George Sherwood Hunter stands as a significant, if sometimes overlooked, figure in the narrative of late Victorian and early Edwardian British art. A painter and sculptor of Scottish origin, Hunter became deeply enmeshed in the vibrant artistic community of Newlyn, Cornwall, contributing not only through his own diverse body of work but also through his dedication to art education and the fostering of a supportive environment for fellow artists. His life, spanning from the mid-19th century into the early 20th, reflects a period of rich artistic exploration, and his canvases capture a world ranging from the rugged Cornish coast to the historic landscapes of the Near East.
Early Life and Artistic Formation
Born in Aberdeen, Scotland, on May 30, 1846, George Sherwood Hunter's early life set the stage for an artistic career characterized by both a deep appreciation for local character and a broad, international perspective. While specific details of his earliest artistic training are not extensively documented, it is clear that he developed a strong foundation in the traditional skills of drawing and painting. Like many artists of his generation, Hunter was a keen observer of the world around him, and his formative years would have exposed him to the prevailing artistic currents of the time, including the lingering influence of Romanticism and the burgeoning movements towards realism.
Hunter was known to be a widely travelled artist. These journeys were not mere holidays but integral parts of his artistic development, allowing him to experience different cultures, landscapes, and, crucially, diverse qualities of light. This exposure to varied environments undoubtedly enriched his palette and broadened his thematic concerns. His travels would later manifest in significant works depicting scenes far from British shores, demonstrating an adventurous spirit and a desire to capture the essence of places that resonated with him historically or aesthetically.
The Allure of Newlyn: A New Artistic Home
The late 19th century saw the rise of several artists' colonies across Europe, as painters sought to escape the industrialization and academic constraints of major cities. They were drawn to rural or coastal locations that offered picturesque scenery, authentic local life, and, often, unique qualities of light. Newlyn, a fishing village on the coast of Cornwall, became one of the most prominent of these colonies in Britain, attracting a wave of artists eager to paint en plein air (outdoors) and to depict the daily lives and struggles of the local fishing community with honesty and empathy.
George Sherwood Hunter first visited Newlyn in the 1890s, a period when the Newlyn School was already well-established and gaining critical acclaim. The atmosphere of camaraderie, the shared artistic ideals, and the stunning natural beauty of the area clearly made a profound impression on him. By 1897, he was residing at Belle View in Newlyn, immersing himself in the local art scene. This was a community that included such luminaries as Stanhope Forbes, often considered the "father" of the Newlyn School, and his equally talented wife, Elizabeth Forbes (née Armstrong).
In 1902, Hunter, along with his wife Constance, made a more permanent commitment to Newlyn by settling in The Malt House. This building was not just a home; it became a central hub of artistic activity. Hunter established his studio there, and The Malt House also became intrinsically linked with the Forbes School of Painting, a testament to Hunter's dedication to nurturing artistic talent.
Artistic Style and Thematic Concerns
Hunter's artistic output was primarily in oil painting, though he was also recognized as a sculptor. His style, while individual, resonated with the core tenets of the Newlyn School. This movement was characterized by its commitment to realism, often depicting scenes of everyday life, particularly the hardships and heroism of the local fishing folk. There was a strong emphasis on capturing natural light and atmosphere, often achieved through working directly from nature. French Realism, particularly the work of artists like Jules Bastien-Lepage, was a significant influence on many Newlyn painters, and this can be seen in their tonal palettes and their focus on figurative subjects.
Hunter was known for his large-scale oil paintings, which allowed him to develop complex compositions and explore his subjects in depth. His works often featured rural subjects, reflecting the Newlyn painters' shared appreciation for the unspoiled countryside and the dignity of manual labor. The egalitarian spirit of the Newlyn community, where artists shared ideas and supported one another, also seems to have permeated the atmosphere of their work.
While deeply connected to the local Cornish environment, Hunter's travels also provided him with a rich tapestry of subjects. His ability to adapt his observational skills to different cultural contexts speaks to his versatility as an artist. He was not confined to one genre or location, allowing his artistic vision to expand beyond the immediate confines of Newlyn.
