George Bryant Campion (1796-1870) stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British art. A prolific watercolourist, he carved a distinct niche for himself through his evocative landscapes, detailed topographical views, and, notably, his meticulous depictions of military life and uniforms. His career spanned a period of dynamic change in British art, witnessing the continued ascendancy of watercolour as a serious medium and the public's enduring fascination with both the picturesque beauty of the British Isles and the martial prowess of its forces. Campion was not merely a passive observer of these trends; he was an active participant, a founding member of an influential art society, and a dedicated draughtsman whose work provides invaluable visual records of his time.
Early Career and Focus on the Picturesque
Born in 1796, Campion emerged as an artist during a period when the legacy of earlier watercolour masters like Paul Sandby and Thomas Girtin had firmly established the medium. The early part of his career was largely dedicated to landscape and topographical painting, subjects that were immensely popular with both the public and patrons. Artists like J.M.W. Turner and John Constable, though working on a grander scale and often in oils, had elevated landscape painting to new heights, and a host of watercolourists, including David Cox and Peter De Wint, were capturing the varied scenery of Britain with remarkable skill and sensitivity.
Campion's early works fit within this tradition, showcasing a keen eye for the natural world and the ability to render specific locations with accuracy and charm. He travelled and sketched, capturing the essence of the British countryside. His topographical works were not just pretty pictures; they served as important records of places, often before significant industrial or urban development altered them. This aspect of his work connected him to a long line of artists who documented the architectural and natural heritage of the nation. His skill in this area would later inform his military drawings, where accuracy of setting was often as crucial as the depiction of figures.
The New Society of Painters in Water Colours
A pivotal moment in Campion's career, and for the broader watercolour movement, was his involvement with the New Society of Painters in Water Colours. This society was established in 1831 (though Campion is noted as a founder in 1837, likely referring to a re-establishment or his formal election to a significant role) as an alternative to the older Society of Painters in Water Colours (founded in 1804, often called the "Old Watercolour Society"). The New Society provided an important exhibition venue for artists who may not have found a place in the more established institution or the Royal Academy.
Campion was not just a member; he is cited as one of the founders or earliest significant figures in the New Society, which later became the Royal Institute of Painters in Water Colours. His association with this body underscores his commitment to the medium and his standing among his peers. Fellow members and exhibitors would have included artists like Henry Warren, who became its president, Louis Haghe, known for his architectural subjects and lithography, and Joseph John Jenkins, who also served as secretary. Exhibiting alongside such contemporaries provided Campion with a platform to showcase his evolving style and subject matter, and to engage with the prevailing artistic currents of the day.
A Shift Towards Military Themes
While Campion continued to paint landscapes throughout his career, he became increasingly renowned for his military subjects. This was a significant development, aligning his work with a genre that had a long and distinguished history in Britain, particularly in an era of colonial expansion and European conflicts. Artists like Denis Dighton, who was Military Painter to the Prince Regent, and later, Lady Butler (Elizabeth Thompson), captured the drama and human element of warfare. Campion's approach, however, often focused on the meticulous depiction of military life, exercises, and especially, the intricate details of uniforms.
His position as a drawing master at the Royal Military Academy, Woolwich, was instrumental in this shift. Woolwich was a key training ground for artillery and engineering officers, and Campion's role there would have immersed him in the visual culture of the military. He produced numerous studies of soldiers, their attire, and their equipment. These were not just artistic exercises; they were valuable records of the evolving nature of military dress and regalia. His attention to detail in these works is remarkable, providing a rich resource for historians of military costume. This focus also distinguished him from many landscape painters of his era, giving him a specialized area of expertise.
Notable Works and Series
George Bryant Campion's oeuvre is diverse, reflecting his varied interests and commissions. Several key works and series highlight his artistic contributions.
His early topographical and landscape works included numerous scenes from across Britain. He is known to have painted evocative watercolours of Irish landscapes, capturing the scenery of counties like Tipperary, Kilkenny, and Cork. These works would have appealed to the contemporary taste for picturesque travel and the romantic appreciation of wilder, more remote landscapes. His series of paintings depicting Windsor Forest also stands out, showcasing his ability to capture the sylvan beauty and historical resonance of this royal demesne. These works place him in the company of other artists who were drawn to Windsor, such as William Evans of Eton.
In the realm of military art, his series of lithographs titled The Royal Artillery is particularly significant. Lithography was a popular medium for disseminating images widely, and this series would have showcased the activities and appearance of this important branch of the British Army. These prints combined his artistic skill with his deep knowledge of military subjects. His illustrations for Ackermann's Repository, particularly those related to the Crimean War, further demonstrate his engagement with contemporary military events. Rudolph Ackermann was a prominent publisher, and his Repository of Arts, Literature, Commerce, Manufactures, Fashions and Politics was a highly influential periodical. Campion's contributions would have brought scenes of the war, or aspects related to it, to a wider public.
A notable publication featuring his work is Sketches of the picturesque character of Great Britain from nature and on stone. This title suggests a collection of lithographs, again highlighting his use of printmaking to reach a broader audience. Such collections often featured a variety of scenes, from natural landscapes to depictions of local customs and characters, and Campion's work on Welsh costume and customs falls into this category, providing valuable social and cultural documentation.
