George Cattermole stands as a significant figure in the landscape of 19th-century British art. Born in the village of Dickleburgh near Diss, Norfolk, on August 10, 1800, and passing away in Clapham Common, London, on July 24, 1868, Cattermole carved a distinct niche for himself primarily as a painter in watercolours and a highly sought-after illustrator. His work, deeply imbued with a sense of history and romantic drama, captured the imagination of the Victorian public and forged important links between the visual arts and the burgeoning literary scene of his time, most notably through his close association with the novelist Charles Dickens. Cattermole's legacy rests on his mastery of the watercolour medium, his evocative depictions of historical and architectural scenes, and his influential contributions to book illustration.
Early Life and Artistic Beginnings
George Cattermole's artistic inclinations emerged early, nurtured within a family environment that appreciated culture and history. His father was a gentleman farmer, and his uncle, the Reverend Richard Cattermole, was an author and theologian who later compiled George's illustrations for Cattermole's Historical Annual (focused on the English Civil War). Perhaps more crucially for his artistic development, another uncle, William Cattermole, was an antiquary. This familial interest in the past likely steered young George towards historical subjects.
His formal artistic training began with an apprenticeship under the architectural draughtsman John Britton. Between 1814 and 1819, Cattermole worked for Britton, producing drawings for the latter's influential publication, Cathedral Antiquities of England. This rigorous training provided him with a profound understanding of architectural forms, perspective, and detail, skills that would become hallmarks of his mature style. His early independent works often reflected this background, focusing on topographical views and architectural studies. This foundation in precise draughtsmanship gave his later, more imaginative works a convincing sense of place and structure.
Ascendancy in Watercolour
Cattermole quickly gravitated towards watercolour, a medium experiencing a golden age in Britain during the early 19th century. He began exhibiting his work at the prestigious Society of Painters in Water Colours (often referred to as the Old Watercolour Society or OWS) in 1822, being elected an Associate that same year. His talent was readily apparent, and he rose to become a full Member of the Society in 1833. The OWS was the premier institution for watercolourists, providing a vital platform for exhibition and professional recognition, standing somewhat apart from the oil-dominated Royal Academy of Arts, though Cattermole did occasionally exhibit works at the RA as well.
While his initial works shown at the OWS continued his focus on architecture, Cattermole soon began to explore more ambitious historical and literary themes. He moved away from purely descriptive topography towards imaginative reconstructions of the past, often infused with drama and human interest. His watercolours became known for their rich, deep tones, dramatic use of light and shadow (chiaroscuro), and vigorous, expressive brushwork. He frequently employed bodycolour (gouache) to achieve opacity and texture, adding to the depth and solidity of his compositions. Works like The Castle Chapel or Hamilton of Bothwellhaugh preparing to shoot the Regent Murray exemplify his ability to create atmospheric and historically evocative scenes. His contemporaries in the watercolour field included masters like Samuel Prout, known for his picturesque European scenes, David Cox, celebrated for his atmospheric landscapes, and Peter De Wint, famed for his broad, tranquil views of the English countryside. Cattermole's focus on historical narrative set him somewhat apart.
The Dickens Connection: Illustrating Literature
One of the most defining aspects of George Cattermole's career was his close professional and personal relationship with Charles Dickens. This collaboration began significantly with Dickens's weekly periodical Master Humphrey's Clock (1840–1841), which serialized The Old Curiosity Shop and Barnaby Rudge. Dickens specifically sought out Cattermole to illustrate the architectural and more atmospheric, historical settings within these novels, complementing the character-focused illustrations primarily provided by Hablot Knight Browne, better known as 'Phiz'. Daniel Maclise also contributed some key illustrations to this project.
Cattermole produced around thirty-nine illustrations for Master Humphrey's Clock. His contributions were pivotal in establishing the mood and setting of crucial scenes. For The Old Curiosity Shop, his depictions of the quiet, antique-filled interiors, the church where Little Nell finds refuge, and ultimately, the poignant images of Little Nell's Death-Bed and Little Nell's Grave, resonated deeply with readers. These images, particularly the final ones, were immensely popular and contributed significantly to the outpouring of public grief over Nell's fate. Dickens himself held Cattermole's work in high regard, writing to the artist about the illustration of Nell's grave, "I am breaking my heart over this story, and cannot bear to finish it."
