Frederick Richard Pickersgill R.A. stands as a significant, if sometimes overlooked, figure in the rich tapestry of nineteenth-century British art. A painter and illustrator of considerable talent and renown in his time, he navigated the shifting artistic currents of the Victorian era, leaving behind a body of work that reflects both the academic traditions he embraced and the romantic literary spirit that captivated his age. His career, spanning several decades, saw him achieve notable successes, including prestigious commissions and the esteemed position of Keeper of the Royal Academy. This exploration delves into his life, artistic development, key works, and his place within the vibrant artistic milieu of his contemporaries.
Early Life and Artistic Lineage
Born in London on September 25, 1820, Frederick Richard Pickersgill was immersed in an artistic environment from his earliest years. His family background was steeped in the arts, providing a nurturing ground for his burgeoning talents. His father, Richard Pickersgill, was a naval officer who also possessed a keen interest in painting as an amateur. More significantly, his mother, Anne, was the sister of William Frederick Witherington (1785-1865), a respected landscape and rustic genre painter and a Royal Academician. This familial connection proved pivotal, as Witherington became young Frederick's first formal art instructor, guiding his initial forays into drawing and painting.
The Pickersgill name was already well-established in British art circles. Frederick Richard Pickersgill's uncle (his father's brother) was Henry William Pickersgill (1782-1875), one of the most sought-after and prolific portrait painters of his generation, also a Royal Academician. While Henry William's focus was primarily portraiture, the family's overall artistic eminence undoubtedly created an atmosphere where a career in the arts was seen as a viable and respectable pursuit. This environment, rich with artistic discourse and practice, provided a strong foundation for the young artist.
Under the tutelage of William Frederick Witherington, Pickersgill would have been exposed to the principles of landscape painting and the depiction of rural life, which Witherington excelled in. This early training likely instilled in him a solid grounding in observation and draughtsmanship. However, Frederick's own artistic inclinations would soon lead him towards historical and literary subjects, a path distinct from his uncle Witherington's primary focus.
Academic Ascent and Early Successes
Driven by his ambition and talent, Frederick Richard Pickersgill enrolled as a student at the prestigious Royal Academy Schools on November 2, 1840. The Royal Academy was the paramount institution for artistic training and exhibition in Britain, and admission to its schools was a significant step for any aspiring artist. Here, he would have followed a rigorous curriculum based on drawing from the antique, life drawing, and the study of Old Masters. This academic training emphasized anatomical accuracy, compositional harmony, and the grand manner of historical painting.
During his time at the RA Schools, he would have been aware of, and likely influenced by, established Academicians such as William Etty (1787-1849), renowned for his historical and mythological scenes featuring lush nudes and rich colouring. Etty's influence, particularly in the handling of flesh tones and dynamic compositions, can be discerned in some of Pickersgill's earlier figure subjects.
Pickersgill quickly made his mark. He began exhibiting at the Royal Academy in 1839, even before formally becoming a student, with a work titled The Brazen Age. His talent was recognized early, and his career progressed steadily. A significant early success came in 1843 when he won a prize in the cartoon competition for the decoration of the new Houses of Parliament with his work The Death of King Lear. This competition was a major national event, intended to foster a British school of history painting and to adorn the iconic new seat of government with scenes from British history and literature.
This success was followed by an even more important achievement in 1847. In another Westminster competition, Pickersgill's monumental oil painting, The Burial of Harold at Waltham Abbey (also known as The Burial of Harold), won a first-class prize of £500. This painting, depicting the poignant aftermath of the Battle of Hastings, was widely acclaimed for its dramatic composition, historical accuracy, and emotional depth. Its success was such that it was purchased for the nation and subsequently adapted as one of the frescoes for the Poets' Hall in the Houses of Parliament, cementing Pickersgill's reputation as a leading historical painter. The same year, 1847, saw his election as an Associate of the Royal Academy (ARA), a significant honour for an artist still in his twenties. A decade later, in June 1857, he was elevated to the status of full Royal Academician (RA).
Artistic Style and Thematic Concerns
Frederick Richard Pickersgill's art is characterized by its strong narrative content, often drawn from literature, history, and religious texts. He was particularly drawn to subjects from Shakespeare, Spenser, and Milton, reflecting the Victorian era's deep reverence for these literary giants. His paintings typically feature carefully delineated figures, rich, often jewel-like colours, and a meticulous attention to detail in costume and setting.
