Henry Wyatt (1794–1840) was an English painter who carved a respectable niche for himself in the bustling art world of early nineteenth-century Britain. Primarily known for his portraits and subject pictures, often imbued with a gentle Romantic sensibility, Wyatt's career reflects the artistic currents and patronage systems of his time. His work, though perhaps not as revolutionary as some of his contemporaries, demonstrates considerable skill, a fine sense of colour, and an ability to capture the character and grace of his sitters.
It is important at the outset to distinguish Henry Wyatt the painter from another notable historical figure, Sir Henry Wyatt (c. 1460–1537), a courtier to Henry VII and Henry VIII, and father of the poet Sir Thomas Wyatt. The elder Sir Henry Wyatt is associated with dramatic tales of imprisonment under Richard III, including a legend involving a cat bringing him sustenance. These captivating anecdotes belong to the Tudor courtier and not to the nineteenth-century artist who is the subject of this discussion.
Early Life and Artistic Apprenticeship
Henry Wyatt was born on 17 September 1794 in Thickbroom, a hamlet near Weeford and Lichfield in Staffordshire, England. His early life was marked by the loss of his father, Robert Wyatt, when Henry was still a young child. Following this, his upbringing and future prospects fell under the guidance of his guardian, Francis Eginton (1737–1805). Eginton was a prominent figure in his own right, a celebrated glass painter based in Handsworth, near Birmingham, known for his work in stained glass and the "polygraphic" process of mechanical picture-making. This early exposure to an artistic environment, albeit in a different medium, likely played a role in nurturing Wyatt's nascent talents.
Recognizing his ward's artistic inclinations, Eginton made arrangements for Wyatt to pursue formal training in London. Around the age of eighteen, in 1811 or 1812, Wyatt moved to the capital, a critical step for any aspiring artist in Britain at the time. He initially studied for a year with the historical painter John Charles Felix Rossi (1762-1839), a Royal Academician. Subsequently, in 1812, he enrolled in the prestigious Royal Academy Schools, the foremost institution for art education in the country. Here, he would have followed a curriculum based on drawing from antique casts and, eventually, from life models, honing the foundational skills necessary for a career in figurative art.
Under the Wing of Sir Thomas Lawrence
A pivotal moment in Henry Wyatt's development came when he entered the studio of Sir Thomas Lawrence (1769–1830). Lawrence was, at this time, the leading portrait painter in Britain, a successor to Sir Joshua Reynolds, and renowned for his dazzling technique, elegant compositions, and ability to capture the glamour and authority of his sitters. He was the Prince Regent's favourite painter and would later become President of the Royal Academy.
Wyatt worked as an assistant and pupil to Lawrence for several years, likely from around 1815. This was an invaluable experience. In Lawrence's studio, Wyatt would have not only received direct instruction but also gained first-hand experience in the practicalities of a successful portrait practice. This included learning how to manage a studio, interact with distinguished sitters, and, crucially, how to paint drapery, backgrounds, and copies of Lawrence's works – common tasks for studio assistants. The influence of Lawrence's style – its fluidity, rich colouring, and sophisticated characterisation – would remain evident in Wyatt's own work throughout his career. He absorbed Lawrence's penchant for smooth brushwork, flattering portrayals, and a certain romantic elegance.
Independent Career and Artistic Style
After his formative years with Lawrence, Henry Wyatt established himself as an independent artist. He initially worked in various cities, seeking commissions. He spent time in Birmingham (1817), Liverpool (1819), and Manchester (1822), building a reputation as a reliable and skilled portraitist. In 1825, he decided to settle more permanently in London, residing at 78 Newman Street, an area popular with artists. He later moved to Prestwich, near Manchester, in 1838, due to failing health.
Wyatt's oeuvre primarily consists of portraits and "subject pictures," also known as "fancy pictures." These subject pictures often depicted charming, sentimental, or literary scenes, appealing to the tastes of the burgeoning middle-class art market. His style is characterized by competent draughtsmanship, a pleasing palette, and a gentle, often refined, sensibility. While he did not possess the sheer bravura of his master, Lawrence, Wyatt's paintings are consistently well-executed and engaging.
His portraits aimed to capture a good likeness while also imbuing the sitter with an air of respectability and grace. He was adept at rendering textures, particularly fabrics, and his figures are generally well-posed and animated. In his subject pictures, Wyatt often explored themes of youth, beauty, and quiet contemplation. These works, while not always deeply profound, possessed a charm and accessibility that found favour with contemporary audiences. Some accounts note his skill in depicting "Byronic heroes," suggesting an engagement with the Romantic literary currents of the day, which often celebrated figures of intense emotion and brooding charisma.
Notable Works
Several paintings stand out in Henry Wyatt's body of work, showcasing his particular talents.
One of his most recognized pieces is "The Fair Student" (also known as "Vigilance" or "The Studious Girl"), exhibited at the Royal Academy in 1829 and later engraved. This charming subject picture depicts a young woman engrossed in her studies, her head resting on her hand, a candle illuminating her face and the books before her. It exemplifies Wyatt's ability to create appealing genre scenes with a delicate touch and effective use of light and shadow. The work was highly popular and widely disseminated through engravings, contributing significantly to his reputation.
Another notable work, often cited, is "The Corsair," or a similar title such as "The Pirate, with eye of flame, and form of iron mould." This painting, likely inspired by Lord Byron's poem "The Corsair" (1814), would have tapped into the Romantic fascination with exotic, rebellious, and passionate figures. Such a work would demonstrate Wyatt's engagement with contemporary literary themes and his ability to portray dramatic character types, reflecting the "Byronic hero" aspect of his output.