For Barnaby Rudge, a historical novel set during the Gordon Riots of 1780, Cattermole's expertise in historical architecture was invaluable. His rendering of The Maypole Inn, the ancient hostelry central to the novel's plot, became an iconic image, perfectly capturing the sense of brooding history and impending turmoil. His illustrations for the riot scenes, though less numerous than Phiz's, added a sense of historical weight and architectural context. The collaboration cemented a warm friendship between Dickens and Cattermole, with Dickens often praising the artist's ability to capture the spirit of his text. Cattermole's wife, Clarissa Hester Elderton, whom he married in 1839, was also distantly connected to the Dickens family, further strengthening the bond.
Historical Subjects and Other Illustrations
Beyond the celebrated Dickens illustrations, Cattermole dedicated much of his career to depicting scenes from British and European history, particularly the medieval and Tudor/Stuart periods. His antiquarian interests and architectural training made him particularly adept at rendering castles, baronial halls, and ecclesiastical interiors. He possessed a notable skill in depicting armour, period costumes, and the general paraphernalia of bygone eras, lending authenticity to his historical reconstructions.
He provided illustrations for his brother Richard Cattermole's Historical Annual: The Great Civil War of Charles I and the Parliament (published in two volumes, 1841 and 1845), showcasing his deep engagement with this tumultuous period of English history. He also contributed illustrations to editions of Sir Walter Scott's Waverley Novels, another cornerstone of 19th-century historical romanticism. Scott's tales of chivalry, conflict, and Scottish history provided fertile ground for Cattermole's imagination.
His standalone historical watercolours were highly regarded and widely exhibited. Titles such as Sir Walter Raleigh Witnessing the Execution of Essex, The Diet of Spiers (depicting a key event of the Protestant Reformation), Old English Hospitality, and The Unwelcome Return demonstrate the range of his historical interests. He often focused on moments of high drama, quiet contemplation within historical settings, or scenes evoking the perceived romance and chivalry of the past. His depiction of Macbeth Instructing The Murderers Employed To Kill Banquo shows his engagement with Shakespearean themes, rendered with characteristic dramatic intensity. These works appealed strongly to the Victorian taste for history painting, which offered both escapism and a sense of national identity.
Style, Technique, and Critical Reception
Cattermole's artistic style is firmly rooted in the Romantic movement. His work prioritizes emotion, drama, and atmosphere over neoclassical restraint or topographical accuracy. He excelled at depicting movement and energy, whether in scenes of battle, revelry, or tense confrontation. His figures, while sometimes criticized for anatomical imprecision, are usually expressive and effectively convey the narrative's emotional core. His command of architectural settings was exceptional, providing solid, believable stages for his historical dramas. He understood how light and shadow could be manipulated to create mood, often employing deep shadows and selective highlights to heighten the dramatic effect.
His technique in watercolour was bold and often experimental for its time. He worked with a loaded brush, applying rich washes of colour and frequently using bodycolour (gouache) mixed with his watercolours to achieve density and texture, particularly in architectural elements, armour, and fabrics. He was also known to scrape or scratch the surface of the paper to create highlights or textural effects. This robust handling gave his watercolours a power and presence often associated with oil painting.
However, this very vigour sometimes drew criticism. Some critics, including the influential John Ruskin, while admiring Cattermole's power and imagination, occasionally found fault with his perceived lack of finish or detailed accuracy, particularly in his figures. Ruskin acknowledged Cattermole's genius for composition and effect but lamented what he saw as haste or carelessness in execution compared to the meticulous detail favoured by artists like the Pre-Raphaelites (John Everett Millais, Dante Gabriel Rossetti, William Holman Hunt), who were emerging during the later part of Cattermole's career. Despite these critiques, Cattermole remained highly popular with the public and many collectors. His ability to tell a story visually and evoke a powerful sense of the past secured his reputation. Later in his career, around the 1860s, Cattermole did turn increasingly towards oil painting, but these works are generally considered less successful and less characteristic than his watercolours.
Recognition, Reputation, and Contemporaries
George Cattermole enjoyed considerable recognition during his lifetime. His long association with the Old Watercolour Society placed him at the heart of the British watercolour establishment. His work was consistently exhibited and generally well-received. His reputation extended beyond Britain; he was awarded prestigious first-class medals at the Paris Exposition Universelle in 1855 (one for his historical watercolours, another possibly related to his Civil War series), a rare honour for a British artist at the time, especially achieving it twice. He was also elected a member of the Royal Academy of Amsterdam and the Royal Belgian Society of Watercolourists, indicating significant international esteem.