His style can be described as broadly academic, adhering to the principles of composition and draughtsmanship he learned at the Royal Academy. However, there are also elements that align with the romantic sensibilities of the period. His works often convey a sense of drama, pathos, or idealized beauty. While not a member of the Pre-Raphaelite Brotherhood (PRB), which emerged in 1848, Pickersgill's work sometimes shared their interest in literary themes, bright palettes, and detailed rendering, though generally without their intense naturalism or symbolic complexity. He was a contemporary of the PRB founders John Everett Millais, William Holman Hunt, and Dante Gabriel Rossetti, and their revolutionary approach to art would have been a significant part of the artistic discourse of the time.
Pickersgill was sometimes referred to as a "German-style artist," suggesting an influence from contemporary German art, particularly the Nazarene movement. Artists like Friedrich Overbeck and Peter von Cornelius, who sought to revive Christian art through a style inspired by early Renaissance masters like Raphael and Perugino, were influential in Britain. Their emphasis on clear outlines, spiritual themes, and a certain linearity can be seen as a parallel to some aspects of Pickersgill's work, especially in his illustrations. The illustrator Moritz Retzsch, known for his outline illustrations to Shakespeare and Goethe, was also popular in Britain and may have influenced Pickersgill's graphic work.
His historical paintings, such as The Burial of Harold, aimed for a degree of archaeological accuracy in costume and setting, a common concern among Victorian historical painters like Daniel Maclise and Charles West Cope, who were also involved in the Westminster Palace decorations. Works like Samson Betrayed (1850) and The Death of Francesco Foscari, Doge of Venice (exhibited RA 1854) further exemplify his engagement with dramatic historical and biblical narratives.
A Master Illustrator
Beyond his large-scale oil paintings, Frederick Richard Pickersgill was a highly accomplished and prolific illustrator. Book illustration was a flourishing field in the Victorian era, and many prominent artists contributed to illustrated editions of popular and classic texts. Pickersgill's talents were well-suited to this medium, allowing him to explore a wide range of subjects and to reach a broader public.
One of his most significant contributions to book illustration was his work for Edward Moxon's lavishly illustrated edition of Alfred Tennyson's Poems, published in 1857. This landmark volume, often referred to as the "Moxon Tennyson," brought together some of the leading artists of the day, including several Pre-Raphaelites like Millais, Rossetti, and Hunt, alongside more established academicians like Pickersgill, William Mulready, and Clarkson Stanfield. Pickersgill contributed several designs, including illustrations for "The Lady of Shalott" (different from the PRB interpretations) and "Mariana in the South." His inclusion in this prestigious project underscores his standing in the art world.
He also provided illustrations for S.C. Hall's Book of British Ballads (first published 1842-44, with later editions), a popular anthology that showcased the work of numerous artists. His designs for John Milton's Poetical Works (e.g., Comus, 1858) and for editions of Spenser were also notable. His illustrations often displayed a strong sense of design, clear storytelling, and an ability to capture the mood and atmosphere of the literary source. He was adept at depicting romantic and chivalric scenes, as well as moments of quiet contemplation or dramatic intensity.
Other literary works he illustrated include an edition of Edgar Allan Poe's Poetical Works (1858) and Philip Massinger's play The Virgin Martyr. His illustrations for The Decameron also highlight his skill in rendering narrative scenes with a certain elegance and decorative quality. His work as an illustrator demonstrates his versatility and his deep engagement with literature, which remained a constant source of inspiration throughout his career.
The Keeper of the Royal Academy
A significant chapter in Pickersgill's career was his tenure as Keeper of the Royal Academy. He was elected to this important and demanding position in 1873, succeeding Charles Landseer, and held it until his retirement in 1887. The Keeper was responsible for the day-to-day management of the Royal Academy Schools, including the supervision of students, the arrangement of classes (including the life school), and the general discipline and welfare of the student body. The Keeper also had official residences within Burlington House, the home of the Royal Academy.
This role required considerable administrative skill, pedagogical insight, and a deep commitment to the institution. As Keeper, Pickersgill would have overseen the training of a new generation of artists, guiding them through the academic curriculum. His own training and successful career as an Academician made him well-suited for this responsibility. During his time as Keeper, he would have worked alongside successive Presidents of the Royal Academy, including Sir Francis Grant and then Sir Frederic Leighton.
The position was demanding and likely curtailed his own artistic output to some extent, as administrative and teaching duties would have consumed much of his time. However, it also placed him at the heart of the British art establishment, influencing the direction of art education. His contemporaries in academic circles included figures like Edward Poynter, who later became President, and historical painters such as Edward Matthew Ward and Alfred Elmore, who, like Pickersgill, often drew inspiration from historical and literary subjects. John Phillip, known for his vibrant scenes of Spanish life, was another notable RA contemporary.
Later Life and Legacy
In 1878, Pickersgill's first wife, Mary Hook (daughter of the artist James Clarke Hook R.A., a marine and genre painter), passed away. This personal loss, coupled perhaps with the demands of his role as Keeper, may have contributed to his decision to retire from the Keepership in 1887. Upon his retirement, he moved from London to "The Towers" in Yarmouth, on the Isle of Wight, a picturesque location that offered a more tranquil life away from the bustle of the capital.
