George Edwards Hering stands as a notable figure in the landscape of nineteenth-century British art. Though perhaps not as universally recognized today as some of his towering contemporaries like J.M.W. Turner or John Constable, Hering carved a distinct niche for himself, particularly through his evocative and sun-drenched depictions of Italian scenery. His life was one of artistic dedication, extensive travel, and a consistent output that found favour with both the public and discerning collectors, including royalty. This exploration delves into the life, work, artistic milieu, and lasting legacy of a painter who skillfully captured the allure of foreign lands for a captivated Victorian audience.
Early Life and an Unlikely Path to Art
Born in London in 1805, George Edwards Hering's lineage hinted at a connection to the world of arts and letters, albeit not directly through painting. His father was a German craftsman, specifically a bookbinder, who had emigrated from Göttingen and established himself in London. This background might have instilled in the young Hering an appreciation for meticulous work and perhaps an exposure to the illustrated books that were becoming increasingly popular. However, tragedy struck early in his life with the premature death of his father. This unfortunate event necessitated a practical career path for the young man.
Consequently, Hering's initial foray into the professional world was not in an artist's studio but in the more conventional and secure environment of a banking house. For several years, he applied himself to the ledgers and accounts, a profession that, while offering stability, likely did little to ignite the artistic passions that lay dormant within him. The discipline and attention to detail required in banking, however, may have inadvertently honed skills that would later serve him well in the precise rendering of landscapes. The call of art, however, proved too strong to ignore indefinitely. Dissatisfied with the routine of finance, Hering made the pivotal decision to abandon his banking career and pursue his true vocation: painting.
Artistic Awakening: Munich and the Italian Dream
The transition from banking to art was not merely a whimsical change but a committed pursuit. Hering sought formal training to develop his nascent talent. Around 1829, he made his way to Munich, then a burgeoning centre for the arts in Europe, attracting students and artists from across the continent. He enrolled in the Munich Art School, where he would have been exposed to the prevailing German Romantic landscape tradition, perhaps encountering the work or influence of artists like Carl Rottmann, who was also known for his atmospheric depictions of Italy and Greece, or the legacy of earlier figures like Joseph Anton Koch, whose heroic landscapes had a profound impact.
His time in Munich was crucial, but the magnetic pull of Italy, the ultimate destination for landscape artists seeking classical inspiration and picturesque beauty, was undeniable. A significant opportunity arose through the patronage of Lord Erskine, who, recognizing Hering's potential, provided the financial means for him to travel to Venice. This city, a jewel of the Adriatic, with its shimmering canals, unique architecture, and luminous light, had captivated artists for centuries, from Canaletto and Guardi to Hering's own contemporary, J.M.W. Turner, whose Venetian scenes were already legendary. For Hering, Venice marked the true beginning of his lifelong love affair with Italian landscapes. He immersed himself in the atmosphere, sketching and painting, absorbing the lessons of light and colour that would define his mature style.
Extensive Travels: Beyond the Italian Peninsula
Hering spent approximately two years in Italy, a period of intense study and artistic development. His travels were not confined to Venice; he journeyed extensively, exploring the diverse regions of the Italian peninsula, from the majestic ruins of Rome to the idyllic coastal towns and serene lakes. He ventured further, exploring the Mediterranean coast, reaching as far as Constantinople (modern-day Istanbul) and Sinope on the Black Sea coast of Turkey. These expeditions provided him with a rich repository of sketches and visual memories that would fuel his paintings for years to come. Such travels were characteristic of many artists of the period, including David Roberts, who was renowned for his depictions of Egypt and the Near East.
A particularly noteworthy chapter in Hering's travels involved a journey through Hungary and Transylvania, traversing the dramatic landscapes of the Carpathian Mountains. This expedition was undertaken in the company of John Paget, an English writer and agriculturalist, and another companion, William Sanford. Paget would later publish an account of their travels, "Hungary and Transylvania; with Remarks on their Condition, Social, Political, and Economical" (1839), which featured illustrations based on Hering's sketches. This journey to less-trodden paths distinguished Hering, offering him unique subject matter that was relatively fresh to the British art public, contrasting with the more familiar Italian scenes.
Settling in London: A Professional Landscape Painter
Upon his return to England, George Edwards Hering established himself in London, ready to embark on a career as a full-time professional landscape painter. The experiences and sketches accumulated during his extensive travels formed the bedrock of his artistic output. He began to exhibit his work regularly, making his debut at the prestigious Royal Academy of Arts in 1836 with a painting titled "Ruins of the Palace of the Caesars, Rome." This was a classic subject, appealing to the Victorian taste for historical and picturesque views, and its acceptance marked his entry into the mainstream British art world.
From this point onwards, Hering became a consistent contributor to the exhibitions at the Royal Academy and the British Institution, another important venue for artists to display and sell their work. He also exhibited at other galleries, gradually building his reputation. While London was his base, his heart, or at least his artistic muse, frequently returned to Italy. He made regular trips back to the Italian peninsula, revisiting favourite locales and discovering new vistas to capture on canvas. This sustained connection ensured a continuous supply of fresh inspiration and maintained the Italian focus that became his hallmark. His dedication to his craft was evident, and he became a familiar name among the ranks of Victorian landscape painters such as Thomas Creswick, Clarkson Stanfield, and William Leighton Leitch, all of whom enjoyed considerable popularity.