Wyatt also undertook straightforward portrait commissions. The provided information mentions portraits of Dr. Robert Twiss and his wife Fanny Twiss. These would have been typical examples of his commissioned work, requiring him to capture the likeness and status of his sitters. While specific details or images of these particular portraits are not readily available in all general surveys, they represent the bread-and-butter work for many portraitists of the period.
Other known titles by Wyatt include "Juliet," "The Dark-Haired Girl," "The Proffered Kiss," and "Clara Mowbray," the latter likely inspired by Sir Walter Scott's novel St. Ronan's Well. These titles further indicate his interest in literary and sentimental themes, often focusing on female subjects. A work titled "Fine Pair Original Georgian Portrait Oil Paintings Husband & Wife, c.1827" is also attributed to him, indicating his activity in producing companion portraits, a common practice for married couples.
Exhibitions and Recognition
Henry Wyatt was a regular exhibitor at the principal London art institutions of his day. This was crucial for an artist's visibility and for securing patronage. He exhibited frequently at the Royal Academy of Arts from 1817 until 1838, showing a total of around 40 works. His submissions included both portraits and subject pictures.
He also exhibited at the British Institution, another important venue in London that held exhibitions of both contemporary British artists and Old Masters. Wyatt showed works there between 1818 and 1838. Furthermore, he contributed to the exhibitions of the Society of British Artists (SBA), located in Suffolk Street, from its inception in 1824 until 1838. The SBA was founded by a group of artists as an alternative to the Royal Academy, aiming to provide more exhibition opportunities.
His works were generally well-received, and his subject pictures, in particular, often found purchasers and were popular choices for engraving, which greatly increased their reach and his name recognition. While he was not elected to the Royal Academy, his consistent presence at its exhibitions and those of other major institutions indicates a solid professional standing within the London art world.
The information provided in the initial query listed several American galleries such as the Corcoran Gallery of Art, Art Current (Provincetown, MA), Diane Von Furstenberg Studio, The Gatehouse Gallery (Tamworth, NH), and Rochester Museum of Fine Arts (Rochester, NY) as places where Henry Wyatt participated. This appears to be a misunderstanding or a conflation with a modern artist of a similar name. For Henry Wyatt (1794-1840), a British painter active in the early 19th century, his exhibition activities would have been centered in Great Britain, primarily London, Birmingham, Liverpool, and Manchester. There is no historical record of him exhibiting in or having direct connections with these American institutions during his lifetime.
The Artistic Milieu: Contemporaries of Henry Wyatt
Henry Wyatt worked during a vibrant and transformative period in British art. The era saw the continued dominance of portraiture, the rise of genre painting, and the flourishing of landscape art. He was a contemporary of many significant artists, whose diverse practices shaped the artistic landscape.
His primary mentor, Sir Thomas Lawrence, was the preeminent portrait painter of the Regency and late Georgian era. Lawrence's dazzling style set a benchmark for portraiture. Other notable portraitists contemporary with Wyatt included Thomas Phillips (1770–1845), known for his strong likenesses of many prominent figures; Martin Archer Shee (1769–1850), who succeeded Lawrence as President of the Royal Academy and was a competent portraitist and writer on art; and Sir George Hayter (1792–1871), who became Principal Painter in Ordinary to Queen Victoria and was known for his large-scale historical scenes and state portraits.
In the realm of genre and historical painting, Sir David Wilkie (1785–1841) was a towering figure, celebrated for his detailed and anecdotal scenes of everyday life, which were immensely popular. William Mulready (1786–1863) also excelled in genre scenes, often with a charming and humorous touch. Charles Robert Leslie (1794–1859), born in the same year as Wyatt, was known for his literary and historical genre paintings, often drawing from Shakespeare, Cervantes, and Molière.
The period also witnessed the ascendancy of British landscape painting, with giants like J.M.W. Turner (1775–1851) and John Constable (1776–1837) revolutionizing the genre with their innovative approaches to light, atmosphere, and nature. While Wyatt did not specialize in landscape, their profound impact on British art formed part of the broader context in which he worked.
Other significant figures included William Etty (1787–1849), known for his historical and mythological paintings featuring nudes, which were sometimes controversial but admired for their rich colouring. Edwin Landseer (1782–1873) rose to fame with his masterful animal paintings, often imbued with anthropomorphic sentiment. The Irish painter Daniel Maclise (1806–1870), though slightly younger, emerged towards the end of Wyatt's career as a leading historical painter.
This rich tapestry of artistic activity, with the Royal Academy at its center, provided both competition and inspiration. Wyatt navigated this world by focusing on his strengths in portraiture and appealing subject pictures, finding a consistent, if not stellar, level of success.
Later Years and Legacy
In 1834, Wyatt's address was listed as Allcroft's, Prestwich, near Manchester, suggesting he may have begun to spend more time there even before his permanent move in 1838. His decision to leave London for Prestwich was reportedly due to declining health. He continued to paint, though likely at a reduced pace.
Henry Wyatt passed away in Prestwich on 27 February 1840, at the relatively young age of 45. He was buried in the churchyard of St Mary the Virgin, Prestwich.
Henry Wyatt's legacy is that of a skilled and diligent artist who contributed creditably to British portraiture and genre painting in the early nineteenth century. While overshadowed by the towering figure of his mentor, Sir Thomas Lawrence, and other more innovative contemporaries, Wyatt produced a body of work characterized by its charm, technical competence, and gentle appeal. His subject pictures, in particular, resonated with the tastes of his time and enjoyed popularity through engravings. He remains a representative figure of the many talented artists who sustained the vibrant art scene of Georgian and early Victorian Britain, fulfilling commissions and contributing to the visual culture of the era. His paintings can be found in various public and private collections, offering a glimpse into the artistic sensibilities and personalities of his time.
