George Henry Laporte stands as a significant figure in the rich tradition of British animal and sporting painting during the 19th century. Active during a period of great enthusiasm for equestrian pursuits and field sports, Laporte carved a niche for himself with his dynamic and detailed depictions of horses, hunting expeditions, and racing drama. Though perhaps not as universally recognized today as some of his contemporaries like Sir Edwin Landseer, Laporte was highly regarded in his time, enjoying prestigious patronage and playing a foundational role in important artistic societies. His work offers a vibrant window into the sporting life of Georgian and Victorian Britain.
Early Life and Artistic Foundations
George Henry Laporte was born in Hanover in 1799. While his birthplace was within the domains connected to the British Crown through personal union (until 1837), his parentage was not German. He was the son of John Laporte (c.1761–1839), a highly respected artist in his own right. John Laporte was a proficient watercolourist, landscape painter, and etcher, known for his topographical views and drawing manuals. He exhibited frequently at the Royal Academy and other London venues and served as a drawing master to notable pupils.
It was under his father's tutelage that George Henry received his initial artistic training. This familial connection provided a strong foundation in drawing and painting techniques, particularly in watercolour, a medium in which both father and son would excel. Growing up in an artistic household undoubtedly immersed the young Laporte in the visual culture of the time and provided him with the necessary skills to pursue a professional career.
Laporte's artistic debut occurred relatively early. He first exhibited his work in London in 1818, likely at the British Institution or the Royal Academy, signaling the start of a long and productive career that would span over five decades. His early works already hinted at his burgeoning interest in animal subjects, a field that would come to define his artistic identity.
Specialization in Animal and Sporting Art
Laporte quickly distinguished himself as a painter of animals, with a particular affinity for horses. He possessed a keen eye for equine anatomy and movement, capturing the grace, power, and spirit of the horse in various contexts. His subjects ranged from elegant Arabian horses, often depicted with a touch of Orientalist flair, to sturdy British hunters and sleek racehorses caught in the heat of competition.
His depictions of Arabian horses were particularly noteworthy. These works often showcased the breed's refined features and noble bearing, sometimes set against exotic backdrops or alongside figures in Middle Eastern attire, reflecting a broader European fascination with the Orient during the 19th century. Works like the noted Grey Arabian Mare and Foal with a Family exemplify his skill in rendering these animals with sensitivity and accuracy, often placing them within gentle, almost idyllic domestic or pastoral settings, highlighting their temperament as much as their form.
However, Laporte is perhaps best known for his vigorous portrayals of British sporting life. Hunting scenes were a staple of his output. He captured the excitement of the chase, depicting packs of hounds in full cry, riders navigating challenging terrain, and the dramatic moments of the hunt meet or the kill. These paintings are characterized by their energy, dynamic compositions, and attention to the details of sporting attire, tack, and the specific breeds of horses and hounds involved.
Racing scenes also featured prominently in his oeuvre. Laporte conveyed the speed and intensity of the turf, painting famous racehorses, thrilling finishes, and the bustling atmosphere of the racecourse. He understood the drama inherent in these events and translated it onto canvas with considerable skill, appealing to a clientele deeply invested in the world of horse racing. His ability to capture likenesses also extended to portraiture, often painting specific, identifiable horses owned by his patrons.
Style and Technique
Laporte worked proficiently in both oil and watercolour. His oil paintings often possess a robustness and depth of colour suitable for capturing the textures of animal coats, landscapes, and the richness of hunting attire. His compositions are typically well-structured, balancing the main subjects with carefully rendered landscape settings that provide context and atmosphere. He paid close attention to anatomical accuracy, particularly in his horses, which are depicted with convincing musculature and realistic gaits.
His watercolour technique, likely honed under his father's guidance, was equally accomplished. Watercolours allowed for a different kind of immediacy and luminosity. Laporte used the medium effectively for sketches, finished exhibition pieces, and illustrations. His watercolours often display fluid brushwork and a delicate handling of light, particularly suitable for capturing the nuances of weather and landscape in outdoor scenes. His contributions to the Royal Institute of Painters in Water Colours underscore his commitment to this medium.
Laporte's style is characterized by dynamism and narrative clarity. Whether depicting a hunt in progress, a race nearing its climax, or a military manoeuvre, his works convey a strong sense of action and purpose. He arranged figures and animals effectively to tell a story, drawing the viewer into the scene. While grounded in the tradition of British sporting art established by predecessors like George Stubbs and Sawrey Gilpin, Laporte developed his own recognizable manner, marked by lively execution and a focus on the vitality of his subjects.
Professional Affiliations and Exhibitions
Laporte was actively involved in the London art world throughout his career. His regular participation in major exhibitions ensured his visibility and helped build his reputation. He exhibited works at the prestigious Royal Academy of Arts over many years, placing him in the mainstream of British art. He also showed frequently at the British Institution, another important venue for artists to display and sell their work.
Significantly, Laporte was a foundational figure in the establishment of the Society of British Artists (later Royal Society of British Artists, RBA). Founded in 1823 as an alternative exhibition venue to the Royal Academy, the society provided artists with greater opportunities to showcase their work. Laporte was among its earliest members and exhibited regularly at their Suffolk Street Gallery, demonstrating his commitment to this new institution and his standing among his peers.
His expertise in watercolour led him to become one of the first members of the New Society of Painters in Water Colours, which was established in 1831 and later became the Royal Institute of Painters in Water Colours (RI). His contributions to their exhibitions often included the "clever sketches of hunting scenes and cavalry groups" mentioned in historical accounts, showcasing his skill in capturing movement and group dynamics in this demanding medium. Membership in these societies placed him in regular contact with fellow artists and cemented his professional status.
