Ernest Henry Griset, a name that flickered brightly in the constellation of Victorian art only to dim for a period, has rightfully re-emerged as a significant figure in the history of illustration and animal artistry. Born in France but quintessentially a product of the bustling, intellectually fervent environment of Victorian London, Griset carved a unique niche for himself with his distinctive blend of acute zoological observation, whimsical anthropomorphism, and a sharp, satirical edge. His prolific output, gracing the pages of numerous books and periodicals, offers a fascinating window into the era's preoccupations, from the burgeoning interest in natural history and evolutionary theory to the enduring appeal of fables and the grotesque.
Early Life and Artistic Formation
Ernest Henry Griset was born in Boulogne-sur-Mer, France, in 1843 or 1844. His early life was marked by the political turbulence of the time. Following the French Revolution of 1848, his parents, seeking stability, relocated the family to England. This move proved pivotal, as Griset would spend the majority of his life and career in London, absorbing and contributing to its vibrant artistic milieu. Though French by birth, he came to identify strongly as British, and his artistic sensibilities would reflect a fascinating amalgamation of Gallic wit and British illustrative traditions.
Details about Griset's formal artistic training are somewhat sparse, but it's known that he received some instruction in the French tradition. A significant early influence was the Belgian historical painter Louis Gallait, under whom Griset is said to have studied. Gallait, known for his large-scale romantic and historical canvases, might seem an unlikely mentor for an artist who would become celebrated for intimate, often humorous, animal studies. However, the rigorous draftsmanship and compositional skills inherent in academic training would have provided a solid foundation for Griset's later, more idiosyncratic, explorations.
Beyond any formal tutelage, Griset was a keen and dedicated self-educator. He became a familiar figure at the London Zoo, spending countless hours sketching animals from life. This direct observation was crucial to his art, lending an anatomical accuracy and vitality to his creatures, even when they were engaged in the most fantastical or human-like activities. This dedication to studying live subjects echoes the practice of renowned animal painters like Sir Edwin Landseer in Britain and Rosa Bonheur in France, both of whom emphasized the importance of understanding animal anatomy and behaviour.
The Unique Style of Ernest Griset
Griset’s artistic style is immediately recognizable. He possessed an extraordinary ability to capture the essence of an animal's form and movement, yet his true genius lay in his capacity to imbue these creatures with human-like expressions and characteristics without entirely sacrificing their animal nature. This anthropomorphism was rarely sentimental; instead, it was often employed for humorous or satirical effect, gently mocking human foibles and societal absurdities through the animal kingdom.
His preferred medium was often watercolour, which he handled with dexterity, creating lively and expressive images. His line work was energetic and confident, capable of conveying both delicate textures and robust forms. There's a certain "grotesque" quality to much of his work, a term that in the Victorian context often referred to a playful, imaginative, and sometimes bizarre departure from strict realism. This places him in a lineage that includes earlier European masters of the fantastical, such as Hieronymus Bosch or Pieter Bruegel the Elder, and more contemporary French illustrators like J.J. Grandville, whose satirical animal scenes were immensely popular.
Griset’s style was a unique fusion. The French influence can be seen in the wit, the occasional sharpness of his satire, and a certain élan in his draftsmanship, reminiscent of artists like Honoré Daumier. The British influence is evident in his engagement with popular illustration, his narrative clarity, and perhaps a slightly more tempered, less overtly political, form of social commentary compared to some of his French counterparts. He was less of a political cartoonist than Daumier but shared a keen eye for the absurdities of life.
Master of Animal Illustration
At the heart of Griset's oeuvre is his profound connection with and understanding of animals. He didn't just draw animals; he seemed to comprehend their very being, which allowed him to use them so effectively as mirrors for humanity. His animals are rarely just static figures; they are dynamic, full of personality, and often caught in moments of expressive action. Whether it was a bear ponderously reading a newspaper, a fox slyly outwitting its pursuers, or monkeys engaged in comical human-like squabbles, Griset’s creatures were always compelling.
His skill extended across a wide range of fauna. From domestic pets to exotic beasts of the jungle and even prehistoric creatures, Griset depicted them all with a characteristic blend of accuracy and imagination. This versatility made him a sought-after illustrator for a variety of publications. His work often appeared in popular periodicals of the day, which were a major source of visual entertainment and information for the Victorian public, much like the illustrated magazines that featured the work of artists such as John Leech or Charles Keene in Punch.
The anthropomorphic nature of his work was particularly suited to fables and children's stories, where animals traditionally speak and act like humans to convey moral lessons. However, Griset’s interpretations often carried an extra layer of sophisticated humour that could appeal to adults as well. He avoided the overly saccharine or moralistic tone that sometimes characterized Victorian children's literature, opting instead for a more robust and often irreverent approach.
Key Works and Collaborations
Ernest Griset's prolific career yielded a substantial body of work, with several publications standing out as particularly representative of his talent and contemporary impact.
