Henry Courtney Selous (1803-1890) stands as a significant, if sometimes overlooked, figure in the rich tapestry of 19th-century British art. A versatile talent, he excelled as a painter, illustrator, and printmaker, contributing prolifically to the visual culture of the Victorian era. His work, deeply imbued with a sense of history, literary romanticism, and dramatic flair, captured the imagination of his contemporaries and left a lasting legacy, particularly in the realm of book illustration.
Early Life and Artistic Formation
Born on May 9, 1803, in Deptford, London, Henry Courtney Selous embarked on his artistic journey at a young age. His formal training was solidified at the prestigious Royal Academy Schools, which he entered in 1818. This institution was the crucible for many of Britain's finest artists, and Selous would have been immersed in a curriculum that emphasized classical principles, life drawing, and the study of Old Masters. Artists like Sir Thomas Lawrence, then President of the Royal Academy, and the visionary poet-painter William Blake, though an outsider to the Academy, were shaping the artistic landscape, while the Romantic canvases of J.M.W. Turner and John Constable were redefining landscape painting.
Selous's time at the Royal Academy Schools provided him with the technical grounding and artistic connections that would serve him throughout his career. He became a regular exhibitor at the Royal Academy, showcasing his developing talent and engaging with the vibrant London art scene. His early inclinations leaned towards historical and literary subjects, themes that would remain central to his oeuvre.
The Prolific Illustrator
While Selous was a capable painter, it was perhaps in the field of illustration that he made his most voluminous and arguably most impactful contributions. The 19th century witnessed an explosion in illustrated publications, driven by advancements in printing technology and a burgeoning literate middle class eager for visual accompaniment to texts. Selous was at the forefront of this movement.
He was a remarkably productive illustrator for periodicals, most notably the Illustrated London News. It is estimated that he produced over two thousand wood engravings for this influential publication alone. These illustrations covered a wide range of subjects, from current events to social scenes, demonstrating his adaptability and keen observational skills. His work would have appeared alongside that of other prominent illustrators of the day, such as Sir John Gilbert, known for his vigorous historical scenes, and later, John Tenniel, who would achieve worldwide fame for his Alice in Wonderland illustrations.
Selous also dedicated considerable energy to illustrating literary classics and children's books. His deep appreciation for literature is evident in his extensive work on the plays of William Shakespeare. He is credited with creating approximately 750 illustrations for various editions of Shakespeare's works, often collaborating with scholars and publishers like Charles and Mary Cowden Clarke. These illustrations sought to capture the drama, emotion, and historical settings of the Bard's plays, making them accessible and engaging for a wider audience. His approach can be compared to the slightly later, more romantic and detailed Shakespearean illustrations of Pre-Raphaelite artists like Dante Gabriel Rossetti or John Everett Millais, though Selous's style often retained a more robust, less ethereal quality.
His illustrations for children's literature and volumes like Poems and Pictures (published by James Burns, who, along with S.C. Hall, showed a keen interest in German-influenced illustrated books) further showcased his versatility. He understood the power of visual storytelling to captivate young minds and to enhance the poetic word.
Grand Historical and Narrative Paintings
Beyond his illustrative work, Henry Courtney Selous was an accomplished painter of historical and narrative scenes, often on a grand scale. These paintings allowed him to explore complex compositions, dramatic human interactions, and the meticulous rendering of historical detail, which was a hallmark of much Victorian academic art.
One of his most famous paintings is "The Opening of the Great Exhibition by Queen Victoria on 1st May 1851" (1851-52). This large canvas, now housed in the Victoria and Albert Museum, London, is a masterful depiction of a pivotal event in British history. It captures the pomp, ceremony, and international scope of the Great Exhibition held in the Crystal Palace. The painting is a tour-de-force of group portraiture and architectural rendering, comparable in its ambition and contemporary subject matter to works by artists like William Powell Frith, whose "Derby Day" and "The Railway Station" similarly chronicled Victorian life on a grand scale. Selous’s work meticulously documents the scene, filled with dignitaries and a sense of national pride, reflecting the era's confidence and industrial prowess.
