Ernest Procter (1886-1935) stands as a significant, if sometimes overlooked, figure in early twentieth-century British art. A painter, designer, and educator, Procter’s career, though tragically cut short, was marked by a distinctive blend of traditional craftsmanship, modernist sensibilities, and a profound engagement with both the spiritual and the everyday. His association with the Newlyn School, his impactful war service, his collaborative partnership with his wife Dod Procter, and his notable contributions to ecclesiastical art all contribute to a rich and varied artistic legacy.
Early Life and Artistic Awakening
Born in Tynemouth, Northumberland, in 1886, Ernest Procter’s upbringing in a Quaker family likely instilled in him values of diligence, social conscience, and a reflective turn of mind. He received his early education at Bootham School in York, a Quaker institution known for its progressive approach and encouragement of the arts and sciences. This foundation would prove influential, particularly his later pacifist stance during the First World War.
Procter's formal artistic training began at the Leeds School of Art. However, the lure of a more immersive and artistically vibrant environment soon drew him to Cornwall, specifically to the Stanhope Forbes' School of Painting in Newlyn. This move was pivotal. Newlyn, by the early 20th century, had been a magnet for artists for several decades, establishing itself as a prominent art colony. Stanhope Forbes, a leading figure of the first generation of Newlyn painters, along with his artist wife Elizabeth Forbes, had created a school that emphasized plein air painting and a truthful depiction of local life, particularly the fishing communities.
Under Forbes's tutelage, Procter honed his skills in draughtsmanship and oil painting. The Newlyn ethos, with its focus on realism and capturing the effects of light and atmosphere, provided a strong technical grounding. It was here, amidst the camaraderie of fellow students and the rugged beauty of the Cornish coast, that Procter’s artistic identity began to take shape. More significantly, it was at Forbes's school that he met Doris Margaret Shaw, a fellow student who would become his wife and a celebrated artist in her own right, known as Dod Procter. Their meeting marked the beginning of a lifelong personal and artistic partnership.
Parisian Sojourn and Formative Influences
Recognizing the importance of exposure to broader European art movements, Ernest, along with Dod Shaw, traveled to Paris in 1910. They enrolled at the Atelier Colarossi, a progressive art academy that, unlike the more conservative École des Beaux-Arts, welcomed female students and offered a less rigid curriculum. Paris at this time was the undisputed center of the art world, buzzing with the revolutionary ideas of Post-Impressionism, Fauvism, and the nascent stirrings of Cubism.
While Procter did not fully embrace the more radical avant-garde styles, his time in Paris undoubtedly broadened his artistic horizons. He would have encountered the work of artists like Paul Cézanne, Henri Matisse, and perhaps even early works by Pablo Picasso and Georges Braque. The emphasis on formal structure, expressive color, and decorative qualities found in much Post-Impressionist art likely resonated with him. He was particularly drawn to the monumental and decorative qualities of muralists like Puvis de Chavannes, whose influence can be discerned in Procter's later large-scale compositions and his approach to figure painting.
The experience in Paris, coupled with his Newlyn training, helped Procter forge a style that was both modern and rooted in tradition. He developed a strong sense of design, a sophisticated color palette, and an ability to imbue his figures with a sense of solidity and presence. In 1912, Ernest Procter and Dod Shaw married, cementing their partnership as they prepared to embark on their professional careers. They returned to Newlyn, a place that would remain central to their lives and work.
The Great War: Pacifism and Artistic Record
The outbreak of the First World War in 1914 profoundly impacted Procter. As a committed pacifist, a conviction likely rooted in his Quaker background, he sought a non-combatant role. He joined the Friends' Ambulance Unit (FAU), a volunteer organization largely composed of Quakers and other conscientious objectors, dedicated to providing medical assistance to soldiers and civilians in war zones.