One of his most celebrated early successes was Griset’s Grotesques; or, Jokes Drawn on Wood, with Rhymes by Tom Hood (1867). This collaboration with the humorist Tom Hood (son of the poet Thomas Hood) was a perfect showcase for Griset’s imaginative and comical style. The book featured one hundred of Griset's illustrations, each a whirlwind of fantastical creatures and absurd situations, accompanied by Hood's witty verses. It was an immediate hit, particularly as a Christmas gift book, a popular market segment in Victorian publishing. The "grotesque" in the title aligns his work with a tradition of humorous and fantastical art, and one can see parallels with the earlier work of British caricaturists like Thomas Rowlandson or James Gillray, though Griset's grotesquery was generally more playful than bitingly political.
Griset also provided memorable illustrations for editions of Aesop’s Fables. His ability to convey character and narrative through animal actors made him an ideal interpreter of these timeless tales. For an 1884 edition, his depictions, such as the famous story of the Lion and the Ass (or other animals depending on the version), brought a fresh vitality and often a subtle satirical commentary to the well-known morals. His work on fables can be compared to that of other great fable illustrators, such as Gustave Doré, who also illustrated La Fontaine's fables with dramatic flair, though Griset's touch was generally lighter and more humorous.
A particularly fascinating and intellectually significant aspect of Griset's career was his collaboration with Sir John Lubbock (later Lord Avebury), a prominent banker, politician, and man of science, and a friend of Charles Darwin. Lubbock commissioned Griset to create a series of large watercolour paintings depicting scenes from prehistoric human life. These works, intended to visualize Lubbock's ideas on human evolution as presented in books like Pre-Historic Times (1865) and The Origin of Civilisation and the Primitive Condition of Man (1870), were groundbreaking. Griset’s illustrations, showing early humans hunting mammoths, battling cave bears, and developing rudimentary tools, were among the first serious artistic attempts to reconstruct this distant past. They vividly captured the Darwinian struggle for existence and the perceived savagery of early human life, influencing public understanding of these new scientific theories. While later artists like Charles R. Knight would become famous for more scientifically informed paleontological reconstructions, Griset's work for Lubbock was a pioneering effort in this field.
Other notable illustrated books include The Hatchet Throwers (1866) by James Greenwood, a writer known for his vivid accounts of London's underclass. Griset's illustrations for this and other adventure or humorous tales were always lively and engaging. He also illustrated books with African themes, such as A Funny Book about the Ashantee (circa 1874-1878). While these works often reflected the colonial attitudes and stereotypes prevalent at the time, they also showcased his skill in depicting exotic animals and creating dynamic, if sometimes caricatured, scenes.
His work also appeared in numerous periodicals, including Punch and the Illustrated London News, placing him alongside other prominent illustrators of the day who contributed to these widely circulated publications. The demand for illustrations was immense, and artists like Griset, Hablot Knight Browne ("Phiz"), and George Cruikshank (in his later career) were instrumental in shaping the visual culture of the era.
Griset in the Context of Victorian Art
To fully appreciate Ernest Griset, it's essential to place him within the broader context of Victorian art, particularly the "Golden Age of Illustration." The 19th century witnessed an explosion in illustrated books and periodicals, driven by technological advancements in printing and a growing literate public eager for visual content. Griset was part of a generation of highly skilled illustrators who catered to this demand.
In the realm of children's illustration, figures like John Tenniel (of Alice's Adventures in Wonderland fame), Walter Crane, Randolph Caldecott, and Kate Greenaway were creating iconic works. While Griset's style was often more robust and less overtly decorative than Crane's or Greenaway's, and perhaps less classically refined than Tenniel's, he shared their ability to create memorable characters and engaging visual narratives. Caldecott, in particular, was known for his lively and humorous depictions of English country life, and there's a similar energy in Griset's work, albeit often applied to more exotic or fantastical subjects.
The Victorian era was also a great age for satire and caricature. Griset’s humorous and often critical depictions of animal and human behaviour connect him to this tradition. While he may not have achieved the same level of fame as a social commentator as some of his predecessors or contemporaries, his work often contained subtle critiques of human vanity, greed, and folly, cleverly disguised in animal form.
In the specific field of animal painting, Griset stands apart from the more academic or sentimental approaches of artists like Landseer. Landseer's animals, while masterfully painted, often carried overt moral or emotional messages, sometimes bordering on the melodramatic. Griset’s animals, even when anthropomorphized, retained a wilder, less tamed quality, and his humour was generally more playful and less didactic. He was perhaps closer in spirit to some French animal artists who combined anatomical accuracy with a lively, less sentimental portrayal.
Themes and Subjects
Several recurring themes and subjects define Griset's artistic output. The most prominent, of course, is the animal kingdom. His fascination was not limited to mere depiction; he explored the symbolic potential of animals, their relationship with humans, and the ways in which animal behaviour could illuminate human nature. His work often played with the blurring lines between human and animal, prompting viewers to consider their own place in the natural world.