Royal and Noble Patronage
A significant aspect of Laporte's career was his appointment as Animal Painter to His Royal Highness the Duke of Cumberland. The Duke, Prince Ernest Augustus, was the fifth son of King George III. This royal appointment was a mark of considerable prestige and provided Laporte with access to elite circles. He painted horses and sporting scenes for the Duke, likely documenting his patron's equestrian interests and prized animals.
When the Duke of Cumberland ascended the throne of Hanover in 1837 as King Ernest Augustus I (following the death of William IV, as Salic Law prevented Queen Victoria from inheriting the Hanoverian throne), Laporte's connection continued. He also served as animal painter to the Duke's son, Prince George of Cumberland (later King George V of Hanover). This sustained royal patronage, spanning decades and bridging his connections between Britain and Hanover, was crucial for Laporte's career, providing commissions and enhancing his reputation among the aristocracy and gentry who formed the core market for sporting art.
This patronage likely led to commissions for specific portraits of favoured hunters, racehorses, or carriage horses, as well as depictions of royal hunts or military reviews involving cavalry associated with his patrons. Such works served not only as art but also as records of lineage, status, and personal interests for his noble clients.
Laporte and His Contemporaries
George Henry Laporte worked during a golden age for British sporting and animal art. He was a contemporary of several giants in the field, and his work should be understood within this context. The towering figure of George Stubbs (1724-1806) had set a high standard for anatomical accuracy and classical composition in equine art decades earlier, influencing subsequent generations.
Among Laporte's direct contemporaries were artists like John Frederick Herring Sr. (1795-1865), arguably the most popular painter of racehorses in the mid-19th century, known for his detailed portraits of Derby winners. James Ward (1769-1859), a Royal Academician, brought a powerful, sometimes Romantic, sensibility to animal painting. Ben Marshall (1768-1835) was renowned for his insightful and characterful portraits of racehorses and sporting figures.
Abraham Cooper (1787-1868), another RA, specialized in battle scenes and sporting subjects, often with a strong narrative element. Sir Edwin Landseer (1802-1873), a dominant figure in Victorian art, achieved immense popularity with his often sentimentalized but technically brilliant depictions of animals, particularly dogs like the Newfoundland, and Scottish scenes. Richard Ansdell (1815-1885) also enjoyed great success with his paintings of animals, sporting scenes, and Spanish subjects.
Laporte also shared the artistic landscape with specialists in hunting scenes, such as John Ferneley Sr. (1782-1860), based in Melton Mowbray, the heart of foxhunting country, and Sir Francis Grant (1803-1878), who painted elegant equestrian portraits and conversation pieces before becoming President of the Royal Academy. Laporte's friend, Henry Bernard Chalon (1770-1849), was another established animal painter, known for his portraits of dogs and horses. Laporte's own father, John Laporte, remained an active landscape artist during the early part of George Henry's career.
While Laporte may not have achieved the fame of Herring or Landseer, his work holds its own within this talented field. He maintained a consistent output of high-quality work, characterized by its energy and accuracy. His involvement in the RBA and RI suggests he was a respected professional among his peers. He successfully navigated the competitive art market, securing important patronage and exhibiting widely.
Other Artistic Contributions
Beyond his primary focus on oil and watercolour paintings of animals and sporting events, Laporte also engaged in other artistic activities. His skill as an etcher, likely learned from his father, is evidenced by his contributions to publications like Illustrations of British Scenery. This demonstrates a versatility beyond easel painting and an ability to work effectively for the print market, which was an important means for artists to disseminate their work and gain wider recognition.
His subject matter occasionally extended to military themes, particularly cavalry groups, which aligns with his expertise in depicting horses in action. These works likely appealed to patrons with military connections and reflected the prominent role of cavalry in the British army during this period. The "Orientalist" elements seen in some of his Arabian horse paintings also show his engagement with broader artistic trends of the time.
Later Life and Legacy
George Henry Laporte remained active as an artist for most of his life. He continued to exhibit and presumably paint until shortly before his death. He passed away in London on 20 January 1873, at the age of 74. His long career witnessed significant changes in British art and society, yet he remained largely faithful to the genre he had mastered early on.
Laporte's legacy rests on his contribution to the tradition of British sporting art. He was a skilled and prolific painter who captured the dynamism and specifics of equestrian life in the 19th century with accuracy and flair. His work provides valuable visual documentation of the horses, sports, and social customs of his era. While perhaps overshadowed in art historical narratives by a few contemporaries who achieved greater fame, his paintings remain appealing for their energy, detail, and evident understanding of his primary subject: the horse.
His role as a founding member of the RBA and an early member of the RI also marks his contribution to the institutional landscape of the London art world. His works are held in various public and private collections, particularly those specializing in British art and sporting subjects, ensuring his contribution is not forgotten. He stands as a testament to the depth and quality of animal painting in Britain during a period when it reached a peak of popularity and artistic achievement.
Conclusion
George Henry Laporte was a dedicated and talented artist whose career successfully spanned the transition from the late Georgian to the high Victorian era. Rooted in a strong family tradition of artistry and honed through decades of practice and exhibition, his skills were particularly evident in the depiction of horses and the vibrant world of British field sports. Enjoying royal patronage and active participation in key artistic societies, Laporte secured a respected place within the 19th-century art scene. His paintings continue to offer compelling insights into the equestrian culture of his time, celebrated for their anatomical accuracy, dynamic composition, and lively portrayal of animals in action. He remains an important figure for anyone studying the history of British sporting art.