From 1916 until February 1919, Procter served with the FAU near Dunkirk in Northern France. His experiences on the Western Front were harrowing, witnessing firsthand the devastation and human cost of modern warfare. Despite the demanding and often dangerous nature of his duties, Procter continued to sketch and paint, documenting the landscapes scarred by conflict and the daily life of those caught in its maelstrom.
His wartime works, such as "The Cops Graveyard, Malo" and "Peronne," are poignant records of this period. These paintings are not grand heroic narratives but rather quiet, often somber depictions of the war's aftermath – shattered buildings, desolate landscapes, and the quiet resilience of the human spirit. "The Long Range Bombardment of Dunkirk," another significant work from this time, captures the unsettling atmosphere of a town under siege. These pieces demonstrate his ability to convey powerful emotions through carefully observed detail and a restrained, almost melancholic palette. His war art serves as an important historical and artistic testament to the experiences of those who served in non-combatant roles.
Return to Newlyn and Artistic Flourishing
After his demobilization in 1919, Ernest Procter returned to Newlyn with Dod. The post-war years were a period of significant artistic activity and development for both artists. In 1920, Ernest Procter, along with fellow Newlyn artist Harold Harvey, co-founded the Harvey-Proctor School of Painting in Newlyn. This initiative demonstrated their commitment to fostering artistic talent in Cornwall and continuing the educational legacy of Stanhope Forbes. The school attracted numerous students, further cementing Newlyn's reputation as an artistic hub.
Procter's own work during this period became increasingly diverse. He continued to paint landscapes and figurative subjects, often drawing inspiration from the Cornish environment and its people. His style evolved, incorporating a brighter palette and a more decorative approach, perhaps reflecting a renewed sense of optimism after the war, as well as the ongoing influence of Post-Impressionist aesthetics.
Works like "On the Beach at Newlyn" (1919) showcase his skill in capturing the vibrant light and atmosphere of the coast, combined with a modern sensibility in composition and figure treatment. The painting depicts young women, rendered with a sense of dynamism and confidence, a theme that would recur in his work. Procter often celebrated the female form, portraying women with strength and independence, a departure from more traditional, passive representations.
Masterpieces and Signature Style
Several works from the 1920s and early 1930s stand out as representative of Procter's mature style. "The Mischievous Boy" (circa 1925) is a charming and insightful character study, demonstrating his ability to capture personality and fleeting expressions. His genre scenes, such as "Kitchen at Myrtle Cottage" (1935), reveal an appreciation for the quiet beauty of domestic interiors and everyday life, a subject popular among Newlyn artists like Walter Langley and Frank Bramley in earlier generations, but approached by Procter with a more modern eye for design and color.
"The Orchard" (1934) is another key work, showcasing his skill in landscape painting and his ability to create a harmonious and evocative composition. His paintings often possess a strong decorative quality, with careful attention to pattern, rhythm, and color harmony. This decorative sense found a particularly powerful outlet in his mural work and designs for ecclesiastical settings.
Procter's artistic style is often characterized by its blend of realism and stylization. His figures are solidly rendered, yet there is often an elegance and a slightly mannered quality to their poses and gestures. He was adept at creating complex compositions that are both balanced and dynamic. His interest in the traditions of religious mural painting, particularly the work of early Italian Renaissance masters like Giotto di Bondone, informed his approach to narrative and his desire to create art with a sense of enduring significance. This influence is not about direct imitation but rather a shared interest in clarity, emotional resonance, and a certain monumental quality, even in easel paintings.
Ecclesiastical Commissions: The St Hilary Murals
One of Ernest Procter's most significant and lasting contributions was his work for St Hilary Church, near Marazion in Cornwall. The vicar, Father Bernard Walke, was a charismatic and unconventional figure who aimed to make St Hilary a center for art and spirituality, commissioning works from many artists associated with the Newlyn and Lamorna art colonies.
Between 1929 and 1935, Ernest Procter, often in collaboration with Dod Procter and other artists like Phyllis ("Pog") Yglesias and Annie Walke (Bernard's wife), undertook extensive decorative schemes for the church. Ernest was responsible for designing and painting the striking images on the choir stalls and the main rood screen. These depicted scenes from the lives of Cornish saints, such as St Fingar, St Ia, St Gwinear, and St Kea, rendered in a style that was both modern and deeply respectful of the church's ancient atmosphere.