Within the British art scene, he moved in prominent circles. His friendship with Dickens connected him to the literary world, while his OWS membership placed him among leading watercolourists like David Cox, Peter De Wint, and Samuel Prout. He collaborated successfully with fellow illustrators like Phiz (Hablot Knight Browne) and Daniel Maclise on the Dickens projects. However, relationships could also involve rivalry. There is evidence suggesting Phiz sometimes felt overshadowed by Cattermole's prominence in Master Humphrey's Clock and subtly competed for attention within the publication's design.
Cattermole was also seen as a contemporary and perhaps rival to artists like Joseph Nash, who also specialized in historical interiors and architectural views, famously documented in his Mansions of England in the Olden Time. While Nash was sometimes disparagingly labelled a "miniature scene-painter" by figures like William Makepeace Thackeray, both he and Cattermole catered to the strong Victorian market for nostalgic depictions of Britain's past. Cattermole's dramatic flair arguably set him apart from Nash's more descriptive approach. His work existed alongside the grand landscapes of J.M.W. Turner (who also worked extensively in watercolour) and John Constable, the narrative genre scenes of Sir David Wilkie, the popular animal paintings of Sir Edwin Landseer, and the detailed contemporary panoramas of William Powell Frith. Cattermole's specific focus on historical watercolour drama gave him a unique position within this diverse artistic landscape.
Personal Life and Later Years
Cattermole's personal life included both successes and difficulties. His marriage to Clarissa Elderton produced a large family, with several children. He maintained a sociable presence within London's artistic and literary circles, fostered by his friendship with Dickens and others. However, his later years seem to have been marked by financial worries and possibly personal troubles.
A significant event was his resignation from the Old Watercolour Society in 1850. The exact reasons remain somewhat unclear but may have involved disputes over the Society's policies, personal disagreements, or perhaps financial pressures impacting his ability to meet membership obligations. This withdrawal from the institution that had been central to his career was a notable disruption. He did, however, eventually reconcile with the Society and continued to be associated with it. His final years were spent in Clapham Common, where he died relatively suddenly from heart disease in July 1868, aged 67.
Legacy and Influence
George Cattermole left a distinct mark on British art, particularly in the fields of historical watercolour painting and literary illustration. He was a pioneer in using watercolour for large, ambitious historical compositions, demonstrating the medium's capacity for drama, rich colour, and atmospheric effect, challenging the traditional dominance of oil paint for such subjects. His vigorous technique and romantic sensibility influenced subsequent generations of watercolourists and historical painters.
His influence is clearly visible in the work of artists like Joseph Nash, whose depictions of historical architecture owe a debt to Cattermole's approach. More broadly, Cattermole helped popularize historical subjects, feeding the Victorian fascination with the nation's past, particularly the medieval and Civil War periods. His work captured a sense of romantic nostalgia, chivalry, and drama that resonated with the era's sensibilities.
Perhaps his most enduring legacy lies in his illustrations, especially those for Charles Dickens. His atmospheric renderings of key scenes in The Old Curiosity Shop and Barnaby Rudge became inseparable from the public's perception of these novels. He demonstrated the power of illustration not merely to decorate a text but to interpret and amplify its emotional and atmospheric core. This close integration of image and text contributed significantly to the development of book illustration as a respected art form in the 19th century. Cattermole successfully bridged the gap between fine art and popular visual culture, bringing historical scenes and literary moments vividly to life for a wide audience.
Conclusion
George Cattermole was a quintessential Victorian artist, whose work reflected the era's romanticism, its fascination with history, and the growing synergy between literature and the visual arts. As a master watercolourist, he pushed the boundaries of the medium, creating powerful and atmospheric historical scenes. As an illustrator, particularly in his collaboration with Charles Dickens, he created iconic images that shaped the public's experience of some of the century's most beloved novels. Though perhaps less universally known today than some of his contemporaries like Turner or the Pre-Raphaelites, Cattermole's skill, imagination, and significant contribution to both historical painting and the art of illustration secure his place as an important and influential figure in 19th-century British art history. His dramatic and evocative depictions of the past continue to engage viewers, offering a window into the artistic and cultural preoccupations of his time.
