Harold Septimus Power stands as a significant figure in early 20th-century Australian art, celebrated primarily for his exceptional skill in depicting animals, particularly horses, and for his contributions as an official war artist during the First World War. Though born across the Tasman Sea, his life and career became inextricably linked with Australia, where he developed his distinctive style and captured scenes of both pastoral life and dramatic conflict. His work bridges the gap between traditional European academicism and a distinctly Australian sensibility, leaving behind a legacy of technically brilliant and historically valuable paintings.
From Dunedin to Adelaide: Early Life and Artistic Awakening
Harold Septimus Power entered the world on December 31, 1877, in Dunedin, New Zealand. His father, Peter Power, worked as a hatter but also possessed artistic inclinations, though he reportedly viewed his son's burgeoning passion for art with some skepticism. His mother, Jane Power, was of Scottish descent. The family environment, while perhaps not overtly encouraging of an artistic career initially, did not ultimately deter the young Harold. Driven by an innate desire to draw and paint, he demonstrated his commitment early on.
Seeking greater opportunities or following family movements, Power relocated to Australia during his youth. This move proved pivotal, placing him within the developing artistic milieu of the Australian colonies. He received aspects of his general education in Melbourne and Adelaide, cities that were becoming important centres for arts and culture. It was in Adelaide, South Australia, that his artistic journey began in earnest.
Around the age of fourteen, demonstrating considerable resolve, Power left home to dedicate himself fully to becoming an artist. This period involved self-directed learning and practical experience, honing his observational skills and draughtsmanship. He didn't initially follow a conventional path through established art schools but instead forged his own way, absorbing influences from the environment and the art he encountered.
His talent began to gain recognition. He started exhibiting his work, notably at the Melbourne Art Club, indicating his integration into the local art scene. A significant step came around 1900 when he secured work as an illustrator and political cartoonist for the Adelaide Observer. This role provided not only financial support but also invaluable experience in visual communication and meeting deadlines, skills that would serve him well throughout his career.
Formative Training and Early Success
Power's time in Adelaide was crucial for developing his specialization. He came under the influence, likely through informal study or mentorship, of Hans Heysen, who was already establishing himself as a major figure in Australian landscape and rural painting. Heysen's own meticulous observation of nature and rural life undoubtedly resonated with Power, particularly strengthening his interest in depicting animals within the Australian landscape.
The focus on animal subjects quickly became central to Power's practice. His ability to capture the form, movement, and character of animals, especially horses, set him apart. This burgeoning reputation led to a significant commission in 1904 from the Art Gallery of South Australia (then the National Gallery of South Australia). They tasked him with creating an animal subject painting, a clear endorsement of his specialized skills. The resulting work, likely Afterglow of Toil (1903), showcased his early mastery in rendering draft horses with anatomical accuracy and sensitivity to light, marking his arrival as a serious artist.
This early success in Australia provided the foundation and perhaps the financial means for Power to pursue further training abroad. Like many ambitious artists from the dominions at the time, he recognized the importance of experiencing European art firsthand and refining his technique under the tutelage available in the established art capitals. The desire for advanced academic training led him to set his sights on Paris.
European Horizons: Paris and London
In 1905, Harold Septimus Power embarked for Europe, heading to Paris, the undisputed centre of the art world at that time. He enrolled at the renowned Académie Julian, a private art school famous for attracting international students and offering a rigorous academic curriculum. Studying there between 1905 and 1907, he immersed himself in the disciplines of drawing from life, anatomy, and composition, likely under instructors who carried the lineage of French academic painting, perhaps influenced by figures like William-Adolphe Bouguereau who had taught there previously.
The Académie Julian was a melting pot of artistic ideas, though Power seems to have absorbed the technical rigour without fully embracing the radical modernist movements, such as Fauvism led by Henri Matisse, that were simultaneously erupting in Paris. His training solidified his skills in draughtsmanship and anatomical understanding, providing the technical bedrock upon which he would build his career.