Artistic Style: Capturing Light and Atmosphere
George Edwards Hering's artistic style is characterized by its clarity, pleasing compositions, and a particular sensitivity to light and atmosphere, especially the luminous qualities of the Italian climate. His works are generally less dramatic or sublime in the vein of Turner, and less concerned with the rustic naturalism of Constable. Instead, Hering's paintings often evoke a sense of tranquil beauty and picturesque charm, aligning him more with the tradition of artists like Richard Parkes Bonington or Samuel Prout in their appreciation for scenic views, though Hering's focus was more purely on landscape than Prout's architectural emphasis.
His brushwork, while capable of detailed rendering, often possessed a certain freedom and fluidity that contributed to the overall freshness of his scenes. He had a fine sense of colour, employing a palette that effectively conveyed the warmth of the Mediterranean sun and the cool, clear tones of its waters and skies. Italian lakes, such as Como, Maggiore, and Garda, were recurrent subjects, their shimmering surfaces reflecting the surrounding mountains and villas, often bathed in a soft, golden light. He was adept at capturing the interplay of light and shadow, defining forms and creating depth within his compositions. While his primary focus was Italy, his occasional forays into Scottish landscapes, such as "Tambourina," demonstrated his versatility, though these works are less central to his oeuvre.
Thematic Focus: The Enduring Allure of Italy
The overwhelming thematic focus of Hering's work was Italy. This was not unusual for British artists of the 19th century; the Grand Tour tradition, though evolving, still cast a long shadow, and Italy's combination of classical antiquity, Renaissance art, and stunning natural beauty made it an irresistible draw. Artists like Edward Lear, a contemporary of Hering, also spent considerable time in Italy, capturing its landscapes in his distinctive style, though Lear is perhaps equally famous for his nonsense verse.
Hering's Italian scenes ranged from expansive panoramic views of lakes and mountains to more intimate depictions of coastal villages, ancient ruins, and verdant countryside. He was particularly drawn to the picturesque, selecting viewpoints that offered harmonious compositions and appealing subject matter. His paintings often included figures, not as central subjects but as elements that added scale, life, and a narrative touch to the landscapes – local peasants, fishermen, or travellers, much in the tradition of classical landscape painting. These figures helped to animate the scenes and connect them to human experience, making the exotic locales more relatable to his British audience. His consistent return to Italian themes suggests a deep personal connection to the country, as well as a shrewd understanding of market preferences.
Key Works and Esteemed Patronage
Several of George Edwards Hering's paintings achieved significant recognition and entered important collections. His 1836 Royal Academy debut, "Ruins of the Palace of the Caesars, Rome," set the stage for his career. One of his most celebrated works is "Amalfi," exhibited in 1841. This painting, capturing the dramatic beauty of the Amalfi coast, was purchased by Prince Albert, the Prince Consort to Queen Victoria. Royal patronage was a significant endorsement for any artist, and this acquisition undoubtedly enhanced Hering's reputation and desirability among collectors.
Another important work, "Capri," also from 1841, was acquired by the Royal Academy of Arts for its collection, a further testament to the esteem in which his work was held by his peers and the leading art institution of the day. Other paintings, such as "The Isles of Ischia and Procida," "Lake Como," and various views of Venice, further solidified his reputation as a master of the Italian scene. The titles themselves evoke the romantic appeal of his chosen subjects. While detailed descriptions of each specific painting's composition are not always readily available without direct visual analysis, the consistent praise for his handling of light, colour, and atmosphere suggests a high level of technical skill and aesthetic sensibility across his body of work.
Published Works and Illustrations: Reaching a Wider Audience
Beyond his oil paintings, George Edwards Hering also engaged with the burgeoning print market, which allowed his work to reach a broader audience. He published several volumes of lithographic sketches based on his travels. Notable among these was "Sketches on the Danube, in Hungary and Transylvania," which appeared in 1838, published by McLean, and later reissued. This volume, stemming from his journey with John Paget, offered the British public glimpses of landscapes that were far less familiar than those of Italy or Switzerland. The illustrations for Paget's own book on the region further disseminated Hering's visual record of these travels.
He also published "The Mountains and Lakes of Switzerland, the Tyrol, and Italy" (1847), a collection of tinted lithographs that showcased his skill in capturing the grandeur and beauty of Alpine and Italian scenery. Such publications were popular in the Victorian era, catering to an interest in travel and the picturesque. Furthermore, Hering contributed illustrations to periodicals like "The Art Journal," a leading art magazine of the time. This engagement with print media not only supplemented his income but also helped to popularize his name and style, making his visions of continental Europe accessible to those who might never travel there themselves, much like the work of illustrators and travel artists such as James Duffield Harding, who was also known for his drawing manuals and lithographs.