Notable Works: From Cornwall to Jerusalem
Several key works highlight George Sherwood Hunter's artistic range and skill. One of his most significant paintings is the large oil depicting the Wailing Wall in Jerusalem. This piece, now held in the collection of the Plymouth City Museum and Art Gallery, is a powerful example of his work inspired by his travels in the Mediterranean region. It showcases his ability to handle complex architectural scenes, manage a crowd of figures, and convey a profound sense of historical and spiritual weight. The painting demonstrates his keen eye for detail and his capacity to evoke the unique atmosphere of a place imbued with deep cultural significance.
Closer to his adopted home, Hunter also produced works that directly engaged with the artistic currents of his peers. _Breton Courtship_ (1891) is a particularly important painting. Created during a period spent in Pont-Aven, Brittany – another famed artists' colony that attracted international painters including Paul Gauguin and Émile Bernard – this work is considered a significant piece within the broader Newlyn School context. It reflects the shared interest among British artists in the traditional cultures and picturesque scenery of Brittany. _Breton Courtship_ was one of sixteen paintings Hunter exhibited at the prestigious Royal Academy in London, a mark of his standing in the art world.
Another intriguing work is _The Lantern Parade_ (1897). This painting captures a specific historical event: a lantern procession held in Newlyn to commemorate Queen Victoria's Diamond Jubilee. The scene is imbued with a unique, almost mystical atmosphere. Figures clad in white carry lanterns, some elaborately decorated, through the twilight. The painting has been noted for its evocative quality, hinting at themes of community, celebration, and perhaps even the passage of time and the ephemeral nature of such events. It stands out as a "curiosity" or a notable anecdote in his oeuvre due to its specific subject matter and the atmospheric way it is rendered, capturing a moment of collective local history.
Hunter also painted works directly inspired by his Newlyn surroundings, such as _Newlyn, A Study of Voyagers_. This title suggests a focus on the seafaring life that was central to the village, a theme commonly explored by his Newlyn contemporaries like Walter Langley, who often depicted the anxieties and resilience of fishing families, or Frank Bramley, whose painting A Hopeless Dawn became an iconic image of the Newlyn School.
Beyond these specific examples, Hunter was a prolific artist. He exhibited extensively, not only at the Royal Academy but also at the Royal Society of British Artists, where over sixty of his works were shown. This consistent presence in major exhibitions underscores his active participation in the British art scene and the recognition he received from his peers and the public.
A Pillar of the Newlyn Community: Teaching and Camaraderie
George Sherwood Hunter's contribution to Newlyn extended far beyond his own canvases. He was an active and supportive member of the artistic community, playing a key role in its educational infrastructure. When Stanhope and Elizabeth Forbes established their influential Forbes School of Painting in Newlyn (formally opened in 1899), Hunter was there to assist. His studio at The Malt House became closely associated with the school, and he also had a studio on Bateman's Meadow that was used to support the school, possibly by providing additional teaching space or resources.
The Forbes School was vital to the longevity and dynamism of the Newlyn art colony, attracting new generations of students who wished to learn the principles of plein air painting and figurative realism. Artists like Ernest Procter and his wife Dod Procter were among those who studied there, later becoming significant figures themselves. Hunter's involvement in assisting with teaching demonstrates his commitment to fostering talent and passing on artistic knowledge. His wife, Constance Hunter, also participated in the social fabric of the community, being involved with the Newlyn Artists' Amateur Dramatic Society, which further illustrates the close-knit and multifaceted nature of life in the colony.
The Newlyn artists were known for their strong sense of camaraderie. They socialized together, critiqued each other's work, and shared a common purpose. Figures like Thomas Cooper Gotch, known for his later symbolist works but an early adherent to Newlyn realism, Norman Garstin, an intellectual and influential teacher as well as a painter, and Henry Scott Tuke, famous for his depictions of nude boys and young men in sunlit coastal settings, were all part of this vibrant milieu. Lamorna Birch (Samuel John Birch), who established himself slightly further down the coast and gave his name to the Lamorna colony, and Harold Harvey, a native Cornishman whose work depicted local life with great intimacy, were also key figures in the broader West Cornwall art scene that Hunter was part of. The presence of such diverse talents created a stimulating environment, and Hunter was clearly a respected member of this group.