Following his studies in Paris, Power relocated to London, which became his primary base for many years, although he maintained strong ties with Australia. London offered access to major institutions, exhibition venues, and a thriving market for traditional painting genres, including animal art. He quickly established himself within the British art scene.
His skill was recognized through election to prestigious societies. He became a member of the Royal Institute of Painters in Oil Colours (ROI) and the Society of Animal Painters. These affiliations placed him alongside prominent British artists and provided regular opportunities to exhibit his work to a discerning audience. His time in Europe was not just about training; it was about building an international career and reputation.
The Animalier Par Excellence
While proficient in various subjects, Power's enduring fame rests significantly on his mastery of animal painting. He possessed an extraordinary ability to depict horses, cattle, and dogs with convincing realism and vitality. This was not merely about capturing a likeness; it involved a deep understanding of anatomy, gleaned through careful study, which allowed him to portray animals in motion with accuracy and dynamism.
His paintings often featured horses in various contexts: working draft horses showing strength and endurance, elegant hunters poised for the chase, or military steeds embodying discipline and partnership with their riders. Works like Afterglow of Toil (1903), created before his European studies, already demonstrated his affinity for the subject, capturing the quiet dignity of horses at rest.
His time in England further honed this specialization. The English countryside, with its strong traditions of equestrian sport and farming, provided ample subject matter. His 1912 painting, A Fox Hunt in the Midlands (sometimes titled The Hunt), exhibited at the Royal Academy, is widely considered one of his masterpieces. This large, complex composition captures the energy, colour, and social dynamics of the hunt, showcasing his skill in handling multiple figures, animal movement, and landscape. It drew comparisons, implicitly or explicitly, with the long tradition of British sporting art, exemplified by masters like George Stubbs with his unparalleled equine anatomy, or the dramatic narratives of Sir Edwin Landseer.
Power's approach combined meticulous anatomical detail with a painterly handling of light and atmosphere. He understood the musculature beneath the hide, the way light played on a horse's coat, and the subtle cues of animal posture and expression. This deep knowledge allowed him to create images that were both scientifically accurate and artistically compelling, establishing him as one of the foremost animal painters, or animaliers, of his generation, certainly within the context of Australian art.
Answering the Call: The War Artist
The outbreak of the First World War dramatically shifted the focus for many artists, including Power. In 1917, the Australian government appointed him as an official war artist to document the experiences of the Australian Imperial Force (AIF) on the Western Front. This prestigious and challenging role carried the honorary rank of Lieutenant. Power joined a select group of artists tasked with creating a visual record of Australia's involvement in the conflict.
His particular expertise with horses made him uniquely suited to depicting the activities of the Australian Light Horse and the crucial role of horses and mules in logistics and artillery transport. He travelled to France, observing firsthand the conditions and actions of the troops and their animals. His war art is characterized by its detailed realism and focus on the interplay between soldiers, animals, and the machinery of war within the scarred landscapes of the front.
Several major works resulted from this period. The Third Battle of Ypres, 31st July 1917 (or variations like The First Battle of Ypres, carrying the gun through) is a powerful depiction of artillery teams struggling through mud, emphasizing the immense effort and reliance on animal power. Saving the Guns at Robeck (1918) portrays a dramatic incident of retrieving artillery pieces under difficult circumstances. Australian Artillery Gun Team, France, 1918 offers another detailed view of the vital role played by horse teams in maneuvering heavy weaponry.
Power worked alongside other notable Australian official war artists, most significantly George Washington Lambert, another superb draughtsman and painter who also depicted the Light Horse campaigns, particularly in the Middle East. While Lambert often brought a more overtly heroic or stylized quality to his figures, Power's strength lay in the detailed, almost documentary accuracy of his scenes, particularly the realistic rendering of the animals under strain. Other artists like the graphic artist Will Dyson captured the grim realities faced by ordinary soldiers, while established landscape painters like Arthur Streeton also served as war artists, bringing their unique perspectives to the conflict. Power's contribution focused on the dynamic action involving men and animals.