Another significant, though perhaps less widely known today, historical work is "Boudicca Haranguing the Iceni" (1843). While the original painting's current whereabouts are uncertain, its composition is known through reproductions. This work exemplifies Selous's interest in dramatic moments from British history. The depiction of the Iceni queen rallying her warriors showcases his ability to convey powerful emotion and dynamic action, often employing strong, muscular figures and carefully researched period detail. Such historical subjects were popular among Victorian artists, including Daniel Maclise, who, like Selous, competed for commissions to decorate the new Houses of Parliament with scenes from British history.
His painting "The Battle of Flodden" further illustrates his engagement with historical military subjects, demanding complex figure arrangements and a sense of epic struggle. These works often displayed a strong narrative drive, inviting viewers to engage with the historical or literary story being told.
Artistic Style and Influences
Henry Courtney Selous's artistic style was a distinctive blend of academic training, Romantic sensibility, and a keen interest in antiquarian detail. His compositions are often characterized by their dynamism, a strong sense of drama, and a focus on human emotion. He was adept at handling complex multi-figure scenes, creating a sense of depth and activity that drew the viewer into the narrative.
A notable aspect of Selous's style, particularly in his illustrations, was the influence of contemporary German art. He was particularly drawn to the "outline style" popularized by artists like Moritz Retzsch, whose illustrations for Goethe's Faust and Shakespeare were widely admired in Britain. Retzsch's emphasis on clear, linear forms and expressive contours can be seen in Selous's work. He also absorbed influences from the more rustic and robust style of Alfred Rethel, another German artist known for his powerful woodcuts and historical scenes. This German influence, also seen in the work of some of the Nazarenes like Peter von Cornelius or Friedrich Overbeck who sought a revival of spiritual art through clear forms, provided an alternative to the more painterly traditions prevalent in some British illustration.
Selous's interest in history extended to a meticulous concern for accuracy in costume, architecture, and weaponry. This antiquarian approach lent an air of authenticity to his historical and literary subjects, appealing to the Victorian era's fascination with the past. His figures are often robust and heroic, rendered with an understanding of anatomy that gives them a tangible presence. In works like "Boudicca Haranguing the Iceni," he employed pyramidal compositions to structure his figures, emphasizing their muscularity and dynamic poses.
While some critics occasionally found his compositions overly complex or his figures somewhat theatrical, his ability to convey a sense of epic scale and emotional intensity was widely recognized. He successfully merged historical research with a romantic imagination, creating images that were both informative and evocative. His connection to Joseph May, who was a mentor to the apocalyptic painter John Martin, suggests an immersion in an artistic milieu that valued grand, imaginative, and often dramatic themes.
Key Works in Focus
Several works stand out in Henry Courtney Selous's extensive output, defining his contribution to Victorian art.
"The Opening of the Great Exhibition by Queen Victoria on 1st May 1851": This monumental painting is not just a historical document but a testament to Selous's skill in managing a vast and complex scene. The meticulous detail, the accurate portrayal of numerous identifiable figures including Queen Victoria, Prince Albert, and other dignitaries, and the rendering of Joseph Paxton's Crystal Palace make it an invaluable visual record. The painting captures the optimism and industrial might of mid-Victorian Britain.
Shakespearean Illustrations: Selous's illustrations for the works of William Shakespeare represent a significant body of work. Numbering around 750, these images, often produced as wood engravings, brought the plays to life for a broad readership. They ranged from dramatic moments of conflict and tragedy to tender romantic scenes, showcasing his ability to interpret the emotional core of Shakespeare's texts. His approach aimed for a blend of historical accuracy in costume and setting with a clear, narrative style.
"Boudicca Haranguing the Iceni": This work, even if primarily known through reproductions, is emblematic of Selous's engagement with British history and his capacity for dramatic storytelling. The image of the warrior queen inciting her people to rebellion is a powerful one, rendered with energy and a focus on the heroic. It reflects the Victorian interest in national heroines and formative historical moments.
Illustrations for The Illustrated London News: Though individually often ephemeral, the sheer volume and consistent quality of Selous's contributions to this leading illustrated newspaper were significant. These wood engravings provided a visual commentary on contemporary life, news events, and social customs, making him a familiar visual chronicler for a vast audience.