Contemporaries and Connections
To fully appreciate George Sherwood Hunter's place in art history, it is essential to view him in the context of his contemporaries, both within and beyond Newlyn. The Newlyn School itself was a constellation of remarkable talents.
Stanhope Forbes (1857-1947) was a charismatic leader and a brilliant painter, whose works like Fish Sale on a Cornish Beach epitomized the Newlyn ethos. His dedication to outdoor painting and capturing the authentic life of the fishing community set the tone for the colony.
Elizabeth Forbes (1859-1912), an artist of considerable talent and sensitivity, produced exquisite paintings, etchings, and illustrations, often focusing on children and domestic scenes. Her contribution to the Forbes School alongside her husband was immense.
Walter Langley (1852-1922), one of the first to settle in Newlyn, was particularly noted for his sympathetic watercolour and oil paintings depicting the hardships and emotional lives of the fishing families, such as in Among the Missing.
Frank Bramley (1857-1915) achieved widespread fame with A Hopeless Dawn (1888), a work that powerfully conveyed the anxieties of those awaiting news from sea. He was known for his "square brush" technique, which lent a distinctive texture and solidity to his figures.
Thomas Cooper Gotch (1854-1931) was an early member of the Newlyn group, painting social realist subjects before his style evolved towards Pre-Raphaelite and Symbolist themes, often featuring children in allegorical settings.
Norman Garstin (1847-1926), an Irish-born artist, was not only a painter of evocative scenes like The Rain It Raineth Every Day but also an influential writer and critic, bringing an intellectual dimension to the community.
Henry Scott Tuke (1858-1929), though often associated more with Falmouth, was connected to the Newlyn artists. He became celebrated for his luminous depictions of bathing youths, masterfully capturing sunlight on water and flesh.
Lamorna Birch (Samuel John Birch, 1869-1955) was a slightly younger contemporary who became so associated with the Lamorna Valley near Newlyn that he adopted its name. He was a prolific landscape painter, particularly of river scenes.
Harold Harvey (1874-1941), born in Penzance, was one of the few native Cornishmen among the early Newlyn group. His work provides an intimate portrayal of local life, evolving in style over his long career.
Laura Knight (1877-1970) and her husband Harold Knight (1874-1961) arrived in Newlyn a little later, around 1907, but quickly became central figures, with Laura, in particular, achieving international fame for her dynamic paintings of ballet, theatre, and wartime subjects. While Hunter's primary period of settling in Newlyn predates their full immersion, the artistic community was fluid and interconnected.
Hunter's interactions with these and other artists, such as Charles Walter Simpson and Alfred Munnings (who became more associated with the later Lamorna group but was part of the broader Cornish art scene), would have been part of the daily exchange of ideas and mutual support that characterized these artistic colonies.
Later Years and Legacy
George Sherwood Hunter continued to live and work in Newlyn, remaining an active artist until his death on June 18, 1919. He had witnessed the peak of the Newlyn School's fame and its gradual evolution as new artistic influences, such as Post-Impressionism, began to permeate British art in the early 20th century.
His legacy is multifaceted. As a painter, he contributed a significant body of work that captured both the specific character of the Newlyn environment and the allure of distant lands. His paintings are held in public collections, ensuring their accessibility to future generations. As an educator and community member, he played a vital role in the success and vibrancy of the Newlyn art colony, particularly through his support of the Forbes School.
George Sherwood Hunter may not have achieved the same level of household-name recognition as some of his Newlyn contemporaries, but his contribution was nonetheless substantial. He was a dedicated artist who embraced the ethos of the Newlyn School while also pursuing his own distinct artistic vision, informed by his travels and his keen observational skills. His life and work offer a valuable window into a pivotal period in British art, a time when artists sought new ways of seeing and representing the world around them, finding inspiration in the rugged beauty of Cornwall and the shared pursuit of artistic truth. His paintings, particularly those like the Wailing Wall in Jerusalem and Breton Courtship, stand as testaments to a career rich in experience and artistic achievement. He remains an important figure for understanding the full spectrum of talent that converged in the remarkable artistic crucible of Newlyn.