Artistic Style and Technique
Harold Septimus Power's artistic style is best described as a blend of academic realism and influences drawn from Impressionism, particularly in his handling of light and colour. His foundational training, especially at the Académie Julian, instilled in him the importance of accurate drawing and anatomical correctness. This is evident throughout his work, whether depicting the complex musculature of a horse or the figures of soldiers and farmhands.
However, Power was not merely a photorealistic painter. He possessed a keen sensitivity to the effects of light and atmosphere. His canvases often feature rich colours and a confident, sometimes vigorous, brushwork that captures the play of sunlight and shadow. This quality aligns him with the broader currents of late Impressionism and Post-Impressionism, though he never fully dissolved form in the manner of Claude Monet. His interest in capturing movement, especially in his animal and battle scenes, perhaps finds a distant echo in the work of artists like Edgar Degas, who famously studied the motion of racehorses, although Power's approach remained more traditional in composition.
His compositions are typically well-structured and dynamic. He had a talent for arranging complex scenes with multiple figures and animals into a coherent and engaging whole, as seen in A Fox Hunt in the Midlands or his large war paintings. He effectively balanced detailed foreground elements with atmospheric backgrounds, creating a sense of depth and space.
While based in Europe for significant periods, his work often retained a connection to Australia, either through subject matter commissioned for Australian institutions or through a certain clarity of light that can be associated with the Australian atmosphere, even when depicting European scenes. His style remained relatively consistent throughout his career, focused on representational accuracy combined with painterly effect, rather than exploring the more radical avenues of modernism that were being pursued by some of his Australian contemporaries back home, such as Grace Cossington Smith or Margaret Preston.
Recognition and Major Commissions
Power's technical skill and appealing subject matter brought him considerable success and recognition during his lifetime, both in Australia and Britain. His regular inclusion in exhibitions at the prestigious Royal Academy in London was a significant mark of achievement, placing his work before an influential audience and critics.
In Australia, his reputation led to major public commissions. Following the war, he was entrusted with significant works for prominent national buildings. One notable commission was for the Parliament House in Melbourne (then housing the Federal Parliament temporarily). He painted a large canvas depicting the Opening of the First Commonwealth Parliament in 1901 (though painted later), a complex ceremonial piece requiring careful handling of portraiture and architectural detail. He also created a significant mural titled War for the Victorian Parliament House around 1922-1924, commemorating the sacrifices of the First World War, focusing on the heroic image of Australian soldiers.
His works were acquired by major public collections, cementing his place in the national artistic canon. The Art Gallery of South Australia, which gave him his early commission, holds important examples of his work. The National Gallery of Victoria (potentially referenced alongside the State Library of Victoria, formerly Melbourne Public Library) and the Australian War Memorial in Canberra also house significant collections, particularly his war art. These acquisitions ensured that his contributions would be preserved and accessible to future generations.
This level of official recognition and public success marked him as a leading establishment figure in Australian art during the first half of the 20th century. His ability to deliver large-scale, technically accomplished works that resonated with national sentiment made him a favoured choice for commemorative and official art.
Connections and Artistic Circles
Throughout his career, Power moved within significant artistic circles in both Australia and Britain. His early connection with Hans Heysen in Adelaide placed him in contact with one of the foundational figures of Australian landscape painting. His later association with George Washington Lambert during their time as war artists linked him with another dominant figure in Australian art, known for his portraiture and figure painting as well as his war art.
In London, his membership in the Royal Institute of Painters in Oil Colours (ROI) and the Society of Animal Painters integrated him into the British art establishment. This likely brought him into contact with other prominent artists specializing in similar genres. For instance, his focus on horses inevitably invites comparison with Sir Alfred Munnings, a near-contemporary who became President of the Royal Academy and was arguably Britain's most famous equestrian painter of the era, known for his vigorous, impressionistic style. While their styles differed, they operated within the same world of traditional representational art and patronage.