The theme of the "grotesque" and the fantastical was another hallmark. Griset clearly delighted in letting his imagination run wild, creating bizarre creatures and comical scenarios that defied the mundane. This love of the imaginative connects him to a long tradition of artists who have explored the realms of fantasy and dream.
His illustrations of prehistoric life, though commissioned for scientific purposes, also tap into a powerful theme: humanity's deep past and the struggle for survival. These images, depicting a savage and untamed world, resonated with Victorian anxieties and fascinations about human origins and the "primitive" state. They provided a visual narrative for the emerging theories of evolution, making complex scientific ideas accessible, if sometimes sensationalized, for a wider audience.
Social observation, often filtered through satire, is another important thread. By dressing animals in human clothes, placing them in human situations, or endowing them with human vices and virtues, Griset could comment on contemporary society without being overtly didactic or offensive. This indirect approach allowed for a playful critique that was both entertaining and thought-provoking.
Exhibitions and Recognition
During his lifetime, Ernest Griset's work was exhibited in various London venues, indicating a degree of contemporary recognition within the art world. His paintings and watercolours were shown at institutions such as the Royal Academy of Arts, a prestigious venue for any artist. His works also found their way into important public collections, notably the Victoria and Albert Museum, which holds a significant number of his drawings and watercolours, and the Natural History Museum in London. The Smithsonian Institution in Washington D.C. also houses examples of his art, attesting to his transatlantic reach, however modest.
Despite this contemporary activity and the popularity of his illustrated books, Griset's fame did not endure far beyond his death in 1907. Like many prolific illustrators whose work was primarily associated with ephemeral publications or specific book projects, his name gradually faded from mainstream art historical discourse during much of the 20th century. The focus of art history often shifted towards "high art" movements, sometimes overlooking the rich contributions of illustrators and popular artists.
Challenges and Later Years
Despite his industrious output and periods of popularity, Ernest Griset reportedly faced financial difficulties throughout his life. The life of a jobbing illustrator, even a successful one, could be precarious. Payment for illustrations was often modest, and consistent commissions were not always guaranteed. This financial insecurity was a common plight for many artists of the period who relied on commercial work rather than wealthy patrons or academic sinecures.
His later years are less well-documented than the period of his major book publications in the 1860s and 1870s. However, he continued to work, producing illustrations and paintings. The changing tastes in illustration towards the end of the 19th century and the rise of new artistic movements may have also impacted the demand for his particular style. Artists like Aubrey Beardsley brought a radically different, more decadent aesthetic to illustration in the 1890s, a world away from Griset's robust and often earthy humour. Similarly, the more decorative and romantic styles of artists like Arthur Rackham or Edmund Dulac began to define the early 20th-century "Golden Age" of gift book illustration, representing a shift from Griset's mid-Victorian sensibilities.
Legacy and Rediscovery
For much of the 20th century, Ernest Griset remained a somewhat forgotten figure, appreciated mainly by specialist collectors of Victorian books and illustrations. However, in recent decades, there has been a significant resurgence of interest in his work. Art historians and enthusiasts have begun to re-evaluate his contributions, recognizing his unique talent, his role in popularizing scientific ideas, and his distinctive place within Victorian visual culture.
The renewed attention is evident in academic studies, exhibitions, and the increasing visibility of his works in auctions and art markets. His drawings and watercolours are now prized for their artistic merit, their historical significance, and their undeniable charm and wit. The Victoria and Albert Museum's extensive collection, in particular, has been crucial in preserving his legacy and making his work accessible for study.
Griset's legacy lies in his remarkable ability to blend scientific observation with boundless imagination. He was a master of animal anatomy, yet he was not constrained by it. His creatures live and breathe with a vitality that transcends mere technical skill. He captured a particular Victorian fascination with the animal world, a world that was being rapidly demystified by science yet simultaneously re-enchanted by art and literature. His work reminds us of a time when the boundaries between science, art, and popular entertainment were more fluid, and when an artist could play a significant role in shaping public understanding of all three.
Conclusion
Ernest Henry Griset was more than just an animal illustrator; he was a keen observer of life, a witty commentator, and an artist of considerable skill and originality. His work, from the laugh-out-loud absurdities of Griset’s Grotesques to the thought-provoking depictions of prehistoric life, offers a rich and rewarding glimpse into the Victorian imagination. He navigated the worlds of popular entertainment, children's literature, and scientific illustration with a unique vision, leaving behind a body of work that continues to delight and intrigue. As his art is rediscovered and re-appreciated, Ernest Griset rightfully takes his place as a distinctive and important voice in the chorus of 19th-century art, a testament to the enduring power of humour, observation, and the wild, wonderful world of animals. His ability to make animals reflect human nature, with all its quirks and complexities, ensures his art remains relevant and engaging for contemporary audiences.