Illustrations for Pilgrim's Progress: Selous also designed scenes for a "moving panorama" of John Bunyan's Pilgrim's Progress. Moving panoramas were a popular form of entertainment in the 19th century, consisting of long painted scrolls that were unwound to create the illusion of a journey or a series of unfolding events. This venture demonstrates his engagement with innovative forms of visual presentation and his ability to adapt his narrative skills to different media.
Collaborations and Artistic Milieu
Henry Courtney Selous did not work in isolation. He was an active participant in the London art world, collaborating with publishers, writers, and fellow artists. His work for publishers like James Burns and S.C. Hall, who were keen on promoting illustrated books, often with a German stylistic influence, placed him within a network of individuals shaping the book arts of the period.
His collaboration with Charles and Mary Cowden Clarke on editions of Shakespeare highlights the close relationship between artists and literary scholars in the 19th century. Such partnerships aimed to produce editions that were both textually sound and visually appealing.
The Royal Academy remained a central institution, and Selous's regular exhibitions there kept him in dialogue with his peers. The artistic landscape of Victorian Britain was diverse, encompassing the detailed realism of the Pre-Raphaelites, the grand historical canvases of academicians, the burgeoning field of photography, and the socially conscious art of painters like Luke Fildes or Hubert von Herkomer. Selous carved out his niche within this dynamic environment, focusing on historical narrative and literary illustration.
A Note on Names: Distinguishing the Artist from the Explorer
It is important to distinguish Henry Courtney Selous, the artist, from his younger, and perhaps more widely famed (in different circles) relative, Frederick Courteney Selous (1851-1917). Frederick was a renowned British explorer, hunter, and soldier in Africa, whose life was filled with adventure and who became a celebrated figure of late Victorian and Edwardian imperialism. The similar names can sometimes lead to confusion. While Henry Courtney Selous depicted historical battles and dramatic scenes on canvas and paper, Frederick Courteney Selous lived them in the African bush. The artist's life was one of studio work, literary engagement, and academic pursuits, quite distinct from the rugged, adventurous life of the explorer. The anecdotes of thrilling encounters with wildlife and participation in colonial wars belong to Frederick, not Henry, the painter and illustrator.
Legacy and Historical Evaluation
Henry Courtney Selous's art made a significant contribution to the visual culture of the Victorian era. As an illustrator, he was exceptionally prolific, his work reaching a wide audience through popular periodicals and illustrated books. He helped to define the look of Victorian illustration, particularly in his interpretations of Shakespeare and other literary classics. His ability to combine historical detail with dramatic storytelling resonated with the tastes of his time.
His large-scale historical paintings, such as "The Opening of the Great Exhibition," stand as important documents of their era, capturing significant public events with skill and precision. While his style might have been seen by some later critics as overly conventional or theatrical compared to the more radical artistic movements that emerged towards the end of the 19th century (like Impressionism, which had figures like Camille Pissarro and Alfred Sisley working in and around London at times), his work was highly regarded in its day.
He is remembered as a skilled draughtsman, a diligent researcher of historical detail, and an artist capable of conveying strong narrative and emotional content. His engagement with German illustrative styles demonstrates an awareness of broader European artistic trends. While perhaps not as revolutionary as some of his contemporaries, Selous was a master of his craft, fulfilling the Victorian public's appetite for art that was edifying, engaging, and visually rich. His works continue to be valued by art historians and collectors, particularly those interested in 19th-century British illustration and historical painting. The Victoria and Albert Museum's preservation of "The Opening of the Great Exhibition" ensures that at least one of his major works remains accessible for public appreciation and scholarly study. Other works, particularly his numerous illustrations, are preserved in library collections and archives, offering a window into the artistic and literary world of Victorian Britain.
In conclusion, Henry Courtney Selous was a dedicated and talented artist whose career spanned a significant portion of the 19th century. His contributions as both a painter of grand historical narratives and, perhaps more enduringly, as a prolific and skilled illustrator, cemented his place in the annals of British art. He adeptly navigated the demands of the burgeoning publishing industry and the expectations of academic art, leaving behind a body of work that reflects the historical consciousness, literary passions, and visual appetite of the Victorian age.