Power's participation in major exhibitions like those at the Royal Academy meant his work was seen alongside the leading British academic and traditional painters of the day. His success in these venues underscores his ability to meet the standards and appeal to the tastes prevalent in London's art market at the time. He successfully navigated the transatlantic art world, maintaining a profile in both his adopted home of Australia and his European base.
Critical Perspectives and Controversies
While widely acclaimed for his technical skill, especially in animal depiction, Power's work was not entirely without critical debate, particularly concerning his war art. As an official war artist, he was tasked with documenting events, but the nature of artistic representation versus factual reporting sometimes led to discussion.
Some critics, then or later, found works like Saving the Guns at Robeck to be almost too realistic, focusing intensely on the physical struggle and detailed accuracy at the potential expense of deeper emotional resonance or artistic interpretation that some sought in war art. The debate touched on the fundamental question of a war artist's role: is it primarily to record, or to interpret and convey the emotional and psychological impact of conflict? Power's detailed, action-oriented approach generally leaned towards the former, providing invaluable historical documentation but perhaps less of the subjective commentary found in the work of artists like Will Dyson.
Furthermore, the very nature of official commissions, such as the large paintings for Parliament House, inevitably raised questions about the relationship between art and politics. Works created for state purposes, particularly those depicting national ceremonies or commemorating military efforts, can sometimes be viewed as serving a political or propagandistic function, potentially limiting artistic independence. While there's no specific record of major controversy surrounding Power's commissions in this regard, the context of official patronage is always a factor in assessing such works.
His adherence to a broadly traditional, representational style also meant that, as the 20th century progressed and modernism gained traction in Australia, his work might have seemed increasingly conservative to proponents of newer artistic movements. However, his chosen genres – animal painting and narrative historical scenes – retained popular appeal and critical respect within more traditional circles throughout his career.
Later Years and Enduring Legacy
After the intensity of the war years and the major commissions that followed, Harold Septimus Power continued to paint, dividing his time between England and Australia. He remained active, producing landscapes, further animal studies, and other subjects. Details about specific later works like Hammersmith Beach (mentioned in source material) are less prominent than his major animal and war paintings, but indicate his continued artistic production.
He maintained his reputation as a master craftsman and a respected figure in the art world. His contributions, particularly his war art, became integral parts of the national collection housed at the Australian War Memorial, ensuring their lasting significance as historical documents and artistic achievements.
Harold Septimus Power passed away in 1951. He left behind a substantial body of work characterized by technical brilliance, keen observation, and a focus on subjects deeply connected to the life and history of his time – the pastoral world, the hunt, and the crucible of war.
His legacy is primarily secured by his status as one of Australia's finest painters of animals, particularly horses. His deep understanding of anatomy and movement allowed him to capture these subjects with unparalleled vitality. Additionally, his work as an official war artist provides a crucial visual record of Australia's experience in the First World War, valued for its detail and accuracy. While perhaps less innovative than some of his modernist contemporaries, Power excelled within his chosen fields, creating works of enduring quality and historical importance that continue to be appreciated in Australian galleries and collections.
Conclusion
Harold Septimus Power's journey from a determined young artist in New Zealand and Australia to an internationally recognized painter based largely in London is a testament to his talent and dedication. He carved a distinct niche for himself, becoming synonymous with the masterful depiction of animals, especially the horse, rendered with anatomical precision and dynamic energy. His significant contribution as an official war artist further cemented his place in history, providing vivid and detailed chronicles of Australian forces in action during the Great War. Though operating within a largely traditional framework, his technical skill, compositional strength, and sensitivity to light and movement ensure his works remain compelling. Power stands as a key figure in early twentieth-century Australian art, a bridge between continents and artistic traditions, leaving a legacy rich in both artistic merit and historical significance.