Even in retirement, he continued to paint, though perhaps at a slower pace. He also remarried. His second wife was Rosalind Lucy Fenton, the daughter of the pioneering photographer Roger Fenton, who was himself a significant figure in the history of British art and photography. Sadly, Rosalind died young in 1890, at the age of 28, another personal tragedy for the artist.
Frederick Richard Pickersgill passed away at his home on the Isle of Wight on December 20, 1900, at the age of 80. He had lived through a period of immense change in the art world, from the dominance of academic history painting to the rise of Pre-Raphaelitism, Aestheticism, and the beginnings of modern art movements.
His legacy is that of a highly skilled and respected Victorian artist who excelled in both large-scale historical and literary paintings and in the more intimate medium of book illustration. His works are held in various public collections, including the Royal Academy of Arts, the Victoria and Albert Museum, and regional galleries throughout the United Kingdom. While his name may not be as instantly recognizable today as some of his more revolutionary contemporaries like the Pre-Raphaelites, or later figures like George Frederic Watts, his contributions to Victorian art were substantial.
It is important to note a common point of confusion: the first commercially produced Christmas card, designed in 1843, is often misattributed. It was, in fact, designed by John Callcott Horsley R.A., a contemporary and fellow Academician of Pickersgill, and commissioned by Sir Henry Cole. Pickersgill was not involved in this particular innovation, though he was active as an illustrator during this period.
Pickersgill and His Contemporaries: A Wider View
To fully appreciate Pickersgill's position, it's useful to consider him within the broader context of his artistic peers. He was part of a generation of artists who upheld the traditions of the Royal Academy while also responding to the literary and historical interests of the Victorian public.
His uncle, Henry William Pickersgill, was a dominant force in portraiture, painting many of the leading figures of the day. William Frederick Witherington, his other uncle and first teacher, was a respected landscape artist, part of a tradition that included figures like John Constable and Thomas Creswick.
In the realm of historical painting, Pickersgill's contemporaries at the Royal Academy included Daniel Maclise, Charles West Cope, Edward Matthew Ward, and Alfred Elmore. These artists often vied for public commissions, such as the Houses of Parliament decorations, and their works frequently graced the walls of the RA's annual exhibitions. Their subjects were drawn from British history, Shakespeare, and other literary sources, reflecting a shared cultural landscape.
The emergence of the Pre-Raphaelite Brotherhood in 1848, with John Everett Millais, William Holman Hunt, and Dante Gabriel Rossetti at its core, presented a radical challenge to academic conventions. While Pickersgill did not join their ranks, he worked alongside them on projects like the Moxon Tennyson, indicating a degree of mutual respect or at least professional coexistence. The PRB's emphasis on truth to nature, brilliant colour, and complex symbolism had a profound impact on British art, and even artists who did not fully embrace their principles were likely influenced by the debates they sparked.
Later in his career, figures like Frederic Leighton, Edward Burne-Jones (associated with the second wave of Pre-Raphaelitism), Lawrence Alma-Tadema, and George Frederic Watts came to dominate the art scene with their classical, allegorical, and aesthetic subjects. Pickersgill, as Keeper of the RA, would have been a senior figure during the ascendancy of these artists.
His work as an illustrator connected him to a wide circle of artists and writers. The field of illustration was vibrant, with artists like John Tenniel (illustrator of Alice's Adventures in Wonderland), George Cruikshank, and Hablot Knight Browne ("Phiz," Dickens's illustrator) enjoying widespread popularity. Pickersgill's contributions to illustrated books placed him among the leading practitioners in this field.
Conclusion
Frederick Richard Pickersgill R.A. was an artist of considerable merit who made significant contributions to British art in the 19th century. From his early successes in the Westminster competitions to his long and dedicated service as Keeper of the Royal Academy, he embodied many of the ideals and aspirations of the Victorian art establishment. His paintings, characterized by their literary and historical themes, skilled draughtsmanship, and rich colouring, found favour with the public and critics of his time. As an illustrator, he brought classic texts to life for a wide readership, demonstrating his versatility and imaginative power.
While the artistic tastes of subsequent generations have sometimes favoured more avant-garde figures, a reassessment of Victorian academic art reveals the skill, intelligence, and cultural significance of artists like Pickersgill. He navigated a complex and evolving art world with professionalism and dedication, leaving behind a legacy that enriches our understanding of Victorian visual culture. His life and work offer a fascinating window into an era when art, literature, and history were deeply intertwined, and when artists sought to instruct, inspire, and delight a rapidly changing society.
