wilson Steer, were pushing the boundaries of British painting.
While Johnson maintained a more traditional approach, his work was not created in a vacuum. He would have been aware of these developments, and his art, while rooted in realism, shows a sensitivity to light and atmosphere that may reflect a broader fin-de-siècle aesthetic. The world of portraiture was particularly vibrant, with John Singer Sargent's dazzling international career and Philip de László's elegant society portraits setting a high bar. Johnson's portraits, while perhaps more understated, offered a distinct and valued contribution.
In the realm of printmaking, the legacy of Whistler was still strong, and artists like Frank Brangwyn (also known for his murals and paintings) and William Strang were producing significant graphic work. The Arts and Crafts movement, championed by William Morris, also had an impact on the appreciation of craftsmanship and design, which may have resonated with Johnson's dedication to the technical aspects of his various media. He navigated this complex artistic landscape, maintaining his own distinct voice while contributing to the rich tapestry of British art in the first half of the 20th century. Other notable figures of the period whose work provides context include George Clausen, known for his rustic naturalism, and Stanhope Forbes of the Newlyn School.
Legacy and Conclusion
Ernest Borough Johnson passed away in 1949, leaving behind a substantial body of work across multiple media. While he may not be as widely known today as some of his more radical contemporaries who broke decisively with tradition, his contribution to British art is significant. He represented a strand of artistic practice that valued technical skill, careful observation, and a sensitive engagement with the subject, whether it be a human sitter, a landscape, or a scene from everyday life.
His portraits remain compelling for their psychological insight and refined execution. His landscapes and genre scenes offer a valuable record of the places and people of his time, rendered with empathy and artistic integrity. As a printmaker, he demonstrated mastery of etching and lithography, contributing to the ongoing vitality of these art forms in Britain. Furthermore, his role as an educator and author extended his influence, helping to shape the skills and understanding of subsequent generations of artists.
The art of Ernest Borough Johnson provides a window into the artistic concerns and sensibilities of a particular period in British art history. His dedication to his craft, his versatility, and the consistent quality of his output ensure his place as a respected figure. While art historical narratives often focus on innovation and avant-garde breakthroughs, the contributions of artists like Johnson, who worked within and thoughtfully extended established traditions, are essential for a complete understanding of the richness and diversity of the artistic landscape. His works continue to be appreciated in public and private collections, a testament to their enduring appeal and artistic merit.