Anecdotes and Professional Life: Navigating the Art World
The life of a professional artist, even a successful one, is rarely without its challenges. While Hering enjoyed considerable success, his career was not devoid of the practical and sometimes contentious aspects of the art business. An interesting episode involved a commission from a railway company, possibly the Huddersfield to South Yorkshire Railway. Hering was engaged to produce sketches of Dovedale in Derbyshire, presumably for a series of prints intended to promote the scenic route or be sold as souvenirs. However, the railway venture apparently ran into financial difficulties and collapsed around 1846.
This left Hering with unpaid fees, and he was compelled to take legal action to recover the money owed to him. There are also mentions of a legal dispute with an individual named Meteyard concerning funds related to a railway project, which was described in contemporary press as a "speculative bubble." These incidents highlight the precarious nature of artistic commissions tied to commercial ventures and demonstrate that Hering was prepared to defend his professional interests. Such episodes, while perhaps minor in the grand scheme of his artistic output, offer a glimpse into the business side of being an artist in the Victorian era.
On a more personal note, Hering and his wife, who was also an artist and exhibited at the Royal Academy in 1853 and 1858, were known to frequent Ormidale, an estate in Scotland, which served as their summer residence. This suggests a comfortable lifestyle and a continued appreciation for diverse landscapes. They also reportedly adopted the children of a Mr. Hamilton, indicating a compassionate side to their personal lives. Furthermore, during his time in Rome, Hering was credited with playing a role in bringing together rival factions of German and British artists, suggesting diplomatic skills and a respected position within the expatriate artistic community.
Hering and His Contemporaries: A Place in the Victorian Art Scene
George Edwards Hering operated within a vibrant and competitive art scene in Victorian Britain. Landscape painting was immensely popular, with artists exploring a wide range of styles and subjects. While Hering specialized in foreign, particularly Italian, landscapes, he was contemporary with artists who focused on British scenery, such as Benjamin Williams Leader, known for his Worcestershire landscapes, or Myles Birket Foster, famed for his charming watercolour depictions of English rural life.
His Italian subjects placed him in a lineage that included earlier masters like Richard Wilson, often called the father of British landscape painting, who also spent considerable time in Italy. Among his closer contemporaries, artists like William Linton also painted Italian and classical landscapes, often with a more historical or mythological bent. Hering's approach, however, was generally more focused on the direct, picturesque appeal of the scene.
His regular exhibitions at the Royal Academy meant he was showing alongside the era's most prominent artists, from academicians specializing in historical and genre scenes, like William Powell Frith, to the rising stars of the Pre-Raphaelite Brotherhood, whose meticulous detail and vibrant colour offered a different vision of art. Hering's consistent, appealing style found its audience amidst this diversity, offering a pleasing and accessible form of landscape art that resonated with Victorian tastes for travel, romantic scenery, and well-crafted paintings. His work provided an escape, a visual journey to sunnier climes, much appreciated in the often-grey British Isles.
Later Life, Death, and Artistic Legacy
George Edwards Hering continued to paint and exhibit throughout his life, maintaining his focus on the landscapes that had defined his career. He remained a respected, if perhaps not revolutionary, figure in the British art world. His dedication to his craft was unwavering, and his output consistent. He passed away on December 18, 1879, in London, at the age of 74. He was laid to rest in Highgate Cemetery, a prominent Victorian burial ground that is the final resting place of many notable figures.
His wife, whose Christian name is not always consistently recorded but who was an artist in her own right, survived him. Her exhibitions at the Royal Academy, though fewer than her husband's, indicate a shared artistic environment within their household.
Hering's legacy lies in his contribution to the tradition of British landscape painting, particularly in popularizing Italian scenery. His works are held in various public collections, including the Victoria and Albert Museum in London and numerous regional galleries in the UK, as well as in private collections. While art historical narratives often focus on the innovators and avant-garde, artists like Hering played a crucial role in shaping the broader artistic tastes of their time. His paintings offered a window onto a world of beauty and tranquility, skillfully rendered and deeply felt. They represent a particular Victorian sensibility, one that valued the picturesque, the well-composed, and the evocative power of landscape to transport the viewer.
Conclusion: A Victorian Visionary of the Picturesque
George Edwards Hering was an artist who found his muse in the sunlit landscapes of Italy and, to a lesser extent, other picturesque regions of Europe. From an unpromising start in a bank, he pursued his artistic calling with diligence, undertaking extensive travels that provided him with a wealth of inspiration. His paintings, characterized by their pleasing compositions, sensitivity to light and colour, and often idyllic mood, found favour with the Victorian public and prominent patrons.
While he may not have radically altered the course of art history in the manner of some of his more famous contemporaries, Hering's contribution is significant. He was a skilled and prolific painter who expertly captured the allure of foreign lands, particularly Italy, for a British audience eager for such visions. His works remain as charming testaments to the beauty he saw in the world and his ability to translate that beauty onto canvas. As a dedicated practitioner of landscape art, George Edwards Hering holds a secure and respected place in the annals of 19th-century British painting, his canvases continuing to offer a delightful escape into the picturesque.