His designs for St Hilary are characterized by their bold compositions, rich colors, and a narrative clarity that makes the stories of these local saints accessible and engaging. The figures are stylized yet expressive, imbued with a quiet dignity. This project allowed Procter to fully explore his interest in mural painting and decorative art on a grand scale. The St Hilary murals remain a testament to his versatility and his ability to integrate art and spirituality in a meaningful way. They are considered a jewel of 20th-century ecclesiastical art in Britain and a highlight of the later Newlyn artistic output.
Collaborations, Friendships, and Teaching
Ernest Procter's artistic life was deeply intertwined with that of his wife, Dod Procter. While each developed a distinct artistic voice – Dod becoming particularly famous for her striking, almost sculptural portraits of young women, such as "Morning" (1927) – they shared a studio, exhibited together, and undoubtedly influenced each other's work. Ernest was a significant support for Dod, encouraging her studies in Paris and providing guidance. Their home in Newlyn was a hub for artistic activity.
Beyond his partnership with Dod, Procter maintained friendships and professional relationships with many other artists in the vibrant Cornish art scene. These included contemporaries like Laura Knight and her husband Harold Knight, who were also prominent figures in Newlyn and Lamorna. He would have known artists like Alfred Munnings in his earlier Newlyn days, and Lamorna Birch, who became a central figure in the Lamorna valley art community. The older generation of Newlyn pioneers, such as Norman Garstin, also formed part of this interconnected artistic world.
His role as a teacher at the Harvey-Proctor School meant he also influenced a younger generation of artists. Billie Waters, for instance, studied at the school and received technical guidance from Procter. His commitment to art education was an important facet of his contribution to the Cornish art scene. He also participated in broader artistic events, such as the Harrods "Art and Industry" exhibition in 1934, where he and Dod Procter were involved, showcasing the increasing dialogue between fine art and applied design.
Later Years and Enduring Legacy
In 1932, Ernest Procter's contributions to British art were recognized with his election as an Associate of the Royal Academy (ARA). This was a significant honor, affirming his standing within the established art world. He continued to exhibit regularly at the Royal Academy and other prestigious venues.
His work maintained its characteristic blend of thoughtful observation, strong design, and a subtle emotional depth. He remained committed to figurative art, even as more abstract forms of modernism were gaining traction. His art, while modern in its sensibility, never lost its connection to the human figure and the observable world.
Tragically, Ernest Procter's life and career were cut short. He died on October 21, 1935, in North Shields (near his Tynemouth birthplace, where he had gone for health reasons), at the relatively young age of 49. His premature death was a significant loss to British art. He left behind his wife, Dod, and their son, Willmot Aytoun Procter.
Despite his relatively short career, Ernest Procter's legacy is substantial. He was a versatile artist who excelled as a painter of portraits, landscapes, and genre scenes, as well as a gifted designer and muralist. His contributions to the Newlyn School, both as an artist and an educator, were significant. His war art provides a unique and moving perspective on the First World War. The murals at St Hilary Church stand as a major achievement in 20th-century British ecclesiastical art.
Academic evaluation of Ernest Procter acknowledges his originality, his technical skill, and the thoughtful intelligence that underpinned his work. He is seen as an artist who successfully navigated the currents of early 20th-century art, forging a distinctive style that was both modern and deeply connected to artistic traditions. His work continues to be admired for its beauty, its craftsmanship, and its quiet emotional power, securing his place as a distinguished figure among the artists of his generation, a key contributor to the enduring story of the Newlyn art colony, and a respected name in the annals of British painting. His influence can be seen in the continuing appreciation for figurative art that combines strong design with sensitive observation, a tradition carried on by many artists who followed in the rich artistic milieu of Cornwall.