Individual paintings also mark his career. The Drinking Fountains of Campagna Romana (1854) indicates his travels or interest in Italian scenes, a common pursuit for British artists. Works like Moat Park Review (1837) would have directly reflected his military interests, depicting specific events or manoeuvres. Lewes Crescent (1838) shows his ability to capture urban landscapes and coastal scenes, in this case, the elegant architecture of Brighton. A piece like Fishermen and Boats on the Shore at Hastings (1849) demonstrates his continued engagement with maritime and coastal life, a popular theme in British art. While a specific work titled A Landscape Across a Stream is not definitively identified with a precise date in all records, many of his landscapes naturally featured such elements, typical of the picturesque tradition he often worked within.
Artistic Style and Technique
Campion was, first and foremost, a watercolourist. His style is generally characterized by a clear, precise draughtsmanship, which was essential for both his topographical views and his detailed military studies. He handled the watercolour medium with considerable skill, achieving both delicate atmospheric effects in his landscapes and crisp, accurate detail in his depictions of uniforms and architecture.
His compositions are typically well-balanced, guiding the viewer's eye through the scene effectively. In his landscapes, he often employed conventional picturesque framing devices, but his observation of natural detail was acute. When depicting military formations or reviews, his ability to manage complex groups of figures and maintain clarity was paramount. The colours in his work are generally naturalistic, though he could employ a richer palette when the subject demanded, such as in the vibrant hues of military uniforms.
His work in lithography, as seen in The Royal Artillery and Sketches of the picturesque character of Great Britain, demonstrates his adaptability to different media. Lithography allowed for a softer, more tonal quality than engraving, and Campion exploited its potential to reproduce the subtleties of his original drawings. His dedication to accuracy, whether in rendering the specific foliage of a tree, the cut of a soldier's coat, or the architectural features of a building, is a consistent hallmark of his style.
Collaborations and Artistic Milieu
While direct, sustained collaborations in the modern sense might be less documented, Campion operated within a vibrant artistic community. His work as an illustrator and printmaker inherently involved collaboration with publishers like Rudolph Ackermann and engravers or lithographic printers. For instance, his original watercolours for the Englands Topographer series (published 1828-1831) were translated into steel engravings by artists such as John Rogers. This relationship between painter and engraver was crucial for the dissemination of images before the advent of photography.
His participation in exhibitions, particularly with the New Society of Painters in Water Colours, placed him in direct dialogue with his contemporaries. He would have exhibited alongside and been familiar with the work of artists like the aforementioned Henry Warren, Louis Haghe, and Joseph John Jenkins, as well as others active in the society such as Thomas Shotter Boys, known for his picturesque European cityscapes, and Aaron Edwin Penley, who also became known for his instructional books on watercolour.
The art world of 19th-century London was a relatively close-knit environment. Campion would have been aware of the major figures in landscape painting like Turner and Constable, even if his own work operated on a different scale and with different primary aims. His military subjects connected him to a tradition that included artists like William Heath, known for his Napoleonic era caricatures and battle scenes, and later, the more academic military painters. His topographical work can be seen in the lineage of artists like Samuel Prout, celebrated for his picturesque architectural drawings of Britain and the Continent. The fact that his works appear in auction catalogues alongside artists like George Campbell, an Irish painter of a later generation, speaks to the enduring collectability of his art across different contexts. He also exhibited alongside artists focusing on different genres, such as Eugenio H. Latilla, whose work George the third administering consolation to a dying Gypsy was shown in the same 1839 exhibition as Campion's Windsor Forest.
Legacy and Historical Evaluation
George Bryant Campion died in 1870, leaving behind a substantial body of work. His contributions to British art are multifaceted. As a landscape and topographical artist, he captured the character of the British Isles with skill and sensitivity, contributing to the rich tradition of watercolour painting. His views of Ireland, Wales, and various English locales remain valuable historical and artistic records.
His most distinctive legacy, however, arguably lies in his military art. His meticulous studies of uniforms, his depictions of military exercises, and his illustrations of contemporary conflicts provide an invaluable visual archive for military historians. The precision and detail in these works are exceptional, reflecting his direct involvement with the Royal Military Academy at Woolwich. In an era before widespread photographic documentation, such paintings and prints played a crucial role in shaping public understanding and memory of military life.
Campion's role as a founding member of the New Society of Painters in Water Colours also marks him as an important figure in the institutional history of British art. This society provided a vital platform for watercolourists, helping to elevate the status of the medium.
Today, Campion's works are held in various public and private collections. They appear regularly at auction, where they are appreciated for their historical interest, technical skill, and aesthetic appeal. While he may not have achieved the towering fame of some of his contemporaries, his dedicated career and specialized expertise ensure his place as a respected and significant artist of the 19th century. His paintings and prints continue to offer insights into the landscapes, social customs, and military culture of Victorian Britain, securing his enduring relevance. His work serves as a testament to a diligent and talented artist who successfully navigated the artistic currents of his time, leaving a legacy rich in detail and historical significance.
